LONDON–Through the locked doors of The Prince of Greenwich and past a sign that warned customers of the pandemic shuttering the pub, Pietro La Rosa poured wine and handed out garlic knots. Only staff and a few regulars were invited to this party with a purpose: drain the last of the beer together before it spoiled under the tepidity of social distancing. (The pub still lost 30 liters of beer.)
Read MoreBy capitalizing on real-world political fears and national stereotypes, directors can elicit feelings of dread with villains who are flatter than their own crew cuts. But besides simply producing bad art, the writers who rely on manufactured Russian hitmen for their thrills influence real-life relations between Russia and the West—and not for the better.
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