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Fefe wrote that Tobey Maguire officiated the wedding of his ex-wife, Jennifer Meyer, mother of his children. He added that the actor and the jewelry designer were a couple from 2007 to 2016 and filed for divorce in 2020. https://t.co/ENtvXBQg6o #TobeyMaguire #JenniferMeyer #boda (translated)

LETTERE MERIDIANE — “TEATRO-EDICOLA” OF SAN SEVERO CONQUERS THE WORLD SOURCE: https://www.letteremeridiane.org/2026/10/il-teatro-edicola-di-san-severo-conquista-il-mondo/?fbclid=IwY2xjawU4oqFleHRuA2FlbQIxMQBwZG9mAXNydGMGYXBwX2lkEDIyMjAzOTE3ODgyMDA4OTIAAR5rVEwYs6UUXg7v-P0SyIQ_DRb_F6ZiY58OcseYoV4J7atcTiERnhWaqKM2pw_aem_Njle1jq1XLzHr93KLBUcVA After “Broadway World”, the “Los Angeles Journal”, “The Psychologist (British Psychological Association)” and Hollywood Beat Magazine, its “academic consecration” has now arrived courtesy of Stanford University. As I have already emphasised in my article on the revival of the GIO Festival in Foggia, celebrated by BroadwayWorld for the world stage premiere of the Giordano’s opera Marina (1888), the province of Foggia has long ceased to be peripheral. It happens when it finds an idea that shifts the coordinates: well, in San Severo, 40 kilometres from Foggia, it has happened again. Only this time an orchestra was not needed; six chairs were enough. The celebrated Teatro-Edicola of San Severo artistic director Francesco Gravino of the theatre company Foyer ’97 has been featured in the academic journal “Stanford Social Innovation Review (SSIR)” as an academic case study. The news, relayed on 19 September 2026 by ANSA Nazionale, looked like a misprint. Then it became clear that it was not. SSIR, an award-winning publication covering multisectoral solutions to global problems, included the project in its Dispatches section with the reportage “The Six-Seat Revolution”. It is the inverse trajectory to that of the GIO Festival: not a forgotten opera returning to a grand historic Italian horseshoe theatre, but an entire theatre reborn inside a disused place, forgotten by man. There are moments when past and future intertwine to create something visionary, innovative, artistically “revolutionary”: San Severo experienced one of those moments on the morning of 27 March 2026, during World Theatre Day, when the shutter of a newsstand closed for six years in Via Matteo Tondi was reopened “not to sell newspapers, but to offer stirring stories”, to quote Gravino’s motto. The idea of the visionary Francesco Gravino, artistic director, stage director and actor of the San Severo company Foyer ’97, active for at least 30 years in Capitanata, centred on the kiosk, hexagonal in metal and glass, granted free of charge by its owner Pino Frau, by now an urban relic created by the publishing crisis of the early 2000s: today in Italy active newsstands have fallen from about 35,000 in 2005 to about 20,000 in 2024, a decline of 42.8%. Gravino and eleven other actors restructured it in two weeks of work, without institutional funding, and transformed it into what is now under examination by the London commission of Guinness World Records as the “world’s smallest theatre”. The formula is deliberately austere: six spectators at a time outside, actors inside at less than a metre’s distance, 15-minute performances, continuous rotation from 11:00 to 20:45, texts ranging from Goldoni to Chekhov, from Ibsen to Dacia Maraini. On the door a QR code with an original theatrical warning: “Warning! This QR code transforms passers-by into actors. Scan only if ready.” The numbers immediately showed that it was no boutade: more than 60 people in a single afternoon, three inaugural days that sold out. But above all a positive echo that went beyond the borders of San Severo. “Broadway World” (just as in the previous case of the GIO Festival), the world’s most influential theatre criticism outlet with over 5.5 million monthly views, devoted exclusive coverage to it on 27 April 2026: “An Abandoned Italian Newsstand Just Became the World’s Smallest Theatre”. Not a mere listing, but an analysis: “There is no foyer, there is no balcony, there is no grid. There is barely a wing. What there is is something almost unrecognisable as an evening at the theatre, and for that very reason it is all the more powerful.” “Broadway World” captured Gravino’s manifesto idea: “This is a theatre of proximity. In an era of digital distance, we are putting human contact back at the centre,” framing it as “More than a clever exercise in site-specific theatre. It is a reappropriation.” All of this, in a Mezzogiorno of Italy often narrated only in terms of organised crime and marginalisation. To that seal of approval was added another, even more disorienting for a newsstand in San Severo: the “Los Angeles Journal”, one of the most influential publications on the West Coast for the performing arts. On 12 May 2026, it headlined thus: “San Severo’s Teatro-Edicola as an Innovative Model for Los Angeles Theaters?” opening as follows: “In a city in southern Italy that Hollywood has never heard of, a theatre director has just built the smallest stage in the world: six seats, fifteen minutes, zero distance. Los Angeles should pay attention.” The “Los Angeles Journal” does not indulge in folklore, but places the kiosk in Via Matteo Tondi alongside the prestigious 1,600-seat Ahmanson Theatre in Los Angeles, the Pantages of Broadway in Hollywood, the 99-seat plan of Rogue Machine, the Odyssey, the Victory Theatre and the Hollywood Fringe. It even recalls Ethan Marks’s Electrical Box Theatre, a veritable electrical box lined with red velvet in downtown Los Angeles, to argue that Gravino has taken to the extreme the question Los Angeles has been asking itself for decades: How small can a stage become before it ceases to be a stage? And it recognizes the San Severo urban model: almost zero cost, two weeks of work and six chairs, in return for immediate provincial, regional and national media coverage, recognition by the San Severo’s Municipal Administration, and a format exportable anywhere. Then, the third American piece came from “Hollywood Beat Magazine” on 20 April 2026: Six seats. Fifteen minutes. One actor. No stage. The magazine recounts the kiosk in Via Tondi left disused for almost six years, the contemporary six-seat cultural outpost, placing Francesco Gravino in a distinguished genealogy: Richard Schechner and environmental theatre, Jerzy Grotowski and poor theatre, Nicolas Bourriaud and relational aesthetics. But it closes with pragmatism: it is not a thesis, it is fixing a street corner, that is, repairing an urban street corner by asking not how large a theatre can become, but how small it must become again to recover its original power. And finally, the celebrated London-based “The Psychologist”, the journal of the “British Psychological Society (BPS)”, the oldest psychological society in the world, transformed the Teatro-Edicola into a scientific case study: on 30 July 2026 it published “The world’s smallest theatre — and Psychologists’ next act”, starting from the same detail, the morning of 27 March when the metal shutter of the hexagonal kiosk in Via Tondi reopened after six years, six people inside, an actor at less than a metre’s distance beginning Chekhov. It describes the formula: six spectators, 15 minutes, 11 actors over 10 hours, from Goldoni to Euripides, inside a kiosk where the fourth wall does not break because architecturally it never existed. But the BPS goes a step further: it cites the 2025 studies by Damien Gabriel in IBRO Neuroscience Reports, that live performance generates measurably stronger emotional and physiological activation than video, and introduces Edward Hall’s proxemics: below one metre is intimate space, reserved for doctors, close friends, lovers. In that one-square-metre space, the actor’s breath is audible, micro-expressions legible, the self-other boundary becomes permeable. The Teatro-Edicola “does not make theatre better, it makes it inevitable”. And it is here that one understands why Stanford is studying it as an academic case study in social innovation, not as a case of artistic originality. In Italy, meanwhile, the national media circuit had already picked up the phenomenon: RaiNews — TG2 Storie brought it to RaiDue at midnight on 19 April. RTL 102.5 devoted space to the format conceived by Gravino and developed by Foyer ’97 in the heart of San Severo in Via Tondi, defining it as a permanent micro-stage capable of bringing theatre into public space. ANSA.it, Gazzetta del Mezzogiorno, La Repubblica, TG2000, Radio Capital, Swiss RSI, ANSA Brazil and many others followed. And for the record: Fiorello praised it in La Pennicanza as an artistic case inspired by his Edicola Fiore, and Biagio Antonacci, on his tour in the Augustan amphitheatre of Lucera, made a “fact-finding” stop at the Teatro-Edicola singing the celebrated and nostalgic Iris in front of an audience certainly larger than the “six seats”. Francesco Gravino’s theatre company Foyer ’97 was not born yesterday: behind it lie the Teatro-Cantina of 2016, the underground theatre, and in 2011 a performance on the bell tower of a church in the centre of San Severo at 45 metres high. The Teatro-Edicola completes, in Gravino’s words, “the entire vertical extension of theatre: underground, street level, rooftop”. And it is preparing for its thirtieth anniversary in 2027 aiming to purchase the kiosk to make it permanent, exporting the “San Severo Model” to Rome, Lucca, and to the festivals of Santarcangelo and Todi. As with the GIO Festival, someone might dare to claim that it is merely a stunt, but when BroadwayWorld places you alongside the Los Angeles Opera House, the “Los Angeles Journa”l proposes you as a model for Hollywood, “Hollywood Beat Magazine” reads you through Grotowski and the “British Psychological Society” uses you to explain mirror neurones, it is no longer a stunt but an excellent artistic and academic positioning. To those who still whisper that Foggia and Capitanata are provincial, the answer is now written on two opposite and complementary fronts: on 5 June in Foggia a 138-year-old opera found the stage again at the Giordano ending up on BroadwayWorld; on 27 March in San Severo a 4-square-metre kiosk invented a stage that did not exist, ending up at Stanford, in Los Angeles, in Hollywood and in London. The periphery, when it has a precise idea, becomes the centre. Even with six chairs. Luciano Magaldi Sardella

LETTERE MERIDIANE — IL TEATRO-EDICOLA DI SAN SEVERO CONQUISTA IL MONDO SOURCE: SOURCE: https://www.letteremeridiane.org/2026/10/il-teatro-edicola-di-san-severo-conquista-il-mondo/?fbclid=IwY2xjawU4oqFleHRuA2FlbQIxMQBwZG9mAXNydGMGYXBwX2lkEDIyMjAzOTE3ODgyMDA4OTIAAR5rVEwYs6UUXg7v-P0SyIQ_DRb_F6ZiY58OcseYoV4J7atcTiERnhWaqKM2pw_aem_Njle1jq1XLzHr93KLBUcVA Dopo Broadway World, Los Angeles Journal, The Psychologist (British Psychological Association) ed Hollywood Beat Magazine, ora è arrivata la sua “consacrazione accademica” a cura della Stanford University. Come ho già sottolineato nel mio articolo sulla rivincita del GIO Festival a Foggia, celebrata dal BroadwayWorld per la prima mondiale scenica della giordaniana Marina (1888), la provincia di Foggia ha smesso ormai di essere periferia. Accade quando trova un’idea che sposta le coordinate: ebbene, a San Severo, a 40 chilometri da Foggia, è successo di nuovo. Solo che questa volta non serviva un’orchestra, ma sono bastate sei sedie. Il celebre Teatro-Edicola del sanseverese direttore artistico Francesco Gravino della Compagnia Teatrale Foyer’97 è finito sulla rivista accademica Stanford Social Innovation Review (SSIR) in qualità di caso di studio accademico. La notizia, rilanciata il 19 settembre 2026 da ANSA Nazionale, sembrava un refuso. Poi si è capito che non lo era. La SSIR, pubblicazione pluripremiata che copre soluzioni multisettoriali ai problemi globali, ha inserito il progetto nella sezione Dispatches con il reportage The Six-Seat Revolution. È il percorso inverso rispetto a quello del GIO Festival: non un’opera dimenticata che torna in un grande teatro storico italiano a ferro di cavallo, ma un teatro intero che rinasce dentro un luogo dismesso, dimenticato dall’uomo. Ci sono momenti in cui il passato e il futuro si intrecciano per creare qualcosa di visionario, innovativo, artisticamente “rivoluzionario”: San Severo ha vissuto uno di questi momenti la mattina del 27 marzo 2026, durante la Giornata Mondiale del Teatro, quando la saracinesca di un’edicola chiusa da sei anni in Via Matteo Tondi è stata riaperta “non per vendere giornali, ma per offrire emozionanti storie”, citando il motto graviniano. L’idea del visionario Francesco Gravino (nella foto sopra), direttore artistico, regista e attore della compagnia sanseverese Foyer ’97, attiva da almeno 30 anni in Capitanata si è basata sull’edicola, esagonale in metallo e vetro, concessa a titolo gratuito dal proprietario Pino Frau, ormai un relitto urbano creato dalla crisi dell’editoria degli inizi anni 2000: oggi in Italia le edicole attive sono scese da circa 35.000 nel 2005 a circa 20.000 nel 2024, con un calo del 42,8%. Gravino e altri undici attori l’hanno ristrutturata in due settimane di lavoro, senza fondi istituzionali, e l’hanno trasformata in quello che oggi è sotto esame della commissione londinese del Guinness World Record come “teatro più piccolo del mondo”. La formula è volutamente austera: sei spettatori alla volta fuori, attori dentro a meno di un metro, spettacoli di 15 minuti, rotazione continua dalle 11 alle 20.45, testi da Goldoni a Čechov, da Ibsen a Dacia Maraini. Sulla porta un QR code con un originale avvertimento teatrale: “Attenzione! Questo codice QR trasforma i passanti in attori. Scansionate solo se pronti.” I numeri hanno sùbito detto che non era una boutade: più di 60 persone in un solo pomeriggio, tre giornate inaugurali che hanno registrato il tutto esaurito. Ma soprattutto un’eco positiva che è andata oltre i confini sanseveresi. BroadwayWorld (proprio come il previo caso del GIO Festival) la più influente testata mondiale di critica teatrale con oltre 5,5 milioni di visualizzazioni mensili, il 27 aprile 2026 gli ha dedicato una copertura esclusiva: An Abandoned Italian Newsstand Just Became the World’s Smallest Theatre. Non una segnalazione, ma un’analisi: “Non c’è foyer, non c’è balconata, non c’è graticcia. C’è a malapena una quinta. Quello che c’è è qualcosa di quasi irriconoscibile come serata a teatro, e proprio per questo è ancora più potente.” BroadwayWorld ha colto l’idea manifesto di Gravino: “Questo è un teatro di prossimità. In un’epoca di distanza digitale, stiamo rimettendo il contatto umano al centro,” incorniciandolo come “Più che un abile esercizio di teatro site-specific. È una riappropriazione.”. Il tutto, in un Mezzogiorno d’Italia spesso raccontato solo per criminalità organizzata e marginalizzazione. A quel sigillo se ne è aggiunto un altro, ancora più spiazzante per un’edicola di San Severo: il Los Angeles Journal, una delle testate più influenti della West Coast per le arti performative. Il 12 maggio 2026, titola in questo modo: San Severo’s Teatro Edicola as an Innovative Model for Los Angeles Theaters? aprendo così: “In una città del Sud Italia di cui Hollywood non ha mai sentito parlare, un regista teatrale ha appena costruito il palcoscenico più piccolo del mondo: sei posti, quindici minuti, zero distanza. Los Angeles dovrebbe prestare attenzione.” Il Los Angeles Journal non fa folklore, ma mette il chiosco di via Matteo Tondi accanto al presigioso teatro losangelino Ahmanson da 1600 posti, al Pantages di Broadway in Hollywood, ai 99-seat plan di Rogue Machine, all’ Odyssey, al Victory Theatre e all’ Hollywood Fringe. Rievoca persino l’Electrical Box Theatre di Ethan Marks, una vera e propria scatola elettrica foderata di velluto rosso in downtown Los Angeles, per dire che Gravino ha portato all’estremo la domanda che Los Angeles si fa da decenni: Quanto piccolo può diventare un palco prima di smettere di essere un palco? E riconosce il modello urbano sanseverese: costo quasi zero, due settimane di lavoro e una sestina di sedie, a fronte di una immediata copertura mediatica provinciale, regionale e nazionale, riconoscimento dell’ Amministrazione Comunale sanseverese, e un format esportabile (quasi) ovunque. Dopodiché, il terzo tassello americano è arrivato dall’ Hollywood Beat Magazine il 20 aprile 2026: Six seats. Fifteen minutes. One actor. No stage. Il magazine racconta il chiosco di Via Tondi rimasto dismesso per quasi sei anni, il presidio culturale contemporaneo da sei posti, inserendo Francesco Gravino nella genealogia alta: Richard Schechner e l’environmental theatre, Jerzy Grotowski e il teatro povero, Nicolas Bourriaud e l’estetica relazionale. Ma chiude con concretezza: non è una tesi, è fixing a street corner, ovvero aggiustare un angolo di strada urbana chiedendosi non quanto grande può diventare un teatro, ma quanto piccolo deve tornare per recuperare il suo potere originario. E infine, il celebre londinese The Psychologist, la rivista della British Psychological Society (BPS), la più antica società di psicologia al mondo, ha trasformato il Teatro-Edicola in caso di studio scientifico: il 30 luglio 2026 pubblica The world’s smallest theatre — and Psychologists’ next act, partendo dallo stesso dettaglio, la mattina del 27 marzo in cui la saracinesca metallica del chiosco esagonale di Via Tondi si riapre dopo sei anni, sei persone dentro, un attore a meno di un metro che inizia Chekhov. Descrive la formula: sei spettatori, 15 minuti, 11 attori su 10 ore, da Goldoni a Euripide, dentro un chiosco dove la quarta parete non si rompe perché architettonicamente non è mai esistita. Ma la BPS fa un passo oltre: cita gli studi del 2025 di Damien Gabriel su IBRO Neuroscience Reports, la performance live genera attivazione emotiva e fisiologica misurabilmente più forte del video e introduce la prossemica di Edward Hall: sotto il metro è spazio intimo, riservato a medici, amici stretti, amanti. In quello spazio da un metro quadrato, il respiro dell’attore è udibile, le microespressioni leggibili, il confine sé-altro diventa permeabile. Il Teatro-Edicola “non rende il teatro migliore, lo rende inevitabile”. Ed è qui che si capisce perché Stanford lo studia come caso di studio accademico di innovazione sociale, non come caso di originalità artistica. In Italia, nel frattempo, il circuito mediatico nazionale aveva già intercettato il fenomeno: RaiNews — TG2 Storie lo porta su RaiDue alla mezzanotte del 19 aprile. RTL 102.5 dedica spazio al format ideato da Gravino e sviluppato da Foyer’97 nel cuore di San Severo in Via Tondi, definendolo micro-palcoscenico permanente capace di portare teatro nello spazio pubblico. ANSA.it, Gazzetta del Mezzogiorno, La Repubblica, TG2000, Radio Capital, RSI svizzera, ANSA Brasile e tanti altri seguono. E per diritto di cronaca: Fiorello lo ha elogiato in La Pennicanzacome caso artistico ispirato al suo Edicola Fiore, nonché Biagio Antonacci, nel suo tour nell’anfiteatro augusteo di Lucera, ha fatto tappa “conoscitiva” nel Teatro-Edicola cantando la celebre e nostalgica Iris davanti ad un pubblico sicuramente maggiore dei “sei posti”. La Compagnia Teatrale Foyer ’97 di Francesco Gravino non è nata ieri: ha alle spalle il Teatro-Cantina del 2016, il teatro sottoterra, e nel 2011 una performance sulla torre campanaria di una chiesa del centro di San Severo a 45 metri d’altezza. Il Teatro Edicola completa, nelle parole di Gravino, “l’intera estensione verticale del teatro: sottoterra, piano strada, tetto”. E si prepara al trentennale del 2027 puntando ad acquistare l’edicola per renderla permanente esportando il “Modello San Severo” a Roma, Lucca, nei festival di Santarcangelo e Todi. Come per il GIO Festival, qualcuno potrebbe osare di affermare che si tratta solo di un exploit ma, quando BroadwayWorld ti mette accanto alla Los Angeles Opera House, il Los Angeles Journal ti propone come modello per Hollywood, Hollywood Beat Magazine ti legge con Grotowski e la British Psychological Society ti usa per spiegare i neuroni specchio, non è più un exploit ma un eccellente posizionamento artistico ed accademico. A chi ancora sussurra che Foggia e la Capitanata siano provincia, la risposta ora è scritta su due fronti opposti e complementari: il 5 giugno a Foggia un’opera di 138 anni ha ritrovato la scena al Giordano finendo su BroadwayWorld; il 27 marzo a San Severo un’edicola di 4 metri quadrati ha inventato una scena che non esisteva, finendo a Stanford, a Los Angeles, a Hollywood e a Londra. La periferia, quando ha un’idea precisa, diventa centro. Anche con sei sedie. Luciano Magaldi Sardella

FC Barcelona reported that its first vice president, Rafa Yuste, attended a charity event in Los Angeles at Arnold Schwarzenegger's residence. According to the club, the meeting supported After-School All-Stars, the foundation created by the actor to promote education, sports, and opportunities for children and young people. Yuste presented Schwarzenegger with a personalized blaugrana jersey with his name, in a gesture that Barça linked to its values and solidarity commitment. #FCBarcelona #Solidaridad #Educación (translated)

Operation Dark Clark – Russia built a real organisation around a false identity Most influence operations create fake people, fake websites or fake news stories. Operation Dark Clark appears to have gone considerably further: Russian operators built what looked like a functioning research organisation in Latin America, employed real people to produce genuine research and concealed from those employees who was ultimately directing their work. OpenAI disclosed the operation on 8 October after banning a cluster of accounts originating in Russia. The actors used ChatGPT while targeting countries across Latin America, principally to damage Ukraine’s reputation, manipulate domestic political debates and manage a self-described research organisation called the Social Research Center, or SRC. OpenAI assessed Dark Clark as Category Five on the six-level Breakout Scale, the first operation it has disrupted since beginning its influence-operation reporting to reach that level. A front organisation with real employees The SRC presented itself as a research platform studying subjects including Latin America’s relationship with India and the Indian diaspora. OpenAI found more than 60 articles on its website, most of them apparently original rather than plagiarised. Internal reports produced by the Russian operators discussed hiring, dismissals, salary scales, staffing and unfinished research projects, strongly suggesting that the operators controlled the organisation rather than merely collaborating with it. At the centre of the structure was “Mia Clark”, a fictitious identity reportedly used to manage social-media activity and communicate with staff. According to OpenAI, the available evidence indicates that employees working for SRC in Latin America were probably unaware that the organisation was being directed by Russian actors. They interviewed experts, conducted research and wrote papers in what appears to have been good faith. The deception therefore existed primarily at the organisational level: much of the work was real, but the identity and strategic purpose of the institution commissioning it were not. OpenAI This is one reason Dark Clark differs from the familiar model of a troll farm. A reader encountering an SRC paper might be looking at research genuinely written by a Latin American employee based on genuine interviews. The manipulation lies further upstream, in who built the institution, selected its direction and controlled its infrastructure. From forged emails to real events The operation also appears to have attempted something more ambitious than online persuasion: inducing real people to produce events that could later be turned into propaganda. In May 2026, according to the operators’ internal reports, they created an email address impersonating Lima’s regional education authorities and instructed schools to organise activities about Ukraine for a cultural-diversity event. The instructions included references to Stepan Bandera, whose historical legacy remains particularly contentious in Poland and parts of Eastern Europe. The operators claimed that some schools complied, replied to the false address and sent photographs of the events. OpenAI could not independently verify every claim contained in the operators’ reports. It did, however, find Peruvian reporting matching the story, followed by publications in Poland and an English-language outlet in Hungary. Some coverage included comments from a Polish MEP calling for people displaying what he described as anti-Polish attitudes to be declared persona non grata. OpenAI therefore concluded that the fabricated starting point appears to have entered genuine political debate across national borders. The mechanism is unusually effective because the final photographs need not themselves be fabricated. If people can be tricked into staging a real event on the basis of a forged instruction, the operation creates authentic visual evidence of something that was artificially initiated. The same method in Ecuador and Bolivia Dark Clark’s internal reports describe similar efforts elsewhere. In Ecuador, the operators claimed they used a fake education email to encourage schools to stage ceremonies involving President Daniel Noboa and Erik Prince, the former head of Blackwater. Ecuadorian media subsequently covered a matching controversy, and the country’s education minister issued a detailed denial. Other Ecuador-focused material included fabricated audio attributed to Ukraine’s consul and a false television report alleging that Noboa’s government was recruiting Ecuadorians to fight in Ukraine. Local fact-checker Lupa found that the supposed Teleamazonas report had never been broadcast, that images had been taken from Instagram, that the audio was AI-generated and that a company named in a supposed recruitment contract did not exist in Ecuador’s corporate registry. In Bolivia, an internal report described a fake audio recording supposedly made by an employee of state water company EPSAS during anti-government protests. It claimed that water supplies to La Paz would be cut and a state of emergency declared. The allegation produced a fact-check and an official denial. OpenAI says the operators explicitly described their objective as worsening the political crisis surrounding the demonstrations. Possible links to the post-Wagner influence machine Dark Clark did not emerge in a vacuum. The operators repeatedly asked ChatGPT about Politology and La Compania, names associated in previous investigations with the Russian influence apparatus that developed from structures once connected to Yevgeny Prigozhin. Forbidden Stories and its partners obtained 1,431 pages of internal documents describing a network known as “The Company”, which they reported had grown to almost 100 operatives and was conducting influence projects across roughly 30 Global South countries. Their investigation found that the organisation moved under the supervision of Russia’s Foreign Intelligence Service, the SVR, after Prigozhin’s death. Its documented budget for ten months of activity in 2024 was approximately €7.3 million. Two older Argentina campaigns claimed in Dark Clark’s internal reports — a false story about Javier Milei buying Cartier collars for his dogs and the staging of anti-Milei graffiti — had already been independently attributed by investigative journalists to Politology/La Compania. That is significant corroboration, but it is not enough to prove that every Dark Clark activity was run by the same organisational structure. AI was the back office, not the mastermind Perhaps the most important finding concerns artificial intelligence itself. In most documented cases, the Russians were not using ChatGPT to generate the propaganda seen by the public. Their principal use was administrative: drafting reports for an unknown superior, summarising operations, translating material and recording the supposed success of campaigns. Those reports also expose a weakness in the operators’ own measurement. OpenAI found instances in which they tried to claim credit for developments they had probably not caused, suggesting that they were not only attempting to manipulate Latin American audiences but also presenting an inflated picture of their effectiveness to whoever was supervising them. Dark Clark nevertheless broke further into the real world than any influence operation OpenAI had previously disrupted. Under the Brookings framework, Category Five means that an operation has escaped its original network and been amplified by high-profile individuals such as politicians. Dark Clark crossed that threshold because fabricated narratives appear to have provoked governmental denials, mainstream reporting and political comment in several countries. Its most important innovation was therefore not a particularly convincing deepfake. It was the construction of a partly genuine institution around a concealed foreign controller. The research could be real. The employees could be real. The interviews could be real. What was false was who they were ultimately working for. Sources OpenAI — Disrupting AI-enabled “false front” operations https://openai.com/index/disrupting-ai-enabled-false-front-operations/ Forbidden Stories — Propaganda Machine: Russia’s foreign influence strategy across three continents https://forbiddenstories.org/propaganda-machine-secret-documents-reveal-russias-foreign-influence-strategy-across-three-continents/ Forbidden Stories — Ghost Journalists, Cash and Kremlin Scripts: Argentina https://forbiddenstories.org/ghost-journalists-cash-and-kremlin-scripts-how-russian-operatives-tried-to-influence-argentinian-media/ openDemocracy — Russian influence operation in Bolivia https://www.opendemocracy.net/en/russia-bolivia-south-america-putin-evo-morales-wagner-prigozhin-covert-operations-propaganda-disinformation-foreign-interference/ Lupa Media — Fake Teleamazonas report about recruiting Ecuadorians for Ukraine https://lupa.com.ec/verificaciones/noboa-mercenarios-ucrania-ecuador/ Brookings Institution — The Breakout Scale https://www.brookings.edu/articles/the-breakout-scale-measuring-the-impact-of-influence-operations/ Keywords: #DISINFORMED #Episode17 #OperationDarkClark #DarkClark #Russia #LatinAmerica #RussianInfluence #RussianDisinformation #Disinformation #InformationWarfare #InfluenceOperations #ForeignInterference #FIMI #FalseFront #FrontOrganisation #FakeInstitution #SocialResearchCenter #SRC #ArtificialIntelligence #AI #GenerativeAI #ChatGPT #OpenAI #NarrativeManipulation #SourceLaundering #InstitutionalManipulation #ForgedDocuments #FakeAudio #PoliticalInfluence #CovertInfluence #Peru #Ecuador #Bolivia #Argentina #Ukraine #Politology #LaCompania #TheCompany #SVR #WagnerLegacy #PropagandaMachine #GlobalSouth #BreakoutScale #OSINT #MediaManipulation #WRLD

Russia is involved in the deliberate planning of acts of violence against individuals, through state actors or state-controlled actors. Sinan Selen, the head of the German domestic intelligence service (BfV), told German lawmakers on Monday: "Russia is involved in the deliberate planning of acts of violence against individuals, through state actors or state-controlled actors." #Rusia #asasinat #Ucraina (translated)

"President Trump joins many actors who believe that Ukraine needs authentic, peace-oriented leadership, not the belligerent policies of Zelensky... Iconic and historic," said Kirill Dmitriev, the Kremlin's special envoy for economic cooperation, in a message posted on platform X. #Trump #Putin #Ucraina (translated)

Cartoons On The Moon stated that Nicolas Cage did not plan to work with Amazon again after rejecting a contract that sought to use artificial intelligence in Spider-Noir. According to the publication, Cage said he was not in favor of AI. https://t.co/xRBSDUdkvG #NicolasCage #IA #Cine (translated)

In an interview with Ignacio Escolar, Pedro Sánchez presented the election as a dilemma between rights and cuts, and between citizenship and vulture funds. He also expressed concern about possible foreign interference in the elections, both from countries and non-state actors. (translated)

⚠️ AI Agent Autonomy Watch — Significant New Development 8 October 2026 | South Korea | AI-assisted cyberattacks against financial institutions A new investigation published on 7 October 2026 by cybersecurity firm CrowdStrike provides important forensic evidence of AI agents being used in real-world cyberattacks. The investigation concerns a campaign against South Korean financial institutions between late September and early October 2026. Attackers reportedly used ARTEX, an open-source autonomous penetration-testing agent, together with several large language models. CrowdStrike.com 1. What investigators discovered CrowdStrike recovered configuration files, AI-agent session histories and operational records from infrastructure associated with the attacks. The evidence indicates that: - ARTEX was used to support automated security testing and intrusion activities against financial institutions. - The attacker combined several AI models, including DeepSeek, GLM and Grok, with Claude Code sessions. - The campaign involved compromised systems and data exfiltration. - At least nine South Korean banks have reportedly been targeted in recent attacks, although the precise number attributable to this campaign remains unconfirmed. Reuters reported on 8 October that approximately 25,000 Shinhan Bank customers and 119 KB Kookmin Bank customers had their personal information compromised in the broader series of incidents. Reuters 2. Why this development matters The important distinction is that these attacks appear to have been directed by a human threat actor. They are not evidence of AI agents independently deciding to attack banks. Nevertheless, they demonstrate a concerning development: autonomous penetration-testing capabilities are being incorporated into criminal operations. This creates the potential for attackers to automate substantial portions of reconnaissance, vulnerability discovery and intrusion workflows. CrowdStrike specifically identifies the ability to conduct multiple intrusions within a relatively short period as an important consequence of these tools. CrowdStrike.com 3. Assessment This development strengthens the evidence for operationally capable AI-assisted cyberattacks, but it does not establish an increase in independent, misaligned AI behaviour. That distinction is essential. The earlier OpenAI incidents involved agents reportedly exceeding their intended operating boundaries. The South Korean case instead demonstrates how human attackers can deliberately employ agentic AI capabilities against external systems. Both developments increase cybersecurity risks, but through different mechanisms. Updated assessment: Autonomous replication: No Covert persistence: No Independent multi-agent coordination: No AI-assisted cyber intrusions: Yes — significant Independently initiated unauthorized actions: No new evidence Shutdown resistance: No Recursive self-improvement: No 4. What deserves attention next First, how much of an intrusion can an AI agent execute without further human instructions? Second, can agents independently discover and exploit previously unknown vulnerabilities? Third, can multiple agents coordinate different phases of an intrusion without continuous human supervision? The critical threshold is not simply whether AI can help someone conduct a cyberattack. That capability is already being demonstrated. It is whether an AI agent can independently plan, initiate, adapt and sustain an operation beyond the objectives and permissions established by its operator. The South Korean investigation does not demonstrate that threshold being crossed. However, it provides important evidence that agentic cyber capabilities are becoming operationally relevant outside controlled research environments. Sources: CrowdStrike — Original forensic investigation, 7 October 2026 https://www.crowdstrike.com/en-us/blog/unknown-threat-actor-uses-artex-to-target-south-korean-finance/?utm_source=chatgpt.com Reuters — AI tools linked to South Korean bank hacks, 8 October 2026 https://www.reuters.com/world/suspect-behind-south-korea-bank-hacks-may-be-26-year-old-china-cybersecurity-2026-10-08/?utm_source=chatgpt.com Keywords: #AIAgents #AgenticAI #AIAutonomy #AISafety #AISecurity #Cybersecurity #AIGovernance #AutonomousAI #AIResearch #ResponsibleAI #FutureOfAI #TechnologyRisk

The Trump administration pressured its allies in the EU, Canada, and Lithuania to withdraw from a conference on disinformation, believing that the US would be negatively portrayed as actors in information manipulation during the event. #Dezinformare #LibertateDeExprimare #Diplomație (translated)

An independent research committee concludes that the Public Prosecution Service had insufficient security for years, allowing a state actor to successfully breach the systems in 2025 and carry out one of the most disruptive digital hacks in Dutch history. #Cybersecurity #Hack #OpenbaarMinisterie (translated)

Pablo Quirno reported that he had met with Marlin Khiew, vice president of Seatrium, and had toured the company’s shipyards in Singapore, which he described as leaders in marine and offshore engineering. There, he pointed out, was the FLNG Golar Hilli Episeyo, from Golar, a floating plant that would process natural gas from Vaca Muerta to produce LNG intended for export. Quirno indicated that Seatrium would refurbish the facility to operate off the coast of Río Negro starting in mid-2027, as part of the Southern Energy project. He added that it would have a capacity to produce 2.45 million tons annually and an expected operation of 20 years, which would allow converting Vaca Muerta resources into long-term energy exports. He also stated that Argentina was consolidating as a significant player in the global LNG market and linked that outlook with investment and clear rules for production and export. #GNL #VacaMuerta #EnergíaRenovable (translated)

"There were some threats. Instead of tempting the enemy, we will capture and defeat him. Why leave them there?" Trump later said that he would not have released them, and Rubio stated that behind the case lies "the hand of a foreign actor." #Iran #Securitate #Terrorism (translated)