Show Notes
Van and Lyle are joined by returning guest Sam Carliner to take on Marines, Netflix’s new 250th-anniversary docuseries, an unmistakable propaganda piece (it’s literally featured on the official Marine Corps website) that nonetheless reveals more candor than the institution intended. Directed by Chelsea Yarnell, whose style veers into Riefenstahl-lite, the series moves through the familiar mythology: Marines as the “meanest, baddest motherfuckers,” war as manhood, China as the next “bloody” proving ground. But between the clichés, something truer keeps slipping out. The Marines themselves come across not as caricatures but as young people grasping for purpose. Some raised amid violence, poverty, absent fathers, and broken homes; others from supportive families, following beloved relatives into the Corps, seeking adventure, education benefits, or what they sincerely understand as patriotic duty. Some speak with chilling bravado about killing; others struggle openly with faith, family, and the sense that combat is the only place they’ll ever feel whole. A sniper mourns the disbanding of scout-sniper platoons as if losing a piece of himself. A Huey pilot wonders how to make “non-emotional decisions” when his whole life has been shaped by emotion, and a mother tries to bless a choice she privately cannot support. And despite itself, the series also exposes the machinery surrounding them. Deployments that make no sense. A surreal shipboard announcement about Yemen, where Houthi attacks are called “unprovoked” with no mention of the U.S.-backed genocide in Gaza driving them, all delivered in a breezy “Good morning, Team America” tone. Marines saddled with the weight of great-power delusions they never chose. The political culture is bankrupt, but the individuals inside it are often heartbreakingly earnest. That tension, between Yarnell’s promo frame and the unfiltered vulnerability of the people she films, turns Marines into something worthwhile. Even in its worst moments, the series forces a deeper question: What happens when a society offering so little to its young men teaches them that violence is the only stable form of meaning? Further Reading USMC press release on the docuseries Sam’s Substack The Rivalry Peril by Van and Michael Brenes Pain is Weakness Leaving the Body by Lyle Gangsters of Capitalism by Jonathan M. Katz War Is a Force That Gives Us Meaning by Chris Hedges Marines Trailer
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From the vault! Re-releasing one of our earliest and most popular episodes, with antiwar veteran and organizer Alexander McCoy. New episode coming next week. ✌️ “When I understand my enemy well enough to defeat him, then in that moment, I also love him.” So begins the 2013 film adaptation of Orson Scott Card’s classic sci-fi novel Ender’s Game. Neither achieving box office nor critical success, the movie still evokes a wide range of reactions. Especially when it comes to its ambiguous relationship to the original text. Van and Lyle have fellow vet and strategist Alexander McCoy on the show to debate their competing reads. Along the way, they come to agree that certain insights gleaned from the cinematic rendering might be at odds with Card’s politics. Ranging from the ultimate lovelessness of war to the emptiness of any strategy unharnessed from justice and peace. Alex on Bluesky: https://bsky.app/profile/alexandermccoy.bsky.social Further Reading “A Primer on Orson Scott Card and the Ender’s Game Controversy,” by Anna Silman The Internationalists, by Alexander Ward “The Great Humbling,” by David Klion “Four Futures,” By Peter Frase Strategy and Conscience, by Anatol Rapaport Ender’s Game Trailer Teaser From The Episode
Ryan Miller, the next on the show’s fellow veteran lineup, was a Marine in Okinawa from 1998 to 2002, spent years in About Face: Veterans Against the War, helped Oakland decriminalize plant medicines in 2019, and now works as a therapist in psychedelic integration. He joins us to discuss Bonni Cohen and Jon Shenk’s film documenting three special operators from SEAL training through Afghanistan to Iraq to a clinic in Mexico, where ibogaine and toad venom do what sixty pills a day could not. For Lyle the film’s real subject is a trauma apparatus built to repair faulty equipment rather than heal people (one SEAL is sent to the military’s brain-injury center, patched up, and returned for four more deployments). As the scholar Nadia Abu El-Haj has argued in Combat Trauma, PTSD was popularized by Vietnam Veterans Against the War in rap groups that turned pain into politics. As the decades followed, this promising origin story nonetheless raced toward an endpoint constituted—in Ryan’s words—by psychedelic-assisted stormtroopers. Van invokes Fanon’s French torturer, begging his psychiatrist for a way to sleep at night and keep his job. Then there is the narration itself, where the enemy appears only as bad guys, terra nullius in uniform. No Afghans, no Iraqis, not even Mexicans in a film set half in Mexico. The one line that breaks the frame, a SEAL wondering whether we’d have a military at all if we didn’t abuse children, lasts no more than a second. Further Reading and Listening Ryan Miller’s therapist profile Combat Trauma by Nadia Abu El-Haj “Can we heal wartime trauma without confronting the real causes of war?” by Lyle Humane: How the United States Abandoned Peace and Reinvented War by Samuel Moyn Palo Alto: A History of California, Capitalism, and the World by Malcolm Harris The Will to Change: Men, Masculinity, and Love by bell hooks “Colonial War and Mental Disorders” from Frantz Fanon’s The Wretched of the Earth Bang-Bang’s Netflix’s Marines episode w/ Sam Carliner Bang-Bang’s Combat Obscura episode Teaser from the Episode In Waves and War Trailer
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This is a free preview of a paid episode. To hear more, visit www.bangbangpod.com
This is a free preview of a paid episode. To hear more, visit www.bangbangpod.com