In a recent episode of his podcast, the popular Russian video blogger Eldar Dzharakhov directed sharp criticism at singer Yegor Creed for his association with the controversial trash publisher Andrei Burim, who operates under the alias Mellstroy, according to The Flow’s report. The episode unfolds with Dzharakhov focusing not on Burim alone, but on the wider circle of bloggers and internet personalities who publicly align themselves with him. He portrays Mellstroy as an emblematic figure of moral decay, describing the persona as “absolutely obvious” and labeling him as “absolute scum” in the eyes of the audience and the broader online community, a stance that reflects Dzharakhov’s long-standing reputation for blunt social commentary (via The Flow).
Dzharakhov’s critique then turns to Creed, the artist who has navigated the tricky space between internet celebrity and mainstream music fame. While acknowledging the pragmatic reality that online personalities often partner with contemporary stars to widen their reach, Dzharakhov contends that Creed’s decision to collaborate with Burim crosses a moral line. The message is clear: public figures should consider the implications of alliances that bring disreputable figures into their professional orbit, especially when those ties risk normalizing or minimizing harmful behavior and exploitation in the eyes of Creed’s audience (via The Flow).
In a pointed rebuke, Dzharakhov addresses Creed directly, drawing attention to troubling allegations associated with Burim. He argues that referring to a person who compels minors to undress and disseminates such material online as a “brother” signals a troubling tolerance for abuse. Dzharakhov expands on this by calling out Burim’s alleged conduct, including claims of inciting humiliation and violence toward women, and he frames these actions as emblematic of an ethical crisis in contemporary online culture. The blogger’s rhetoric aims to provoke a broader conversation about responsibility, accountability, and the boundaries that public figures should maintain when choosing collaborators (via The Flow).
Beyond Creed and Mellstroy, Dzharakhov asserts that the decision to partner with a controversial broadcaster reveals a deeper inconsistency in Creed’s public persona. He suggests that Creed, like others who seek to broaden audience reach, might be trading personal conscience for exposure. The argument is that entertainment figures should resist entanglements that skew public perception, particularly when those entanglements involve problematic figures who have attracted significant backlash from fans, critics, and advocates for victims. The commentary emphasizes a principled stance—one that weighs artistic ambitions against the potential harm caused by associations with individuals accused of or linked to abusive behavior (via The Flow).
In a closing remark, Dzharakhov notes that Mellstroy’s perceived disgust toward Creed is part of a broader pattern, wherein some content creators appear willing to overlook serious ethical concerns for the sake of ratings, subscribers, or wider visibility. The assertion raises questions about the standards used by online communities to evaluate fame and influence, and it invites discussion about how audiences should hold public figures accountable for their collaborations. The episode thus becomes a case study in media ethics, audience trust, and the evolving responsibilities of digital voices in shaping public discourse (via The Flow).