Netflix’s Global Influence: How Streaming Stories Impact Geopolitical Relations

Russia’s Nuclear Torpedo Test Blurs Line Between Fiction and Reality

Russia’s recent test of its Status-6 Oceanic Multipurpose System, known by NATO as “Kanyon” or more commonly as the Poseidon nuclear torpedo, has created an unsettling intersection of entertainment and geopolitical tension. The timing of the test—shortly after the release of related storylines in popular Netflix content—raises questions about propaganda strategies and psychological warfare in the digital age.

The Poseidon torpedo, named after the Greek god of the sea, is designed to operate at depths of up to 1,000 meters while traveling at speeds reaching 100 knots. These capabilities would make it nearly impossible to detect or intercept. With a potential yield of 100 megatons, it could target coastal cities, naval bases, and carrier strike groups with devastating effect.

What makes the announcement particularly notable is its timing. The test occurred just after the third season of Netflix’s “The Diplomat” was released, in which the Poseidon torpedo features prominently. In the series, the weapon is portrayed as so devastating that many characters believe it to be merely Russian propaganda—until it proves terrifyingly real.

Brandon J. Weichert, writing for The National Interest, noted that “Even if Poseidon’s capabilities are overstated by the Russians, this system represents an entirely new form of strategic weapon in that it is both nuclear-powered and a drone. Therefore, Poseidon purposely complicates naval defenses and arms control agreements.”

This test also followed the release of Netflix’s “A House of Dynamite,” which has generated significant discussion about nuclear threats. The coincidence appears too convenient to many observers.

Geopolitical analyst Irina Tsukerman, president of threat assessment firm Scarab Rising, explained that these Netflix productions “were designed as entertainment but have now been pulled into the vortex of international politics. The films’ detailed depiction of covert operations, nuclear brinkmanship, and diplomatic tension blurs boundaries between narrative and news.”

The timing suggests a deliberate strategy by Moscow. “The Kremlin understands this psychological reflex,” Tsukerman told The National Interest. “By mirroring a storyline that captured the global imagination, it allowed the Russian state to appear both menacing and relevant. What was supposed to be a television thriller became an extension of Russian soft power.”

Perhaps even more surprising than Russia’s announcement was the Pentagon’s unusual response to “A House of Dynamite.” The Department of Defense rarely comments on entertainment content, yet it quickly criticized the film’s accuracy.

“The Pentagon’s reaction has been unusually emotional, revealing how cultural influence can unsettle strategic institutions. Officials condemned ‘A House of Dynamite’ for ‘irresponsibly dramatizing classified material’ and ‘fueling misinformation during a sensitive time,'” Tsukerman noted.

This response reveals a stark contrast in how Russia and the United States approach media influence. While the Kremlin appears to leverage popular narratives to enhance its image, the Pentagon’s defensive reaction suggests discomfort with losing control of its messaging.

“For Moscow, this situation fits perfectly into its long tradition of hybrid information warfare,” said Tsukerman. “Since Soviet times, the Russian state has understood that global perception can be shaped through rhythm, coincidence, and spectacle as much as through overt aggression.”

The psychological impact extends beyond Western audiences. For Russia’s domestic public, the juxtaposition of the test and Western reactions reinforces the image of a powerful Russia confronting a panicked West. “State television has already portrayed the timing as proof that Russia is unshaken by Western narratives,” Tsukerman explained.

The influence of entertainment on policy is not unprecedented. Ronald Reagan reportedly shifted his stance on nuclear weapons after watching “The Day After,” a TV movie portraying nuclear war’s aftermath. His administration subsequently moved from “peace through strength” toward nuclear disarmament efforts.

In the current situation, however, former President Donald Trump announced the United States would resume nuclear testing shortly after “A House of Dynamite” was released. Tsukerman characterized this not as “reactive hysteria but a calculated statement of deterrence,” suggesting the U.S. was reasserting “technological credibility and psychological dominance.”

The convergence of entertainment and geopolitics creates a dangerous ambiguity. “When a movie and a missile test become indistinguishable in public discourse, rational deterrence weakens,” Tsukerman warned. “The Kremlin has long practiced this kind of psychological aikido, using the West’s own imagination against it.”

In this new frontier of global influence, the lines between fiction and reality, entertainment and power politics, continue to blur—with potentially serious implications for international security and stability.