Arson, vandalism, attacks on NATO vehicles: around Europe, mysterious acts of sabotage have been multiplying. And there's a pattern: the perpetrators were recruited on Telegram via accounts linked to Russian agencies. This week, we hear from Marta Vunš about how she and other journalists went undercover to figure out how this recruitment actually works. We're also asking whether Germany's nausea-inducing opera deserves its scandalised headlines, and why France has been low-key obsessed with a treasure hunt for the past three decades. 

Fewer expensive car chases, more moody shots and ambiguous endings: movies made in Europe are often very different from those made in the US. But Europe's more arty film output isn't just a product of our culture — it has a lot to do with how the industry is financed. This week, we're asking: why is European cinema the way it is, and should we be trying to change it?