Platoon (1986)

In this emotionally charged episode of Born to Watch, the team marches into the searing heat and moral quagmire of Oliver Stone’s Platoon (1986), a film that’s arguably the definitive Vietnam War movie of its era. Whitey, G-Man, and the V8 Interrupter Dan revisit the battlefield with a mix of reverence, nostalgia, and hard truths, dissecting the film’s impact, legacy, and the deep emotional chord it struck back in the day—and still does today.

Kicking off with stories of their first encounters with Platoon, the guys quickly descend into one of their most layered and personal discussions to date. Whitey recalls being told by his dad he wasn’t allowed to watch the film—despite already seeing Apocalypse Now and Mad Max at age six. That rebellious spark only deepened his bond with the movie once he finally got his hands on it as a teen. Dan admits to cheating on the crew, watching Platoon with his war-obsessed neighbours back in the ‘80s, completely unaware at the time of the deeper commentary Stone was laying down. For G-Man, Platoon was a rite of passage during his VHS-rented youth, watched on loop like a war-soaked mixtape.

But the nostalgia is tempered with fresh eyes. This time around, Platoon hits different. What once felt like badass war action now reveals itself as a gut-punching meditation on morality, survival, and the breakdown of innocence. The guys explore the duality of the film’s core—the Elias vs. Barnes dichotomy—representing each soldier's internal war. It’s not just America vs. the Viet Cong; it’s soul vs. savagery, duty vs. darkness.

The cast? Stacked. And not just with stars—but future legends. Tom Berenger and Willem Dafoe snagged Oscar nods for roles that flipped their usual screen personas. Charlie Sheen’s Chris Taylor acts as the audience’s moral compass, thrust into a world of chaos with no road map. And in the wings, you catch early glimpses of Johnny Depp, Forest Whitaker, Kevin Dillon, and even a scene-stealing John C. McGinley. The Born to Watch crew marvel at the rawness and authenticity that pulses through every frame—helped in no small part by the film’s unique decision to shoot in sequence, letting the emotional weight build naturally.

And then there’s the man behind the camera: Oliver Stone. A real-life Vietnam vet, Stone channelled his firsthand experience into a script that didn’t just depict war—it unpacked it, exposed it, and dared to say that sometimes, the worst of humanity wears your own uniform. The pod digs into how Stone’s commitment to realism (aided by military advisor Dale Dye, another vet) shaped everything from the dialogue to the weight of each bullet fired.

There’s the usual Born to Watch flavor too—G-Man’s got the box office and awards rundown (hello, Best Picture and Best Director at the ‘87 Oscars), while Dan goes on a bandana-fueled tangent and questions whether Lieutenant Wolfe might be cinema’s most inept officer. Whitey can’t resist diving into the musical legacy, from that haunting Samuel Barber theme to how the soundtrack now echoes the trauma and tragedy of a generation.

Of course, it wouldn’t be Born to Watch without Listen to This, Voicemail Roulette (shoutout to “Will the Worky”), and the always-fun “Hit, Sleeper, Dud” segment, where Heartbreak Ridge, Extreme Prejudice, and King Kong Lives get their moment in the spotlight—or the firing line.

By the end, the question looms large: Platoon or Apocalypse Now? Each host makes their case in what might be the pod’s most respectful debate yet. As G-Man puts it, Platoon is about the war within, while Apocalypse Now is a descent into madness. Either way, both films leave an indelible mark—and so does this episode.

So strap in, pop smoke, and join the squad as Born to Watch heads into the heart of darkness with Pl