Dead Can Dance

Dead Can Dance

Microsoft 365 calendars have become the latest hiding place for espionage malware, with attackers stashing commands and stolen files inside appointments dated 24 years into the future. Researchers at Group-IB say they've uncovered a malware component they call HOLLOWGRAPH that swaps the usual command-and-control server for something rather less conspicuous – a compromised Microsoft 365 calendar. Instead of reaching out to attacker-controlled infrastructure for instructions, the implant rummages through calendar events, picks up encrypted tasking, and drops stolen files into new appointments for its operators to collect later. Every event created by HOLLOWGRAPH is dated May 13, 2050, an otherwise empty corner of the diary where encrypted attachments are less likely to attract attention. HOLLOWGRAPH isn't exploiting Microsoft Graph so much as blending into it, wrapping its command-and-control traffic inside legitimate Graph API requests that look just like any other Microsoft 365 application talking to the cloud. The malware itself is relatively lean. Group-IB says it does little more than fetch instructions from one calendar event, stash stolen files in another, and periodically retrieve fresh Entra ID credentials over a DNS tunneling channel so the Graph-based communications keep working. The security firm linked the malware to the Cavern framework with high confidence after finding matching command formats and other implementation details. It also spotted similarities with the Iranian-linked espionage group Lyceum, although it stopped well short of pinning the operation on that crew, saying the connection was supported with only low confidence. "HOLLOWGRAPH represents an advanced and highly targeted espionage threat," Group-IB wrote. "By abusing trusted Microsoft 365 calendars through the Microsoft Graph API and refreshing its cloud authentication credentials through DNS tunneling, the malware conceals its command-and-control within legitimate Microsoft 365 and network traffic, evading conventional perimeter defenses." The campaign itself appears to be narrowly targeted. Group-IB identified 12 infected systems, only three of which communicated with the compromised mailbox during the period it observed. The compromised mailbox used for command-and-control belonged to an Israeli organization, malware samples were uploaded from Israel, and the researchers said the evidence points to a focused espionage operation rather than a broad smash-and-grab. HOLLOWGRAPH doesn't exploit a flaw in Microsoft 365 or Microsoft Graph. Instead, it takes advantage of services that are already trusted inside most organizations, making the activity far less conspicuous than malware calling home to attacker-controlled infrastructure. ®

Het OM eist een voorwaardelijke straf omdat gijzelnemer Corné H. inmiddels opgenomen is in een tbs-kliniek. Een onvoorwaardelijke gevangenisstraf zou kunnen betekenen dat H. zijn tbs-opname moet onderbreken.

Het kabinet moet in één maand de Miljoenennota beslechten, een meerderheid vinden voor de bezuinigen op de sociale zekerheid, én de vakbonden aan tafel krijgen. „De rechtvaardigheid van het stelsel staat op het spel.”

Op doordeweekse dagen ligt het gigantische plein voor de Kuip er normaal gesproken uitgestorven bij. Deze zomer niet, want er staat een tijdelijk Cruyff Court met tribune. Bij de Feyenoord Summer Week krijgt de jeugd de kans om te voetballen in de buurt van De Kuip.

Op doordeweekse dagen ligt het gigantische plein voor de Kuip er normaal gesproken uitgestorven bij. Deze zomer niet, want er staat een tijdelijk Cruyff Court met tribune. Bij de Feyenoord Summer Week krijgt de jeugd de kans om te voetballen in de buurt van De Kuip.

Een optreden voor 45.000 mensen in De Kuip, feestjes door heel Europa en onderdeel worden van een van de bekendste studentenbands van Nederland. De Hermes House Band is op zoek naar een nieuwe zanger. De huidige frontman, Florian de Beer, zwaait na zijn studie af en roept studenten op zich aan te melden.

Glyndebourne, East Sussex
The director hits perfectly all the comic marks of Strauss’s opera about an opera, but there’s few insights in a work that should be moving as well as frothy and fun.

Glyndebourne’s new productions this summer have followed a theme: first Tosca, about a fictional opera singer; then L’Orfeo, about the mythical musician. Now comes Richard Strauss’s Ariadne auf Naxos – an opera about an opera. It starts with the shenanigans backstage as two troupes – one high art, one low – prepare after-dinner entertainment for their rich patron, then the performance that ensues when they are forced to combine their acts. The real subject is, of course, love – and that comes across only partially in Laurent Pelly’s production.

The first part finds Pelly at his witty best. We’re in the house of the richest man in Vienna, whose taste is immediately in question; Massimo Troncanetti’s set has a huge doorway of gilded, inlaid wood clashing with a very 20th-century statement chandelier. William Relton’s fearsome Major-Domo pops up everywhere, cowing even Michael Kraus’s classily sung Music Master; Ru Charlesworth’s chainsmoking Dancing Master slinks around dressed as a sequined, velvety advert for Silk Cut. Samantha Hankey, her mezzo-soprano mellow but gleaming, plays the Composer as an irascible would-be genius; Zerbinetta, the comic leading lady, teeters in stockings and suspenders. Buoyantly conducted by Robin Ticciati, the players of the London Philharmonic, reduced in number as per Strauss’s stipulations, revel in the characters’ grand hopes and small tragedies, and Pelly plays to the stereotypes brilliantly, hitting the comic marks without sending things up.

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