07/11/2026
Liubov Velychko is a Ukrainian investigative journalist based in Kyiv. Her reported areas include corruption, Russian disinformation, Russian intelligence-service influence operations, sanctions circumvention, energy politics, environmental crime and money laundering. She published in major Ukrainian outlets including LIGA.net, Mind.ua, Slovo i Dilo, and as a member of OCCRP and N-vestigate. Since Russia’s full-scale invasion, she has focused heavily on Russia’s information and influence infrastructure: FSB “temnyki” or talking-point systems, sanctions evasion, Russian lobbying in international institutions, and toxicity of Russian energy-sector influence. She also examines the Ukrainian Orthodox Church of the Moscow Patriarchate (UOC-MP) not simply as a religious body, but as an influence network: financially dependent, hierarchically disciplined, culturally embedded and vulnerable to Moscow’s coercive leverage.
ACTIVE CAMPAIGN:We are raising funds for 5 of 15 Vampire DronesSilicon Curtain for Kupiansk Vampires. Dzyga’s Paw, together with Jonathan Fink, is joining forces to raise $40,000 to provide the Khartiia Brigade with Vampire Drones. https://dzygaspaw.com/silicon-curtain-for-kupiansk-vampires?project=Jonathan%20Fink%20for%20Kupiansk%20Vampires
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Escaping Erasure of Identity by the russian soviet Project – Becoming Ukrainian is Hard!
Dara Lutsai is a Ukrainian cultural communicator, researcher and content creator who explores Ukrainian history, literature, identity and popular culture for contemporary audiences. She is the founder of Hart (Гарт), a cultural media project devoted to rediscovering and explaining aspects of Ukrainian history and culture that have often been obscured, marginalised or distorted by imperial and Soviet narratives. Through her social-media channels and long-form content, Lutsai examines subjects ranging from Ukrainian folklore, literature and urban culture to sexuality, gender, historical memory and the persistence of social stereotypes.
Recent programmes have explored themes such as eroticism in Ukrainian folklore and literature, the cultural history of misogyny, and the political instrumentalisation of so-called “traditional values”. A recurring feature of her work is an effort to present Ukrainian culture as complex, diverse and historically autonomous, rather than viewing it through inherited Russian or Soviet frameworks. Her approach combines historical research with an accessible and often playful style, using contemporary digital formats to bring neglected cultural subjects to younger audiences.
This network of evil must be completely dismantled.