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Russia’s war propaganda gets a soundtrack – how AI-generated songs reached global streaming platforms Russian war propaganda is no longer confined to television broadcasts, Telegram channels or political videos. A study by the Ukrainian threat-intelligence organisation Terrecon has identified 981 songs combining signs of AI generation with pro-Russian military narratives, distributed through an ecosystem that reaches YouTube, Spotify, Apple Music, Deezer and SoundCloud. The songs range from sentimental ballads to rock and heavy metal. Their recurring themes are familiar from conventional Russian wartime propaganda: the heroisation of Russian soldiers, romanticisation of the war, mobilisation, the “Russian world”, commemoration of fallen troops and attacks on Ukraine and its armed forces. Some contain derogatory or dehumanising references to Ukrainians. What is new is not necessarily the message, but the production and distribution model: generative AI allows propagandistic music to be produced rapidly, cheaply and in quantities that would previously have required musicians, studios and producers. Nearly 1,000 tracks identified Terrecon examined 3,725 tracks collected from YouTube, YouTube Music, SoundCloud and the AI music platform Suno. After manual review, researchers classified 981 as showing both indications of AI generation and pro-Russian war propaganda. In 681 tracks they identified 728 propaganda-related keywords or phrases. The largest category was the glorification of the Russian military, followed by romanticised treatment of Moscow’s so-called “special military operation”, mobilisation appeals, narratives about the “Russian world”, and the cult of fallen soldiers and the state. The reach was not merely theoretical. Listening or viewing statistics were available for 608 of the identified tracks; together they had accumulated 86.8 million plays and views, according to Terrecon. A smaller group of 13 high-performing songs accounted for more than 53 million YouTube views and more than 67 million when YouTube Music was included. Among the better-known examples is “Power of Artillery”, a Russian-language rock song praising artillery weapons that passed two million views on YouTube. Most of the tracks for which publication dates could be established appeared after 2024, broadly coinciding with the rapid expansion of consumer AI music generators such as Suno and Udio. That correlation does not prove that AI alone caused the increase, but it illustrates how drastically the economics of production have changed. A propaganda song for as little as $11 Terrecon also tested how difficult it would be to commission such material. Researchers approached 25 creators producing AI-assisted militaristic music; 15 agreed to take commissions. Prices ranged from approximately $11 to $330, while delivery times ranged from two hours to three days. According to Terrecon, some were prepared to produce highly aggressive anti-Ukrainian material, including content intended for audiences involving children from occupied Ukrainian territories. Some creators used Russian intermediary services that provided access to Western AI tools such as Suno and Udio despite restrictions. The researchers then tested several AI generators themselves. Across 40 prompts submitted to Suno, Udio, Mureka, Google Flow Music and ElevenLabs, 25 resulted in successful generations, while safeguards were circumvented in 15 cases. Terrecon reported that four of the five services tested produced Russian-language material containing wartime narratives, although technical problems prevented comparable testing on some systems. In one Udio experiment, the researchers said the model itself introduced more explicit violent language than had appeared in the original promp These tests do not demonstrate that the commercial platforms knowingly support Russian propaganda. They show something narrower: existing safeguards can be inconsistent when political messaging is packaged as music. From generation to Spotify The distribution experiment may be the most revealing part of Terrecon’s research. The team deliberately uploaded test tracks containing explicit hostile language to YouTube, SoundCloud, Spotify and Deezer. Terrecon says none was blocked during the experiment. On SoundCloud, researchers used an account identifying its location as Moscow, disclosed the use of AI and added markers including references to the Russian military and the war. The platform accepted the upload and subsequently offered paid promotional and distribution tools. This does not prove that streaming recommendation systems systematically promote pro-war music. There is currently insufficient public evidence to make that claim. It does demonstrate that material can enter the same commercial distribution infrastructure as ordinary music and, once there, potentially benefit from playlists, searches, sharing and recommendation mechanisms available to other releases. That distinction is important. Propaganda no longer has to announce itself as political communication. On a streaming platform it can look like another song. Culture as a delivery mechanism Music has always been used in wartime propaganda. What generative AI changes is scale. Instead of investing heavily in a limited number of patriotic performers or officially commissioned productions, creators can generate variations across styles, audiences and emotional registers at very low cost. Terrecon found material ranging from war rock to sentimental songs and content styled for younger audiences. Some creators also experimented with cloned celebrity voices and stylistic imitation of established musicians. The format also offers a different relationship with the audience. A political video asks a viewer to consume an argument. Music can accompany commuting, exercise or entertainment and may be encountered outside explicitly political spaces. This does not automatically make it more persuasive, and Terrecon’s research does not establish measurable effects on political attitudes. It does, however, place wartime narratives inside a cultural environment where users may not initially perceive themselves as consuming political messaging. An ecosystem, not a proven Kremlin command structure The strongest evidence supports describing this as a growing AI-assisted pro-Russian propaganda-music ecosystem, not a single operation controlled from Moscow. Terrecon did not establish that the Russian government created, financed or coordinated all 981 tracks. Reporting on the study likewise notes that the extent of direct state involvement remains unclear. There is broader evidence that the Russian state finances cultural projects and digital content supporting the war, including through state-backed funding bodies. That context matters, but it does not allow individual songs in Terrecon’s dataset to be attributed to the Kremlin without additional evidence. The significance of the case lies elsewhere. AI has reduced the cost of producing ideological content, intermediaries can help creators access generation tools, and global platforms can provide distribution. The result is a pipeline in which wartime propaganda no longer has to resemble propaganda at all. It can simply appear in a playlist. Sources Terrecon / Ukrainska Pravda — Daria Verbytska on the research https://www.pravda.com.ua/columns/2026/10/05/8056229/ Suspilne Culture — detailed breakdown of Terrecon findings https://suspilne.media/culture/1417933-rosijsku-voennu-propagandu-maskuut-pid-anime-karaoke-ta-rok-doslidzenna-si-pisen-vid-terrecon/ The Insider — AI-generated Russian war propaganda music https://theins.ru/news/297839 Institute of Mass Information — summary of New York Times reporting https://imi.org.ua/en/news/doslidzhennya-rf-masovo-stvoryu%D1%94-propagandistski-pisni-za-dopomogoyu-shi The Bridge Media — AI-generated songs and Russian military propaganda https://thebridgemedia.com.ua/en/ai-generated-songs-russian-military-propaganda/ Center for Strategic Communication — cost and production of AI propaganda music https://spravdi.org/propaganda-za-11-yak-rosiya-shtampuye-shi-pisni-z-miljonamy-prosluhovuvan/ Times of India — AI-generated Russian war songs https://timesofindia.indiatimes.com/world/europe/ai-sings-russias-war-story-inside-the-rise-of-generative-songs-about-ukraine-conflict/articleshow/134650594.cms EU Council / EUR-Lex — Presidential Foundation for Cultural Initiatives https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX:32026D1351 Human Rights Watch — Russian state funding of digital and patriotic content https://www.hrw.org/report/2025/07/30/disrupted-throttled-and-blocked/state-censorship-control-and-increasing-isolation #DISINFORMED #Episode16 #Russia #Ukraine #RussianPropaganda #WarPropaganda #MusicPropaganda #AIMusic #ArtificialIntelligence #AI #GenerativeAI #SyntheticMedia #AIPropaganda #Disinformation #InformationWarfare #InfluenceOperations #CulturalPropaganda #DigitalInfluence #NarrativeManipulation #PropagandaMusic #StreamingPlatforms #Spotify #AppleMusic #YouTube #YouTubeMusic #Deezer #SoundCloud #Suno #Udio #RussianWorld #RusskiyMir #MilitaryPropaganda #WarNarratives #Mobilisation #AlgorithmicDistribution #RecommendationAlgorithms #MusicStreaming #PlatformManipulation #Terrecon #OSINT #MediaManipulation #WRLD

Lola had written that Andreas, in the last hours, had seen Varsi being fed lunch by Valeria, drinking coffee with salt because, according to reports, it brought benefits, and wearing Valeria's bathrobe. He had commented that it was “all normal.” #gfvip https://t.co/tv3GLowdPR #gfvip #realitytv #celebrity (translated)

Brazil’s synthetic voters – when AI manufactures public opinion They look like ordinary street interviews. A reporter approaches a passer-by in a Brazilian square and asks a simple question: who will you vote for? A young voter explains why Luiz Inácio Lula da Silva deserves another term. An elderly woman says Brazil needs Flávio Bolsonaro because he represents political renewal and greater security. The locations look plausible, the microphones are visible and the answers sound much like the brief political opinions heard in television vox pops around the world. None of the people are real. Ahead of Brazil’s presidential election on 4 October, fact-checking organisation Aos Fatos identified at least 50 TikTok videos in which artificial intelligence was used to manufacture voters, reporters and apparently spontaneous political interviews. Together, the videos had accumulated around 7.4 million views by mid-August. Some promoted Lula, others Flávio Bolsonaro, while another group used synthetic characters to ridicule or stereotype supporters of one side. Aos Fatos found no apparent evidence linking the accounts producing the videos to either presidential campaign. The opinion poll that never took place The format is important. These were not conventional deepfakes in which a recognisable politician is made to say something he never said. Instead, the creators reproduced the visual language of the vox pop – the short street interview used by broadcasters and social-media creators to illustrate what ordinary people supposedly think. In pro-Lula videos, synthetic voters described themselves as beneficiaries of social programmes or credited the president with improving their lives. In videos supporting Flávio Bolsonaro, artificial interviewees associated him with political renewal, public security and fighting corruption. Other clips were openly hostile: AI-generated characters presented as poor or living in parts of Brazil’s north-east were shown in dirty clothes or run-down surroundings, declaring support for Lula because they supposedly preferred welfare payments to work. The deception is therefore subtler than fabricating a candidate’s statement. It manufactures something that political communication normally treats as evidence of public sentiment. A real vox pop may be unscientific, but the people interviewed at least exist. These videos created the appearance that identifiable social groups – young people, pensioners, welfare recipients or residents of particular regions – were spontaneously expressing political preferences when no such encounters had taken place. An electoral-law specialist interviewed by Aos Fatos described the technique as the fabrication of a “social fact that never occurred”. That captures the central innovation: AI is being used not merely to falsify political speech, but to manufacture the impression of grassroots opinion. Fifty videos, but not one proven network The available evidence does not support describing the 50 posts as a centrally controlled influence operation. Aos Fatos located them through TikTok searches and recommendations produced by the platform itself, then examined the accounts responsible for publication. Most had relatively small individual audiences, although their combined reach was substantial. The first examples identified by the investigation appeared as early as March 2026. Activity increased in June and was concentrated particularly in July and the first half of August as Brazil’s election calendar intensified. Some accounts specialised in AI-generated videos generally, including fabricated podcast-style material. Others were explicitly political or supportive of a candidate, but Aos Fatos found no apparent links between those profiles and the official Lula or Bolsonaro campaigns. That distinction is essential. The evidence demonstrates a common technique and a shared political environment, not a single command structure. Some creators may have been motivated by ideology, others by engagement or monetisation. Publicly available evidence does not establish who commissioned the individual videos or whether any coordination existed between the accounts. This decentralised model also creates a different enforcement problem from a traditional bot network. There may be no headquarters to expose and no infrastructure whose removal disables the entire operation. The format itself can be copied by anyone with access to inexpensive generative-video tools. When the algorithm mixes real and synthetic citizens Aos Fatos documented another important feature of the phenomenon: TikTok’s recommendation system placed AI-generated interviews alongside genuine street interviews. For a user scrolling quickly through the platform, the transition between an authentic citizen and an entirely fabricated one could therefore be almost invisible. In 18 per cent of the 50 videos analysed, there was no indication that the people shown had been generated using AI. After Aos Fatos provided TikTok with the videos, the company said it had removed all of them for violating its rules on edited and AI-generated media. TikTok said its policies require creators to identify synthetic content and prohibit manipulated media capable of misleading users about matters of public importance or impersonating genuine journalistic material. The issue extends beyond one platform. Factchequeado’s review of Brazil’s 2026 election campaign found that synthetic endorsements and other deepfakes had become one of the most visible forms of AI-assisted electoral misinformation, alongside fabricated candidate statements and invented scenes. Brazil already had rules for synthetic politics Brazil entered the campaign with unusually detailed electoral rules governing artificial intelligence. The Superior Electoral Court, the TSE, requires electoral propaganda using synthetic multimedia to disclose clearly that AI was used. More importantly for the fake-voter videos, its rules prohibit synthetic audio or video used to favour or harm a candidacy when it creates or alters the image or voice of a living, deceased or fictitious person. The difficulty is attribution and enforcement. When a synthetic video is published by an official campaign, responsibility can be relatively straightforward to investigate. When it comes from an apparently independent account with no demonstrated relationship to a candidate, lawyers interviewed by Aos Fatos said responsibility is more likely to fall on the individual creator, while imposing electoral sanctions on a campaign would require evidence of a connection. For the final 72 hours before the election and the 24 hours following it, the TSE has imposed additional restrictions on newly published or republished synthetic material involving candidates or public figures, reflecting the particular difficulty of correcting fabricated content immediately before voting. From deepfake politicians to synthetic electorates The Brazilian case illustrates a broader change in political manipulation. The first generation of electoral deepfakes concentrated on famous people: make a politician appear to say something damaging, or fabricate an endorsement from a celebrity. Synthetic vox pops reverse the perspective. The politician can remain completely authentic; it is the electorate around the politician that is fabricated. That changes the psychological proposition of the message. Instead of saying the candidate believes this, the video suggests people like you believe this. Age, clothing, accent, neighbourhood and social class can all be generated to construct an artificial constituency around almost any political claim. There is no evidence that the 50 Brazilian videos identified by Aos Fatos constitute a single centrally directed campaign, nor evidence that they changed voting intentions. What they demonstrate is a technique whose barrier to entry has become extremely low. AI no longer needs to forge the politician. #DISINFORMED #Episode14 #Brazil #BrazilElection2026 #Elections #ElectionDisinformation #ArtificialIntelligence #AI #GenerativeAI #SyntheticVoters #SyntheticMedia #AIAvatars #AIGeneratedVideo #VoxPop #FakeInterviews #Astroturfing #AIPropaganda #PoliticalDisinformation #InfluenceOperations #InformationWarfare #SocialMediaManipulation #TikTok #PublicOpinion #ManufacturedConsent #SyntheticPublicOpinion #DigitalInfluence #Deepfakes #ElectionIntegrity #TSE #AosFatos #FactChecking #OSINT #MediaManipulation #WRLD (translated)

Veronika Abelová wrote that Xaver compared Marta Gottwaldová to Eva Pavlová. She questioned the comparison and added that she found Xaver to resemble Gottwaldová more. She also mentioned that she was surprised that Eva Pavlová is 63 years old, as she would have guessed her to be 50, and called her an extraordinarily charming lady. https://t.co/QPe7Eust62 #Kultura #Celebrity #Věk (translated)

I consider the appointment of Taťána Kuchařová to the Government Council for Human Rights unacceptable. The advisory body of the cabinet should protect vulnerable groups and systemic standards, not serve as a political traffic jam for celebrities without legal expertise. A fundamental obstacle is her behavior during the divorce from Ondřej Brzobohatý. The purposeful misuse of sensitive queer topics and the privacy of her partner in the ecclesiastical court demonstrated complete disrespect for human dignity and minority rights. A person with such practices cannot credibly defend equality. After the civil divorce, Kuchařová initiated proceedings at the Metropolitan Church Court for the purpose of ecclesiastical annulment of marriage. In ecclesiastical law, marriage can only be annulled for specific reasons, which include, for example, the inability to fulfill marital duties, serious personality disorder, or the concealment of key facts before the wedding. To achieve annulment, Kuchařová based her arguments on her husband's intimate life: 🧊 In the lawsuit, she claimed that Brzobohatý is not sexually oriented and suffers from sexual orientation deviations. 🧊 From his private interest in dressing as a woman as part of artistic stylization (drag queen under the alias Tiffany Richbitch), she created evidence of his alleged inability to live in a heterosexual union. 🧊 She was represented by lawyer Jakub Kříž, known from ultraconservative organizations rejecting the rights of LGBTQ+ people. The contents of the ecclesiastical lawsuit, which was supposed to remain strictly confidential behind the closed doors of the ecclesiastical tribunal, leaked in May 2023 to the tabloid Blesk. Civil Court Ruling In January 2026, the District Court for Prague 2 ruled in a personality protection dispute that Brzobohatý brought against Kuchařová: ⚖️ The court concluded that Kuchařová presented false claims in the ecclesiastical lawsuit and consciously harmed the rights and dignity of her former partner. ⚖️ The model was ordered to pay Brzobohatý compensation for non-pecuniary harm amounting to 250,000 CZK. ⚖️ The court also ordered her to publish a public apology in the Blesk newspaper and prohibited her from continuing to spread these false statements. For all this, she should absolutely not be a member of the Government Council for Human Rights. 1️⃣ According to information from Blesk, she presented drag culture and non-traditional gender expressions in court as mental defects, immaturity, or inability to live a normal life. This is a textbook example of homophobia and transphobia that reinforces prejudices in society. 2️⃣ According to information from Blesk, she used sexuality and private preferences as leverage in property or divorce disputes. This is in direct contradiction to fundamental human rights standards. ⚠️🚧‼️ A person who has resorted to the denigration of minority identity for personal gain and faces legal repercussions for undermining human dignity cannot, by principle, guarantee the protection of equality and human rights at the national level. #lidskáPráva #rovnost #homofobie (translated)

Russia’s influence operation arrives ahead of the US midterms With weeks remaining before America's November midterm elections, a familiar type of content has begun appearing online. Videos resembling reports from CNN, the BBC and The New York Times accuse candidates of corruption, antisemitism and misconduct. Hollywood actors appear to denounce Democrats. Other clips claim that warnings about Russian interference are themselves a Democratic disinformation campaign. The reports are fabricated. Graphika, which tracks online influence operations, says it has identified a coordinated campaign targeting candidates in competitive US Senate races. It assesses with high confidence that the material was produced by Operation Overload, also known as Matryoshka – a long-running Russia-aligned influence operation previously active against elections and political debates in Europe and the United States. The activity coincides with a broader warning from American intelligence officials. Classified assessments reported by The New York Times conclude that the Kremlin has authorised another digital influence campaign ahead of the 2026 midterms, aimed primarily at exploiting existing divisions and undermining confidence in American democracy. There is an important distinction. US officials have not reported evidence that Russia is attempting to manipulate voting machines or alter the counting of votes. The operation is about influencing the information environment surrounding the election. Fake scandals for competitive Senate races Graphika traced a concentrated wave of activity between 10 and 14 September. Likely inauthentic or repurposed accounts distributed videos accusing Democratic politicians of corruption, antisemitism and other misconduct. The targets included Senator Jon Ossoff in Georgia, Representative Chris Pappas in New Hampshire and Texas state representative James Talarico, as well as Senate candidates Sherrod Brown in Ohio, Roy Cooper in North Carolina, Mary Peltola in Alaska, Abdul El-Sayed in Michigan, Joshua Turek in Iowa and Troy Jackson in Maine. The selection was not random. These were politicians involved in Senate contests where the result could matter to control of the chamber. The campaign did not rely on a single political narrative. Instead, it attached different accusations to different candidates – corruption, social issues, antisemitism or personal misconduct – while maintaining a consistent production and distribution model. That model is characteristic of Matryoshka: create apparently independent pieces of evidence, disguise them as journalism and distribute them through networks of disposable accounts. Hollywood celebrities who never said what the videos claimed One of the campaign's more distinctive techniques involved genuine footage of American actors. Videos featuring celebrities including Sarah Jessica Parker and Julia Roberts were altered with captions and other material to suggest they were promoting the slogan #AllDemocratsAreCriminals. The technique continued in subsequent material. Fact-checkers identified fabricated New York Times-branded videos using footage of Alyssa Milano, Sean Astin, Rachael Harris, Leonardo DiCaprio, Eric Braeden, Annie Potts and Patrick Fabian. Some of the original footage came from Cameo, where actors record personalised video messages. Their authentic images were retained while fabricated audio, captions or surrounding material changed the meaning entirely. Lead Stories compared several of the clips with the originals and found that the supposed political statements did not appear in the genuine recordings. Eric Braeden's representative separately confirmed that the claim he had joined the anti-Democratic campaign was false. The advantage of the technique is straightforward. Generative AI does not need to create a convincing celebrity from nothing. The operator can begin with authentic footage of a recognisable person and manipulate only the elements necessary to manufacture a political statement. Stealing the authority of real newsrooms Celebrity impersonation was only one layer. The operation repeatedly borrowed the visual identity of established media organisations. Graphika identified material impersonating or falsely citing the BBC, CNN and Politico, alongside references to France's VIGINUM foreign-interference agency and journalist Brandy Zadrozny. Other material reproduced New York Times-style branding. Some fabricated reports made an unusual claim: that Democrats themselves were organising disinformation or “false-flag operations” and then blaming Russia. This creates a defensive layer around the influence operation. Instead of merely distributing false political allegations, the campaign also attempts to discredit future reporting about the manipulation itself. If successful, evidence exposing foreign interference can be reframed as part of the conspiracy. Graphika says it assesses with high confidence that Operation Overload produced these videos. The technique is well established. Earlier investigations by CheckFirst and Reset Tech documented hundreds of falsified pieces of content produced by Operation Overload, often impersonating journalists, institutions and major media brands. AI-generated or manipulated material has increasingly become part of that production system. What US intelligence says Russia is trying to achieve The broader strategic picture comes from American intelligence assessments reported on 18 September. According to US officials familiar with classified findings, the Kremlin has authorised a covert digital influence campaign aimed at Americans during the 2026 election season. Its apparent objective is to seed or amplify domestic divisions and weaken confidence in the political process. Some officials described the principal aim as creating disorder rather than helping a single political party. The publicly identified Matryoshka material examined so far, however, has targeted Democratic candidates. Those two findings should not be treated as contradictory. An operation can exploit partisan divisions while serving the broader objective of making the electoral system appear corrupt, chaotic or illegitimate. US officials also reportedly assess the current Russian campaign as less extensive or coordinated than some previous election operations. Moscow is considered less focused on congressional elections than presidential contests and remains heavily occupied by its war against Ukraine. Russia has denied previous US accusations of election interference. An operation with limited reach – so far There is another reason for caution: producing large quantities of disinformation is not the same as successfully influencing voters. Matryoshka has repeatedly demonstrated an ability to manufacture content at industrial speed, but much of its material receives little genuine engagement. Researchers monitoring the network have previously warned against confusing automated distribution and platform view counts with authentic audience penetration. There are exceptions. A fabricated New York Times-style video featuring Jamie Lee Curtis had accumulated nearly 200,000 views on X by the end of 17 September, according to reporting by The New York Times. Other pieces attracted considerably less attention. There is currently no public evidence demonstrating that the campaign has changed voting intentions or will affect election results. What the September activity demonstrates is something narrower but important: a Russia-aligned influence infrastructure previously used against European elections has now turned significant attention towards the American midterms. The basic method has changed little – impersonate trusted media, manufacture scandals and use networks of inauthentic accounts to distribute them. What has changed is the production technology. Authentic celebrity footage, synthetic voices, manipulated video and rapidly generated fake journalism allow the same operation to produce more tailored material for more candidates at lower cost. The objective does not require Americans to believe every fabrication. Creating uncertainty over which videos, news reports and public statements are authentic can itself degrade trust in the information environment surrounding an election. Sources - Graphika — Russia-Aligned Influence Operation Targets US Midterm Candidates, German State Elections https://www.graphika.com/insights/russia-aligned-influence-operation-targets-us-midterm-candidates-german-state-elections - The New York Times — Russia Aims to Inject Chaos Into Elections, U.S. Intelligence Finds https://www.nytimes.com/2026/09/18/us/politics/russia-election-disinformation-us-intelligence.html - Kathimerini / The New York Times — Russia Aims to Inject Chaos Into Elections https://www.ekathimerini.com/nytimes/1315792/russia-aims-to-inject-chaos-into-elections-us-intelligence-finds/ - CheckFirst — Operation Overload: An AI-fuelled escalation of the Kremlin-linked propaganda effort https://checkfirst.network/operation-overload-an-ai-fuelled-escalation-of-the-kremlin-linked-propaganda-effort/ - CheckFirst — Operation Overload targeting the US election https://checkfirst.network/operation-overload-a-growing-disinformation-threat-now-targeting-the-u-s-presidential-election/ - Lead Stories — Fake NYT videos: Alyssa Milano, Rachael Harris and Sean Astin https://leadstories.com/hoax-alert/2026/09/fact-check-fake-new-york-times-videos-of-alyssa-milano-rachael-harris-sean-astin-falsely-claim-they-support-all-democrats-are-criminals.html - Lead Stories — Fake NYT videos: Leonardo DiCaprio, Eric Braeden and other celebrities https://leadstories.com/hoax-alert/2026/09/fact-check-fake-new-york-times-videos-of-leonardo-dicaprio-eric-braeden-other-celebs-falsely-claim-they-support-all-democrats-are-criminals.html - Brennan Center for Justice — AI Is Changing Foreign Election Influence https://www.brennancenter.org/our-work/analysis-opinion/ai-changing-foreign-election-influence - ODNI — previous US intelligence assessment of foreign election information operations https://www.dni.gov/files/ODNI/documents/assessments/NICM-Declassified-Foreign-Threats-to-US-Elections-After-Voting-Ends-in-2024.pdf - FBI / ODNI / CISA — previous joint assessment of Russian election influence operations https://www.fbi.gov/news/press-releases/joint-odni-fbi-and-cisa-statement-110424 #DISINFORMED #Episode9 #Russia #UnitedStates #USMidterms #Midterms2026 #USElections #ElectionInterference #ForeignInterference #RussianInfluence #RussianDisinformation #OperationOverload #Matryoshka #Disinformation #InformationWarfare #InfluenceOperations #FIMI #ArtificialIntelligence #AI #AIPropaganda #Deepfakes #SyntheticMedia #MediaImpersonation #FakeMedia #FakeNews #PoliticalDisinformation #CelebrityDeepfakes #SocialMediaManipulation #DigitalInfluence #ElectionSecurity #CognitiveWarfare #Graphika #OSINT #Democracy #WRLD

Ο Πατούλης τους «δίνει στεγνά»: «Οι Υπουργοί κ οι celebrity γνώριζαν τι συνέβαινε στην Καρνεάδου». Αλήθεια, του Πλεύρη πως του ήρθε η ιδέα να προτείνει να γίνονται αιμοκαθάρσεις σε ξενοδοχεία; Την πρόταση αυτή την εξέφρασε στο συνέδριο που συμμετείχε η απατεώνισσα με χορηγία μάλιστα του Πατούλη, παρουσία της Όλγας Κεφαλλογιάννη κ του Κικίλια. Υπάρχει μήπως περίπτωση να του το πρότεινε η ψευτογιατρός της Καρνεάδου που ήθελε άλλωστε να επεκτείνει την επιχείρηση κ στις Κυκλάδες κ υιοθέτησε την πρότασή της; Ή σχέση του άλλωστε με τον σύζυγό της απατεώνισσας είναι ομολογημένη. Σαν να μπαίνουν στη θέση τους τα κομμάτια του παζλ… #Πολιτική #Υγεία #Κοινωνία

SAN SEVERO CONQUERS LONDON: 'TEATRO EDICOLA' BY FRANCESCO GRAVINO/FOYER ’97 FEATURED IN THE PRESTIGIOUS 'LONDON DAILY NEWS' SOURCE: https://www.linkedin.com/pulse/san-severo-conquers-london-teatro-edicola-francesco-sardella-ph-d--zh43e/ SOURCE: https://www.londondaily.news/why-londoners-should-discover-san-severo-where-a-disused-newsstand-became-teatro-edicola-the-worlds-smallest-theatre/ A fragment of San Severo now speaks to the world. The city’s 'Teatro Edicola'—shaped by the artistic vision of Francesco Gravino and the long‑established company Foyer ’97—has just been celebrated in the pages of the distinguished 'London Daily News', a publication with thousands of monthly views and an increasingly international readership attuned to Europe’s cultural excellence. INSPIRED BY ROSARIO FIORELLO' S INGENIUOS " EDICOLA FIORE" A newsstand turned into a theatre: the enchantment of an idea that inspires: San Severo’s project emerges from a singular tradition—the celebrated 'Edicola Fiore' created by Italy-renowned TV and radio celebrity Rosario Fiorello, which transformed an everyday urban space into a stage for pure TV creativity and entertainment. In San Severo, that intuition has become community, artistry, identity: a micro‑theatre that tells stories, welcomes people, and generates beauty. SAN SEVERO ON THE WORLD STAGE: LUCA AND DANIELA SARDELLA The London Daily News also highlights how San Severo is a land of talents capable of speaking to Italy and beyond. Among them stand Luca and Daniela Sardella, well‑known figures in environmental and cultural communication, who have long carried the city’s name across national borders. A SUCCESS SHARED BY ALL Publication in an international outlet is not merely an artistic accolade: it is an invitation to discover San Severo—its creative energy, its capacity for reinvention: it proves that even the smallest places (such as a disused newsstand) may become cultural giants when passion, vision, and community stand behind them. Congratulations to Francesco Gravino, to Foyer ’97, and to all who believe in the transformative power of theatre! Today, San Severo shines a little brighter.

Článek se zaměřuje na mediální fenomén prodeje ojetého Mercedesu Karla Vémoly, jehož popularita nespočívá pouze v automobilech samotných, ale v fascinujícím příběhu a kontroverzní postavě sportovce, čímž odráží širší zájem o celebrity a jejich životní osudy v českých médiích. #KarlosVémola #MercedesBenz #celebrity