In a notable retelling of events from the early days of Star Factory, singer Mikhail Grebenshchikov discussed how Maria Alalykina’s departure from the Factory group supposedly triggered shifts in the contracts governing the band. He claimed that after Alalykina left, the producers altered the agreements with remaining members and that the artist personally faced a financial penalty. These remarks were reported by HABER.ru.
Grebenshchikov suggested that the pattern might have extended beyond a single case. He asserted that, following Alalykina’s example, the contracts with all female groups began to include a clause stating that leaving the ensemble would incur a substantial payment, approximately 250 thousand euros, which translates to a sizable sum in rubles at today’s exchange rates. This is how the discussion was framed in socialbites.ca, according to his account.
The musician expressed the view that Alalykina had let the group down in some sense. He recalled that she later faced a fine of 25 thousand dollars, a figure that would be around two million rubles depending on the current currency rate. Grebenshchikov added that the participants of Star Factory had since lost touch with Alalykina. He also commented on her time with the project, noting that she demonstrated personal resilience and a deep desire to perform on stage more than anyone else involved at the time.
Looking back, the Star Factory era began to crystallize with the involvement of executive producer Igor Matvienko, who, at the end of 2002, helped form a female pop group under the Star Factory banner. The lineup at that moment included Irina Toneva, Sati Casanova, Alexandra Savelyeva, and Maria Alalykina. Within a short span, about three months later, Alalykina stepped away from the show business scene, chose to convert to Islam, and redirected her focus toward family life.
In related industry chatter from the period, other high-profile figures teased legal maneuvering over image and branding. For instance, Stas Kostyushkin was mentioned in discussions about legal actions tied to likeness rights in other high-stakes entertainment projects, highlighting the broader climate of celebrity branding during the era. These discussions appear in contemporary reports and reflect the tightrope walked by performers navigating contracts, personal branding, and public perception during a rapidly changing media landscape.
Across Timelines and Trajectories, the story of Star Factory remains a touchstone for fans and analysts who followed the show’s impact on pop music in the region. The tension between artistic autonomy and contractual obligations offers a lens into how young stars managed fame while still negotiating the practicalities of professional life in a demanding industry. It also underscores how pivotal moments—such as a star’s decision to leave a project or to pursue personal paths—could reshape the dynamics within a group and influence the financial terms attached to participation and departure.