The recent online reveal about Evgeny Chebatkov, a comedian and actor known for the film Major Thunder: The Game, has drawn attention to the often overlooked side of show business: the rider, the backstage demands, and what they reveal about a performer on tour. A Telegram channel focused on entertainment gossip circulated screenshots that allegedly showed the star’s requests during a drive. The material was presented as a snapshot of the artist’s dressing room needs, including certain beverages and snacks, and a few items that would typically be seen on a contemporary rider. The post emphasized the element of a two liter bottle of kvass, a ham and cheese sandwich, and an electronic wireless speaker, items that are commonly mentioned in rider lists but sometimes take on a life of their own when shared publicly. The publication illustrated that the artist’s entourage anticipated not just sustenance but a specific environment in which the performer could prepare for a filming schedule or a live event.
Industry insiders note that riders often reflect practical needs, personal preferences, and the particular pace of a tour. In this case, the disclosure has added an element of curiosity about what a dressing room should offer during long shooting days or bustling promotional campaigns. While the exact authenticity of the screenshots cannot be independently confirmed from the information provided, the story underscores how backstage configurations can become conversation starters among fans and commentators alike. The report mentions a dressing room with a comfortable chair, a sofa, fresh fruit, assorted beverages, and snacks that help sustain energy through demanding schedules. The list continues with everyday items and some more luxurious touches, illustrating the range of expectations an artist might have for personal comfort, privacy, and focus between takes.
Separately, another piece of gossip connected to the broader entertainment scene touched on Andrei Makarevich, a prominent figure associated with a group named Time Machine. Reportedly, Makarevich has adjusted his performance fees following a move to Israel, with concert prices climbing to around 35 thousand euros, an increase compared to previous figures. This shift in pricing appears to reflect changes in international touring logistics, market demand, and the evolving expectations of audiences across different regions. The coverage noted that the rider for Makarevich’s performances includes a dressing room equipped with a chair and sofa, along with a supply of fresh fruit, beverages, and savoury snacks. It also mentioned a preference for specific spirits, including 18-year-old Chivas Regal whiskey and a bottle of Primitivo wine, as well as the possibility of extra services such as access to professional voice support and security personnel. The implication is that the rider is designed to ensure the artist can engage professionally while preserving personal comfort and security during the tour.
The same source went on to describe additional logistical considerations that typically accompany high-profile performances. According to the report, maintaining a dressing room with particular furnishings and amenities may influence an artist’s ability to focus on performance, coordinate with crew, and manage the rhythm of a demanding schedule. It is common for riders to specify a combination of practical items and personal preferences, from everyday staples to rare or expensive requests. In this context, the details reflect broader themes about how touring life blends hospitality, security, health, and creative discipline. The discussions surrounding these rider details are part of a larger dialogue about the standards of care, hospitality culture, and the evolving norms in international entertainment. When such lists are shared publicly, they can become talking points about the realities behind glamor and celebrity status, while also inviting scrutiny over the feasibility, fairness, and potential excess involved.
Observers and fans alike may consider how these disclosures shape public perception of performers. Some see riders as a window into the human side of artists who appear on screen and stage, while others view them as manifestations of marketing, star power, and the negotiation of boundaries between public performance and private space. In any case, the visibility of rider contents invites discussion about cost management, cultural expectations during cross-border tours, and the balancing act between comfort on the road and sustainable touring practices for all involved.
Cited clearly within the circulation, the information draws attention to how backstage culture can become a topic of conversation independent of the actual performances. Whether one views these details as routine or exceptional, they contribute to a broader narrative about life in front of cameras and audiences. The ongoing conversation remains part of the public’s interest in the inner workings of entertainment, where the smallest backstage choice can spark bigger questions about compensation, logistics, and the human side of touring. Attribution for the reported items is provided by the source channel that published the details, which notes these items as part of a broader routine surrounding live productions and media appearances. The unfolding story thus remains a snapshot in a larger dialogue about celebrities, touring economics, and the everyday realities of making art on the move.