Dr. Scott Atlas, a neuroradiologist with no credentials in the public health field, has found favor with the current president because as a member of the White House Coronavirus Task Force he says what the Egoist-in-Chief wants to hear when he listens to scientists. Dr. Atlas is not an idiot, in other words – he’s an ego masseuse, an important qualification as far as the current president is concerned.
White House medical advisor Dr. Scott Atlas delivers his remarks during a press conference on September 16, 2020, in the James S. Brady Press Briefing Room of the White House. Official White House photo by Tia Dufour.
What follows is a very short list of doctors and scientists, some better than others, to be sure, but all more or less qualified for the Man Baby’s pandemic science team.
Bill Nye, better known as Bill Nye the Science Guy, at the May, 2017, Montclair Film Festival in Montclair, New Jersey. Photo from the Montclair Film Festival.
Phil McGraw, better known as Dr. Phil, in a stock photo.
Mehmet Oz, better known as Dr. Oz, at the World Economic Forum in Davos, Switzerland, on January 27, 2012. Photo from World Economic Forum.
Robert Young as Dr. Marcus Welby in the television program Marcus Welby, M.D.. 1973 publicity photo from ABC Television.
DeForest Kelly as Dr. Leonard ‘Bones” McCoy in the television program Star Trek. 1970 publicity photo from NBC Television.
Ted Geisel, better known as Dr. Seuss, seated at a desk covered with his books. 1957 photo by Al Ravenna for the New York World Telegram and Sun newspaper.
Jonathan Harris as Dr. Zachary Smith poses next to the Robot in the television program Lost in Space. 1967 publicity photo from CBS Television.
Color lobby card for the 1931 black and white film Frankenstein, directed by James Whale and featuring Colin Clive as Dr. Victor Frankenstein and Boris Karloff as the Monster. Card from Universal Studios.
A Dr. Evil impersonator at a Dell Computers presentation in January, 2007. Photo by Flickr user Edans.
The Muppet Show characters Dr. Bunsen Honeydew and his laboratory assistant, Beaker, at a March, 2007, event for the Muppet Mobile Lab. photo by Flickr user Dawn Endico.
Groucho Marx as Dr. Hugo Z. Hackenbush in the 1937 film A Day at the Races, directed by Sam Wood and starring the Marx Brothers. Publicity photo by Ted Allan for MGM Studios.
In this scene from the 1964 film Dr. Strangelove, directed by Stanley Kubrick, Peter Sellers plays both Dr. Strangelove and President Merkin Muffley, and George C. Scott plays General Buck Turgidson. The current president is not at all like President Muffley in his reasoned assessment of the options available to him in a crisis, but more closely resembles General Turgidson, whose simple-minded grasp of issues is limited to his primal and self-serving interests.
Roger Ebert, the great movie critic who worked primarily in Chicago, Illinois, and over the course of his career garnered respect and influence internationally, believed movies were “like a machine that generates empathy”. By that he meant a well-made movie encourages viewers to lose themselves for a time and step into the shoes of others. There were more movies like that being made 50 years ago than there now, in the current era of comic book special effects franchises.
Stanley Kubrick took this photo in 1949 for LOOK magazine. Mr. Kubrick was a staff photographer for the magazine from 1947 to 1950, and he then went on to direct many great movies, becoming a model for other filmmakers of the New Hollywood. The Chicago Theatre was one of many movie palaces built around the country in the 1920s, and after renovations in the 1980s, it remains a popular venue for film exhibitions and live performances.
Mr. Ebert became the film critic for the Chicago Sun-Times newspaper in 1967, about the same time as the emergence of New Hollywood filmmaking, an era lasting roughly from 1965 to 1985 when Hollywood studios financed character driven films made by directors like Mike Nichols, Bob Rafelson, and Francis Ford Coppola, who came from backgrounds in theater, television, or film school. Filmmakers in Old Hollywood often came up through the ranks, and many of them were refugees from Europe, escaping the fascist regimes spreading throughout the continent in the 1920s, ’30s, and early ’40s.
Old Hollywood was vertically integrated, meaning the studios controlled production and distribution and held talent under long term contracts. All that started to fall away in the 1950s when the federal government forced the studios to divest themselves of most of their wholly owned distribution channels, which had behaved as a cartel, and as television poached audience share from the movie industry. Some star actors and directors cut themselves loose from the major studio system, forming ad hoc film companies which sought limited input from the big studios. Finally, in order to compete with television, studios more frequently rolled the dice on big budget spectaculars such as Ben-Hur or Cleopatra, and those high stakes gambles either saved financially unstable studios or sank them nearly to insolvency.
By the late 1960s, the movie studios primarily served as film financers and weren’t as heavily involved in production and distribution as they once were. Along with discarding the Hays Code of movie censorship, a relic of Old Hollywood, the changed paradigm of filmmaking allowed greater freedom and creative control for directors, actors, and writers. The result was the flowering of small to medium scale films that became the hallmark of the New Hollywood, films such as The Graduate and Bonnie and Clyde, both released in 1967, and continuing with other great films made for adult sensibilities through the 1970s.
Jack Nicholson had a breakout role as an alcoholic civil rights lawyer in the 1969 film Easy Rider, directed by Dennis Hopper, who also starred in the film along with co-writer Peter Fonda. In taking on multiple tasks in the making of Easy Rider, Mr. Hopper and Mr. Fonda were more typical of New Hollywood than they were of Old Hollywood, where vertical integration assigned discrete tasks to different individuals within the studio system, and auteurism was discouraged by studio bosses who were leery of the practice ever since Orson Welles made Citizen Kane in 1941.
Jack Nicholson was the actor who became the face of New Hollywood filmmaking, simply because he was in more hit movies than anyone else during that time. His face, voice, and acting style and choices personified the New Hollywood era. Starting with Easy Rider in 1969, Mr. Nicholson was in one successful movie nearly every year, and in some years more than one, through the 1970s and into the ’80s. He has of course been in many successful films since then, and what is remarkable in retrospect from today’s vantage point when big budget sequels and reboots of franchises are Hollywood’s major output is that he has never repeated himself nor acted in one of those kinds of movies.
Since the demise of New Hollywood filmmaking, Jack Nicholson has chosen to stay with character driven films, though the number available for his participation diminished over the years, as he related in a 1995 interview with Roger Ebert. Even Tim Burton’s 1989 film Batman, in which Mr. Nicholson played The Joker, can be seen as character driven despite its comic book origins and inclusion of special effects. It was the first film of its kind to take the source material seriously, and it was well-made by some exceptional talents.
In a later scene in Easy Rider, Jack Nicholson’s character, George Hanson, discusses the state of the country with Dennis Hopper’s character, Billy.
Unfortunately the endless variations on Batman in the 30 years since its release have grown wearisome. But the movie that started the push for a return to blockbuster filmmaking came out 14 years earlier, in 1975, when Steven Spielberg’s film Jaws appeared in theaters that summer and set box office records. Jaws was followed in the summer of 1977 by Star Wars, a film created and directed by George Lucas that started a media franchise which continues to this day. Those films, too, were well-made by exceptional talents. In the years since their release, however, those kind of films and their lesser cousins have increasingly crowded out the kind of smaller, character driven movies Jack Nicholson and the New Hollywood were known for, the kind Roger Ebert described as generators of empathy. In times when we are in need of empathy generators perhaps more than ever, we are largely left to project ourselves onto special effects beclouded superheroes.
It’s not necessary to dive into the dark hole of right wing media articles attacking the so-called Squad of four Democratic congresswomen to catch the drift of the big stink they make; instead, simply read the loaded language of their sneering, derisive headlines. The most obvious characteristic of right wing media headlines of articles about these four women is the use of language indicating they are bad girls who deserve to be put in their place, even punished. This is a characteristic of right wing authoritarians, who see those who disagree with them as misguided souls deserving the wrath of Old Testament Jehovah.
The authoritarian right wing media seems to have a sliding scale of punishments for meting out to liberals. Of the four women in The Squad, Representatives Alexandria Ocasio-Cortez (D-NY) and Ayanna Pressley (D-MA) appear to be naughty young ladies in need of correction, according to the authoritarian mindset, while Representatives Ilhan Omar (D-MN) and Rashida Tlaib (D-MI), being Muslim, are too far Other for authoritarians to bother at all about disciplining, and therefore beyond the pale altogether and deserving of harsher treatment. Which is not to say the inflammatory language of right wing media has not fanned enough hatred in some quarters to prompt threats of violence against any of the congresswomen, regardless of the patronizing view that two of the four may be capable of redemption if only they would stop being uppity.
The News and Observer, a newspaper in Raleigh, North Carolina, spins the events of the Wilmington insurrection of 1898 in headlines for the November 11, 1898 edition of the paper to suit the viewpoint of the white supremacist power structure. As the preacher observed in Ecclesiastes 1:9, “There is nothing new under the sun.”
Using any decent news aggregator website which offers a buffet of articles from across the political spectrum, rather than from only one side or the other, makes it easier to spot the language of paternalism and punishment in right wing headlines because of the contrast with the article headlines from other media outlets. Loaded language is unfortunately a feature of too many media outlets, whether from the left or the right, but it is the punishment angle which is unique to authoritarian right wing media. Those naughty Democrats! When will they ever learn? They’re messing with the wrong people, and the righteous shall come down hard on them, the transgressors!
From the 1980 film The Shining, directed by Stanley Kubrick, Jack Nicholson as Jack Torrance and Philip Stone as Delbert Grady discuss the need for correcting misbehavior.
Far right authoritarians are more likely to confine their media consumption to a bubble than are people on the left or in the center, because right wingers feel threatened by ideas and viewpoints from elsewhere on the political spectrum. That, too, along with the desire to punish others, is a feature of the authoritarian mindset. It’s tempting to edit a news aggregator’s collection choices, if that’s possible, in order to avoid even skimming the ugliness of many right wing media headlines. That would be a mistake; that would put the liberal or centrist news reader in their own bubble. It’s better to keep those headlines, with their self-serving denunciations and propagandistic lies, so as to be able to occasionally peek into the netherworld of far right wing media. It’s unnecessary and probably unhealthy to dive in and read the articles.
Players at a game ofCatan during the April 2016 Wikimedia Hackathon in Jerusalem, Israel. Photo by Ariel Elinson.
The German board gameSettlers of Catan, now known simply as Catan, first published by Klaus Teuber in 1995, changed ideas around the world about what board games could be and led the renaissance in the form that has seen huge growth over the last 20 years, primarily among young adults. Catan is competitive, just like many board games of the past like Monopoly and Risk, but unlike those games it does not eliminate some players before the game is over, and therefore everyone who starts the game holds on to a chance at winning until the end. It is competitive, but not reductive.
That game dynamic, which has come to define most of the board games coming from Europe, and particularly Germany, in the last 20 years has become known by the shorthand Eurogames. The games are overall competitive in nature while incorporating elements of cooperation and degrees of engagement with, or isolation from, one player to the other players as suits an individual’s personality or strategy. The character of the games can be seen as socialist rather than capitalist, as in Monopoly. Warring and confrontation are similarly sidelined in favor of building or collecting. A player still strives to outdo the others, though not entirely at their expense. The games are not zero sum games, where one player ends up with everything and the others are left in ruins.
A balloon of the Monopoly mascot, Mr. Monopoly, also known as Rich Uncle Pennybags, at a Macy’s Thanksgiving Day parade in the early 2000s. Photo by Fluffybuns.
The genius of these games coming out of Europe is how they tap into the better parts of our nature without resorting to banality, which of course would ensure they got played exactly once before finding a place on a closet shelf, there to be ignored ever after. The game designers understand the duality of human nature, and they give play to both sides, and in the best games, such as Catan, they appear to have achieved a balance, a yin and yang duality, if you like.
A scene from Stanley Kubrick’s 1987 film Full Metal Jacket, with Matthew Modine as Pvt. J.T. “Joker” Davis being upbraided for not going along with the program. Warning: foul language. Many of the older games, like Monopoly, much loved as they were, gave vent primarily to the aggressive, greedy side of our nature, and people mistakenly thought that was who we were, and all we were. Pillaging and destruction of competitors may be all fun and games for a certain limited part of our psyches, and honesty demands we acknowledge that is part of who we are. But it is only a part, and the rest of our spirit seems to demand we fulfill our need to build and create, urged on still by that core desire to do it as well as we possibly can, and if that results in greater and grander returns than everyone else can achieve, then so much the better. All in good fun, of course.
“If men were angels, no government would be necessary. If angels were to govern men, neither external nor internal controls on government would be necessary.”
― from The Federalist Papers, No. 51, by James Madison.
United States Attorney General Jeff Sessions is a fan of civil asset forfeiture, and last year he reinstated the federal partnership with state and local authorities that had been ended by the previous Attorney General, Eric Holder. That partnership allows state and local police to share seized assets with federal authorities if they claim even the flimsiest trespass on federal law by the forfeited assets (in a pretzel-like twist of legal reasoning, it is the assets themselves that are accused, not the person or persons who own them). Engaging the federal government in this way allows state and local police to bypass their civil asset forfeiture laws because they are superseded by federal laws, which are often more favorable to the police. The feds then give the state and local cops a kickback of all or part of the proceeds. This is called “equitable sharing” or, more cutely, “federal adoption”.
Getting pulled over for a minor traffic violation while carrying a large amount of cash can lead to a nightmare civil asset forfeiture scenario for the driver, regardless of the legitimacy of his or her claim to the cash. Only the rich can afford to fight city hall in court. Photo by photoo.uk.
No person shall be held to answer for a capital, or otherwise infamous crime, unless on a presentment or indictment of a Grand Jury, except in cases arising in the land or naval forces, or in the Militia, when in actual service in time of War or public danger; nor shall any person be subject for the same offence to be twice put in jeopardy of life or limb; nor shall be compelled in any criminal case to be a witness against himself, nor be deprived of life, liberty, or property, without due process of law; nor shall private property be taken for public use, without just compensation.
It’s hard to imagine how the law can be more clear than this: ” . . . nor be deprived of life, liberty, or property, without due process of law . . . ” To be doubly sure, there is another due process clause in the 14th Amendment. Yet here we are, with police abusing the citizenry by stealing from them, sometimes without even a formal charge filed, but only on mere suspicion of a crime having been committed with the asset or assets, and keeping the proceeds in order to augment their budget. There are slight differences in the law from state to state, but in many states the police are allowed to keep seized assets, which also clearly violates the last clause of the Fifth Amendment, the takings clause. It’s impossible to imagine a more blatant case of conflict of interest, adding insult to the injury of the initial seizure.
In a civil asset forfeiture case, the burden of proof is often on the citizen whose assets were seized, not the authorities who took them. In order to retrieve seized assets, a citizen must prove they were not used in the commission of a crime or are a result of criminal activity, and this proof must be forthcoming even when the police have not filed a charge in court. Apparently the only thing to prevent the police from more flagrantly abusing the civil asset forfeiture laws more than they do is the basic decency and good character of the majority of them. But men are not angels, as James Madison wisely observed, and to allow these laws to remain on the books is to invite corruption of the police and further erosion of public trust in government.
Cash found in a freezer at the Washington, D.C. home of Congressman William J. Jefferson of Louisiana. This photo was entered as evidence in July 2009 showing what was seized in August 2005 from the freezer of the home of then Rep. William Jefferson, D-New Orleans. Jurors in the trial of Jefferson, who lost his re-election bid in 2008 while under indictment for bribery, saw photos of the infamous frozen cash. It was wrapped in $10,000 increments and concealed in boxes of Pillsbury pie crust and Boca burgers. Photo by the U.S. Attorney’s Office.
A flagrant case of abuse occurred last year in Jeff Sessions’s home state of Alabama, in the small town of Castleberry in the south central part of the state. To generate revenue for his little town, the mayor hatched a plan for taking advantage of Alabama’s very favorable civil asset forfeiture laws by confiscating cash and property from citizens and visitors alike, but especially out of state visitors, often using entirely invented suspicions. The police chief made no bones about it on public forums, where he joked about how the bogus money grabbing had been a windfall for the town of Castleberry and its nascent police department, now flush with fancy new equipment and patrol cars. Eventually bad publicity caught up with the mayor and police chief of Castleberry, and they were hit with a lawsuit. On a national scale, what happened in Castleberry doesn’t amount to much other than a clear distillation of everything wrong with civil asset forfeiture.
Attorney General Sessions, waving the bloody shirt of the War on Drugs, nevertheless wants to continue civil asset forfeiture and expand it, if he can get away with it. His motivations are unimportant other than how they forecast all the draconian policies he’s likely to see through while he is in charge of the Department of Justice. The important thing is that he has opened up one of the very few issues that attracts a bipartisan consensus in Congress, and that has been for less civil asset forfeiture, not more.
Highway robbery in Stanley Kubrick’s 1975 film Barry Lyndon, with Ryan O’Neal as Redmond Barry. Under America’s civil asset forfeiture laws, the gold guineas in Barry’s purse, and the horse he rode in on, could be forfeited to the robbers, or police. The strange history of this policy of official stealing from the innocent and the guilty alike also matters little, except perhaps to those appellate court judges who fall back on referring to obscure precedents of legal reasoning as convoluted and ultimately irrelevant as the debates of clerics who wondered how many angels might dance on the head of a pin. Congress can take this matter away from both Sessions and the judges by enacting legislation rolling it back. Really it should be swept away entirely, along with the War on Drugs it purportedly assists, as failed policies which have corrupted the police and eroded public trust every bit as much and in the same way as Prohibition did in the early decades of the twentieth century, when civil asset forfeiture first became a major police tactic. It seems we never learn lessons once and for all, but have to forever relearn them.
A scene from director Stanley Kubrick’s 1987 film Full Metal Jacket with a cool, aloof discussion of two of America’s many killers, at least until the end, when one of the recruits appears to be personally affected.
Gun company stocks are up again in the last two days, after slumping since Big Cheeto took office in January. Obama was great for gun sales, because his presence in the Oval Office fed the paranoia of the Gun Nuts, despite the real power to control their activities with gun control legislation residing with Congress, which has been bought many times over by NRA lobbying. The crazy black man is coming for our guns! But of course they would use a much less genteel appellation.
Two Julia butterflies,Dryas iulia, drinking the tears of turtles,Podocnemis expansa,in Ecuador. Turtles bask on a log as the butterflies sip from their eyes. This “tear-feeding” is a phenomenon known as lachryphagy. Photo by amalavida.tv.
Big Cheeto was bad for business because the Gun Nuts believed he wasn’t about to come for their guns, but now with the latest mass killing there’s still the libruls and their Democratic allies in Congress to worry about. Better stock up! What Would John Wayne Do (WWJWD)? You better believe it. Shoot first, ask questions later, especially when confronted by one of them people, the kind who don’t stand up for the National Anthem. Amurica, love it or leave it, Commie. How did we come this far, only to fall back into the past? We never did advance as far as we supposed, only some of us did, and the rest, now with the backing of Orange Julius, are reacting against those advances – a word with a view they do not share – with massive retaliation. Making America Great Again, with warmest condolences.
Strange, megalomaniacal words from a potential head of state, who would become the 45th president of the United States after his 2016 campaign. Enough voters believed him, whatever “it” might have been in their own minds, to make him president in 2017. “It” was left open to interpretation in the election. Whatever “it” was, the strongman would fix “it.” That was good enough for a significant portion of the electorate to put him into office regardless of the will of the majority expressed through the popular vote.
The fireball and developing mushroom cloud of the Castle Bravo thermonuclear weapon test over Bikini Atoll in the Marshall Islands of the South Pacific on March 1, 1954. Photo by the United States Department of Energy.
Since the election of the 45th president, people have speculated on what will contribute to his ultimate demise, a speculation which seems natural considering the 45th president’s proclivity for self-destructive public pronouncements via Twitter and his other activities. The president’s critics have said he will be impeached, or that the Vice President and Cabinet will invoke Section 4 of the 25th Amendment to the Constitution. These are all pipe dreams, because they imagine real political courage among high level members of the Republican Party, which is not about to manifest itself.
American psychologists will deliver pronouncements on the president’s mental state and people will call on that account for his removal, invoking Section 4 of the 25th Amendment, but his removal will never happen as long as Republican leaders lack the will to effect it. Republicans hold majorities in the federal House and the Senate, as well as in State Legislatures and Governorships. To attempt the removal from office of a Republican president without their approval and active participation is pointless. Section 4 of the 25th Amendment is dependent every bit as much on political considerations as on physical and psychological evaluations of the president. Invoking it will be difficult, to say the least.
In the 1964 film, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, directed by Stanley Kubrick, the president is portrayed as a mild-mannered, reasonable character surrounded by eccentric lunatics. What if the situation were different in that the head of state was the lunatic? In this scene, Peter Sellers plays Dr. Strangelove and President Merkin Muffley, and George C. Scott plays General “Buck” Turgidson.
Will the 45th president shoot himself in the foot? Quite likely, considering his past behavior. Will that be enough to secure his removal from office? That depends on the reactions of other Republicans in legislative offices and in the presidential administration, and while they may look to psychologists’ reports for corroborative evidence, ultimately they will base their case on legal and fiscal wrongdoing and their own political calculations, looking to a history in legal precedent that is cut and dried.
In Stanley Kubrick’s 1987 movie Full Metal Jacket, two marines engage in an ironic “John Wayne” face-off. Wayne’s chickenhawkish stances werewell-known and widely held in contempt by combat veterans fromWorld War II to Vietnam. Warning: foul language.
America’s wars continue with no end in sight, from one presidential administration to the next. One proposal to curtail the corporate oligarchy’s military adventurism is to bring back the military draft or to institute Universal National Service, the idea being that if a greater percentage of the population has a personal stake in foreign policy then they will be more likely to make their preferences known to their leaders, and people with a personal stake are less likely to want more war. The oligarchy knows this, too, as it’s a lesson they learned from an aroused public during the Vietnam War and are unlikely to want repeated if the public reawakens.
Since the draft ended in 1973, the per capita percentage of the population serving in the military has steadily declined, while the number of American military interventions overseas has drastically increased. Linking the two trends could be coincidental, but it’s worth considering that in the 40 years from 1933 to 1973, in most of which there was a draft, the US sent the military abroad on 27 occasions, and in the 40 years from 1974 to 2014 the US sent the military on 175 different foreign interventions. Has the world really become 6.5 times more dangerous since 1973? Or is it that the US has taken on in earnest the burden and profits of empire and the role of world policeman, putting out small fires everywhere, many times at the behest of corporate interests?
I spent 33 years and four months in active military service and during that period I spent most of my time as a high class muscle man for Big Business, for Wall Street and the bankers. In short, I was a racketeer, a gangster for capitalism. I helped make Mexico and especially Tampico safe for American oil interests in 1914. I helped make Haiti and Cuba a decent place for the National City Bank boys to collect revenues in. I helped in the raping of half a dozen Central American republics for the benefit of Wall Street. I helped purify Nicaragua for the International Banking House of Brown Brothers in 1902-1912. I brought light to the Dominican Republic for the American sugar interests in 1916. I helped make Honduras right for the American fruit companies in 1903. In China in 1927 I helped see to it that Standard Oil went on its way unmolested. Looking back on it, I might have given Al Capone a few hints. The best he could do was to operate his racket in three districts. I operated on three continents.
― Marine Major General (Retired) Smedley Butler, writing in the
Socialist newspaper Common Sense in 1935.
The 1994 Robert Zemeckis movie Forrest Gump is an excellent portrayal of the diversity of experience awaiting Vietnam era draftees, though of course most of them did not want to be there. Warning: foul language.
The majority of Americans catch the news about these numerous foreign conflicts as they go about their daily business, and because they don’t know anyone in the military and didn’t serve themselves, the news pretty much goes in one ear and out the other. Who can get agitated or even interested about what’s happening in Kosovo or Libya or Yemen or the Horn of Africa, wherever that is? Afghanistan and Iraq, oh yeah, are those still dragging on? Are we going into Syria now, too? And so these busy Americans go on with their lives, paying their taxes and going shopping, surprised to learn that when the US deploys Predator drones to these foreign hot spots, the controllers of the deadly drones sit in air-conditioned trailers halfway around the world in Nevada or Germany. It’s the New Age, alright, a deadly video game.
Or so we might choose to believe. As technocratic and bloodless as the military brass and the politicians may try to make modern war seem in order to make it more palatable for the general public, it will always nevertheless be a nasty mess both physically and morally. They don’t want to show that part, though; they learned that lesson from Vietnam as well. Rah-rah Hollywood movies are not the answer to getting Americans to come to terms with their current situation in world politics. Far from it. There are far too many chickenhawks making movies in Hollywood and making policy in Washington to serve anything but the basest emotions of too many Americans, the “summer soldiers and sunshine patriots” among them, who are stirred to cheer movies glorifying war and the macho posturing of Supreme Leader. As long as they reflexively say “Thank you for your service” to a service member or veteran when they encounter one, they’re covered. Aren’t they?
An early scene in Full Metal Jacket depicts Marine boot camp in a less lighthearted vein than the boot camp of Forrest Gump. Some of that canbe attributed to the differences between the Marines and the Army, and some to the aims of the two films. Nonetheless, some of the drill sergeant’s insults will ring bells in the dark sense of humor shared by many veterans, an emotion Kubrick effectively turns inside out at the end of the scene. Warning: foul language, of course.