The expansion of social scientific models for controlling crime and deviancy provided the context for both Stanley Kubrick's film A Clockwork Orange and much of Foucault's writing. This essay examines how Foucault's writings and Kubrick's film lay out congruent critiques of social scientific and criminological attempts to define and constitute deviancy and subjectivity Foucaults texts and Kubrick's film ask us to remember the violence of our everyday existence and lo recognize our modern nightmares as portents of what lies along the path that we have followed