Spinning Boris was directed by Roger Spottiswoode, who previously helmed an installment in the James Bond series, Tomorrow Never Dies. The 1997 entry in the franchise is one of thousands of Hollywood films and network television shows exposed by journalists Matthew Alford and Tom Secker as having been influenced or directly assisted by the Pentagon and CIA in their must-read book National Security Cinema: The Shocking New Evidence of Government Control in Hollywood. Based on evidence from documents revealed in Freedom of Information Act (FOIA) requests, their investigation divulges the previously unknown extent to which the national security complex has gone in exerting control over content in the film industry. While it has always been known that the military held sway over movies that required usage of its facilities and equipment to be produced, the level of impact on such films in the pre-production and editing stages, as well as the control over non-military themed flicks one wouldn't suspect to be under supervision by Washington and Langley, is exhaustively uncovered.
As expected, Hollywood and the military-industrial complex's intimate relationship during the Cold War is featured prominently in Alford and Secker's investigative work. It is unclear whether HBO or Netflix sought US military assistance or were directly involved with the national security state in their respective productions, but these are just two recent examples of many where the correlated increase in geopolitical tensions with Moscow is reflected. The upcoming sequel to DC's Wonder Woman set to be released next year , Wonder Woman 1984, featuring the female superhero "coming into conflict with the Soviet Union during the Cold War in the 1980s", is yet another. Reprising her role is Israeli actress and IDF veteran is Gal Gadot as the title character, ironically starring in a blockbuster that will demonize the Eurasian state which saved her ethnicity from extinction. Given the Pentagon's involvement in the debacle surrounding 2014's The Interview which provoked very real tensions with North Korea, it is likely they are at least closely examining any entertainment with content regarding Russia, if not directly pre-approving it for review.
Ultimately, the Western panic about its imperial decline is not limited to assigning blame to Moscow. Sinophobia has manifested as well in recent films such as the 2016 sci-fi film Arrival where the extra-terrestrials who reach Earth seem more interested in communicating with Beijing as the global superpower than the U.S. However, while the West forebodes the return of Russia and China to greater standing, you can be certain its real fear lies elsewhere. The fact that Chernobyl and Stranger Things are as preoccupied with portraying socialism in a bad light as they are in rendering Moscow nefarious shows the real underlying trepidation of the ruling elite that concerns the resurgence of class consciousness. The West must learn its lesson that its state of perpetual war has caused its own downfall or it could attempt a last line of defense that would inevitably conscript all of humanity to its death as the ruling class nearly did to the world in 1914 and 1939.