‘Boots’ is a timely, if predictable, series depicting struggles of gay Marines in the ’90s

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The new miniseries, “Boots,” takes place in 1990 and follows Cameron Cope, a small and often-bullied gay teen played by Miles Heizer, who is only open about his sexuality with his close friend, Ray (Liam Oh). Ray is enlisting in the Marines to earn his father’s approval, and he convinces Cam to join him, lured by the promise of a buddy system offered by the recruiters. Cam does tell his somewhat chaotic but loving mother, Barbara (Vera Farmiga), about his plans, but she doesn’t seem to fully register what he’s saying.

The new Netflix series, based on Greg Cope White’s 2016 memoir “The Pink Marine,” is groundbreaking in its portrayal of its main character’s sexuality, but in many other ways, it follows a familiar formula. It’s a classic “boot camp” story – similar to films like “An Officer and a Gentleman” or “Buck Privates” – where flawed individuals are transformed through rigorous training and discipline. The series hits many of the expected beats of the genre, bringing together a diverse group of people who don’t necessarily become close friends.

Cam struggles with internal conflict, which he portrays by imagining an inner voice – sometimes an encouraging ‘angel,’ other times a critical ‘devil’ – and constantly arguing with it. This voice represents his suppressed feelings about being gay. Unlike typical stories about basic training where a boastful or privileged character learns humility and teamwork, Cam starts from a place of deep insecurity and fear. He initially wants to quit, expecting only minor discomfort like dirt and bug bites, and even plans how to get excused. However, he accidentally sabotages his escape when he helps a fellow trainee pass an exam, revealing his inherently kind nature. The actor, Heizer, plays this role very well.

Andy Parker’s film, “Boots,” is labeled a comedic drama, but it quickly shifts away from humor. Even a chaotic food fight feels more tense than funny. The use of the dramatic music from “Also Sprach Zarathustra” feels outdated and doesn’t quite fit the film’s overall tone. While not as shocking as a movie like “Full Metal Jacket” (which someone suggested watching beforehand, though another opted for “The Golden Girls”), “Boots” doesn’t shy away from showing how these young people are being trained to kill. They repeat chants like “Kill, kill, blood makes the grass grow,” and “God, country, Corps, kill,” sometimes simply yelling “Kill, kill, kill.” Violence does erupt, both as part of training exercises and due to characters losing control.

Despite everything Cam goes through, he not only survives but eventually flourishes – and that’s not giving away any major plot points, as Cope White did indeed live to tell the tale. This ultimately makes the story a comedy, and subtly suggests that the program itself is worthwhile. As Cam puts it, “We’re killing off who we used to be to become our best selves.” While the Marines aim to turn him into a man, they won’t mold him into a conventional one.

The series, nicknamed “Boots,” alternates between scenes of Marines breaking rules – any rule feels significant in their world – and the resulting punishments, which affect either the individual or the entire platoon. Woven throughout this pattern are the personal stories of the recruits and the challenges that led them to Parris Island. Cody is burdened by his father’s prejudice against his overweight twin brother, John, who is also in his unit. Slovacek faces a difficult choice between jail and military service. Mason struggles with reading, Santos is hampered by a bad knee, Ochoa is preoccupied with his wife, and Hicks is a wild card who seems to be thoroughly enjoying the chaos. While not every Marine is running from something – Nash appears well-adjusted and is motivated by political ambition, though he too will face a moment of reckoning – each recruit carries their own baggage and undergoes a trial by fire.

The drill instructors all shout and get close to recruits, but they’re each different. Staff Sgt. McKinnon is intimidating yet reasonable and occasionally shows kindness. Sgt. Howitt seems unsettling at first but has hidden layers, while Sgt. Knox is openly prejudiced and will quickly be replaced by Sgt. Sullivan, who is tall, disciplined, and tense. Sullivan doesn’t need to yell to be frightening – even his stance is intimidating. He immediately singles out Cameron, which is noteworthy, as he essentially becomes the show’s second main character.

Training isn’t constant hardship. There are breaks – from the running, drills, and tough tests like the tear gas chamber and underwater survival practice. Even moments of peace, like when we got to plant flowers, which was surprisingly pleasant. But there’s also a lot of shouting.

Ray ends up in the medical bay and playfully flirts with a female Marine. We also see brief, welcome moments of the officers relaxing and being more human when they’re off duty. McKinnon learns his wife is in labor and excitedly makes silly noises into the phone for his son. Captain Fajardo, the first woman to command a male company at Parris Island, is overheard discussing her daughter’s wedding with her mother, expressing reluctance to spend money on a wedding for someone who needs constant reassurance of love. She wryly notes that it took over two centuries and a law to get a woman in her position. Meanwhile, McKinnon, who is Black, shares a quick overview of the history of Black Marines and their contributions through his family’s experiences.

The latter part of the series really focuses on important social issues, particularly how damaging the military’s policies were to LGBTQ+ individuals and how far behind the times its views were. Considering “Don’t Ask, Don’t Tell” wasn’t implemented until 1994 and it wasn’t until 2011 that openly gay people could serve in the military, this well-intentioned and emotionally resonant miniseries feels especially relevant today, as we see civil rights being challenged by narrow-minded leaders.

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2025-10-09 10:31