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Karol Michalak wrote that the match was played in the style of Legia, which he accused of gaining an advantage off the field, and he assessed that the referee was the "12th player." He congratulated the opponents on their victory on the field, but stated that as an organization they lost, accusing them of a lack of class and fair competition skills. #sędziowanie (translated)

Profile from the court - tennis information recalled that just over four months earlier, Qinwen Zheng had cried at a press conference after losing to Maja Chwalińska in the first round of Roland Garros. As noted, the Chinese player had dropped out of the top hundred of the WTA rankings at that time and mentioned that she needed a new start, at one point ranking 160th. The author assessed that the last few weeks had brought a revival for the Olympic champion. He observed that her improving form was already visible during the US Open, and then Zheng won the WTA 1000 tournament in Beijing in front of her home crowd. According to the post, she was to occupy the 23rd place in the rankings starting the next day. From the court, he congratulated her determination. #zkortu #tenis #WTA #sport (translated)

Jakub Balcerzak summarized the last Saturday before the start of the 2026/2027 league season. He assessed that the slogan "Beat the champion" will motivate the rivals of Michał Winiarski's team, and each of them will approach the matches with full commitment. He cited the match between Trefl and Sordyl as an example and wondered how many weaker teams would manage to play in a similar way. According to Balcerzak, Lublin was in better shape at this stage of preparations than a year earlier. He praised the creativity of Ran and Ogawa as well as the play of the latter, and positively evaluated the start of preparations for Mikołaj Sawicki, whom he considered well physically prepared. The author was pleased with Roberto Piazza's presence in the Polish club, but noted that there is a lot of work ahead for PGE Project Warszawa, as the Italian coach had only started working with the team a few days earlier. He assessed that Romano could help Warsaw achieve a major trophy this season. After the match against Lublana, he pointed out that the average age of Project's players on the court was almost 33 years. He also wrote that Śliwka's injury means at least a month off, and noted that the captain of the Polish national team has played only 31 percent of league matches in almost three years. Balcerzak called Tymoteusz Lenik one of the best Polish middle blockers from the 2005 age group and younger. He believed that Gheorghe Crețu is guiding the player well and predicted that Lenik would make it to the senior national team next season. He pointed to 22-year-old Mateusz Nowak as a possible successor to Bartłomiej Lemański in Bełchatów and as the best player of Skra during the preparation period. He described Szymon Jakubiszak as one of the leading Polish middle blockers and wrote that he should join a club competing for the Polish championship. Regarding the Italian league, Balcerzak praised Basil Dermaux's performance in Milan, where he scored 27 points, including seven aces. He indicated Hryhoriia Khotsevycha as a potential discovery of the new season of LegaVolley, and described Pardo Matia as an increasingly important player in Modena's offense. He added that his collaboration with Tizi-Oualou was going very well. Assessing the teams from Japan, Balcerzak stated that there is a lot of work ahead for Suntory Sunbirds Osaka and that the team no longer commands the same respect as in previous years. He positively evaluated the new Nagoya and the performance of Norbert Huber, while considering Osaka Bluteon the best team currently in the country, with a significant advantage over rivals. The photograph was signed with the name K. Łukawski. #podsiatka #siatkówka #sezonligowy #Polska (translated)

Jan Molski wrote that TVP took almost 1.5 days to address the Kołodziejczak case, and the material lasted about a minute. According to him, only Dorota Łoboda from KO spoke in it, using phrases expressing uncertainty about what Kołodziejczak did; there was a lack of opposition voices. Molski assessed that the material suggested that TVP met the viewers' expectations, but is now dismissing them. https://t.co/2fJqZgcVkL #TVP #Kołodziejczak #Polityka (translated)

Political scientist Lukáš Jelínek analyzes in an interview how the ODS needs to change its program and style, and evaluates the non-aggressive campaign of the Mayors, which turned out to be successful compared to the results of the ANO movement in the Senate elections. #KomunálníVolby #SenátníVolby #Politika (translated)

Jon De Lorraine stated that the debate between Louise and Elwan was followed because it revealed, beyond a televised confrontation, a crisis of representation. He presented Louise as a young woman who embraced her ideas and, in his view, met the expectations of millions of French people disappointed by a political class he accused of calculating to preserve its allowances and interests. In contrast, he described Elwan as representative of a self-assured and moralizing television left. He praised her oratorical ease while asserting that she drew inspiration from the style of Jean-Luc Mélenchon. According to him, the left and far-left were thus seeking to extend their ideas to younger and more affluent classes but found themselves struggling as soon as the debate went beyond slogans. De Lorraine interpreted the resonance of the sequence as a sign that some French people were looking for new faces and a break from the traditional political class. He mentioned an economic, security, and migration crisis, but above all, a crisis of representation, and concluded that a part of the country desired a less formatted discourse as well as a right that assumed its ideas more fully. #PolitiqueFrançaise #Changement #EngagementCitoyen (translated)

The author wrote that President Trump, after a conversation with Vladimir Putin, informed about the agreed deliveries of Russian diesel to the American and world markets. According to the entry, the total volume was to amount to 4.8 million tons, with delivery dates noting "300,000." #Trump #Putin #diesel #US #RU (translated)

Tomáš Veverka thanked President Petr Pavel and wrote that he expected a more spectacular arrival, such as a parachute jump. According to Veverka, it would have very much angered the people he referred to with a derogatory term; nevertheless, he stated that it was good. #vtip #humor #Česko (translated)

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

The person who posted claimed that, in their country, singers could walk down the street without being harassed. As an example, they mentioned Harry Styles during his concerts in Mexico City and criticized the treatment that, according to what they wrote, artists received in the country of the person to whom they were addressing. They also maintained that because of people like that, some singers did not return. https://t.co/MtqogIbSzf #HarryStyles #CiudadDeMéxico #Concertos (translated)