Produced and directed by Stanley Kubrick, this dark satire on Cold War relations paints a searing portrait of a world accidentally plunged into nuclear warfare. Intermingling sex, love, and war in unexpected ways (for example, its characters' names...

Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (aka Dr. Strangelove) (1964) is a black comedy film directed by Stanley Kubrick and starring Peter Sellers and George C. Scott. Loosely based by screenwriter Terry Southern on Peter...

The people who underwrite content (a.k.a. media buyers) speak about audience and media "fragmentation" as if it were nuclear proliferation, an insidious third world plot that needs to be contained or outsmarted. As eyeballs scatter to on-demand sources (DVRs, VOD, RSS, podcasts) and...

I love the 100-point scale. Of course, it hasn't always been that way. Years ago, when I wore the hat of a retailer (plaid propeller beanie), I hated the system and the publications that supported it. "You can't put a number on...

As you may have been able to tell from The New York Times' diabetes series (following its series on gold), it's Pulitzer season and everyone's trying to jump on the multi-part bandwagon. Even MarketWatch's Jon Friedman is bringing out the big guns with a three-parter...

In the following essay, Maland discusses how Dr. Strangelove functions as a response to the American nuclear policy of the early 1960s.

In all of the varied critical opinion, much has been said about the purposes of Dr. Strangelove, but a dominant theme that pervades the film from beginning to end has been ignored…. Dr. Strangelove is a sex allegory: from foreplay to explosion in the mechanized world…. Like Jonathan Swift, who employed Master Bates in Gulliver's Travels, the creators of Dr. Strangelove … gave special significance to names that represent various aspects of sex. General Jack D. Ripper …, com...

The great merit of Dr. Strangelove is its bad taste. It is silly to argue that we have the right to say anything we want but that to exercise this right is the height of irresponsibility. Responsible art is dead art, and a sane (no pun intended) film on the bomb would have been a deadly bore. Given the basic premise of nuclear annihilation, the zany conception of Stanley Kubrick, Terry Southern, and Peter George has much to commend it. Where my critical fallout with most of my colleagues occurs is in the re...

This essay is an examination of the satirical 1963 Stanley Kubrick film.