Inspired by Greg Cope White’s memoir, “The Pink Marine,” the new series, “Boots,” has the gay Cameron Cope (Miles Heizer) signing up for boot camp with his straight best friend, Ray (Liam Oh). When he leaves to join company 2032 at Parris Island, Cameron tells his mother, Barbara (Vera Farmiga), that he’s off to become a Marine. She is so distracted, she asks him to bring back some milk. (Amusingly, once she realizes where her son went, she confronts his hunky recruiter (Brett Dalton), and they end up in bed together.)
“Boots” takes place in the early 1990s — Don’t Ask, Don’t Tell was enacted in 1993 — and Cameron keeps his sexuality a secret from everyone but Ray, who knows he is gay. The series is not focused on Cameron being outed, though there is always the tension that might happen. However, he “locks up” his sexuality, and does not really discuss being queer until he meets someone who clocks him and confronts him. That said, there is plenty of homoeroticism in the series as the recruits bond, fight, and shower together.
There is also a key subplot featuring a character who faces disciplinary issues, as he is suspected of being gay. “Boots” effectively uses that storyline to compare and contrast Cameron’s experiences.
Much of the series focuses on the pressures to be perfect — or at least to uphold Marine corps’ core values. Ray lives in the domineering shadow of his military father, who expects him to become an Honor Man. Another recruit is trying to get through boot camp with a bad knee. There is one Marine hopeful who has to succeed in training — or he will go to jail. And twin brothers who find themselves getting more competitive and resentful as they undergo training. These mini dramas flesh out several of the first few episodes of this eight-episode series, which hits its stride around the halfway mark once Cameron becomes determined to become a Marine.
Up to that moment, Cameron struggles with training and his own self-confidence. He has a series of “pep talks” — interacting with his double on screen — that rationalize his efforts to fit in and “belong,” as well as “become a man,” and show strength, not weakness. These exchanges motivate Cameron, but sometimes they get him in trouble, as when he douses the hard-ass Slovacek (Kieron Moore from “Blue Film”) with urine for not doing his fire watch duty.
Cameron also finds an ally and a tormentor in Sergeant Sullivan (Max Parker), who is both hunky and fearsome. Choosing Cameron to be the corps’ scribe, their private interactions — where Sullivan treats Cameron as his “special boy” — becomes a relationship that proves to be another minefield.
“Boots” captures the intensity of training through various boot camp exercises from obstacle courses, floating, marksmanship, a gas chamber, and the final test, known as “The Crucible.” These scenes are, of course, difficult for the recruits to endure, but reveal their character and their camaraderie. Cameron gets some respect when he gives someone his boot laces, even though it causes him to fail a test. Other recruits drop out of training for various reasons — one character actually dies during boot camp — which prompts Cameron to learn to cope with loss and grief.
Cameron also has other emotional setbacks. He and Ray have times when they cannot or will not speak to each other. Cameron also tries to conceal his attraction to another recruit; in one episode, his misreads a signal as a come-on, during lights out.
Mostly, “Boots” feels authentic in how it emphasizes the mental and physical toll of becoming or being a Marine. That several characters are overcompensating for other perceived flaws is what makes the storylines interesting. If it feels superficial or obvious at times, it remains engaging.
The ensemble cast rises to the challenges of making the characters’ pain and passion feel believable. Heizer is ingratiating as he conveys Cameron’s desires to “be someone else” well. It is gratifying to see him process his emotions regarding why he enlisted, but also to maintain his integrity and asserting himself during his most difficult moments. In contrast, Max Parker delivers an impressive supporting turn as Sergeant Sullivan, a man who is good at his job, but slowly reveals cracks in his veneer. Sullivan, whose favorite word is “kill,” proves to be a good foil for Cameron. Their scenes together, such as one where Sullivan catches Cameron in a lie, give “Boots” its power.
In support, Jack Kay, who plays Jones, a recruit who joins the 2032, is a standout.
“Boots” ends on a bittersweet note that feels fitting for the series. The show will probably not spike enlistment from queer viewers. However, while Cameron and the other characters suffer, many of them survive. It is seeing them make their journeys alone and together that makes the series so bingable.
“Boots” | Netflix | October 9
