Asimov's Treasury of Humor has two examples of jokes where "fuck" is treated as either meaningless or relatively mild. They're both near the end of the "Bawdy" chapter. I leave looking them up as an exercise.
In another thread, I cited Sylvia Tilly's brief descent into "army creole" as an endearing characteristic.
In the case of Clancy, I think the shock value was the whole point, both for viewers and in-universe.
In my own writings, I've avoided having my characters utter profanity. Or when they do, I leave the exact words to the reader's imagination, just as I leave the details of the sex scenes to the reader's imagination. But I have this scene in the back of my mind, in which my protagonist (a former child-prodigy organist, now grown up and a graduate student) is in a joke-session with her friends, and the jokes keep getting bawdier. And my protagonist tells one so profanity-filled that it shocks her friends. Then one of them tells a joke that uses "organ" as a euphemism for "genitalia," and my protagonist reacts with a blank stare, because that usage has always been a pet peeve with her.
In another thread, I cited Sylvia Tilly's brief descent into "army creole" as an endearing characteristic.
In the case of Clancy, I think the shock value was the whole point, both for viewers and in-universe.
In my own writings, I've avoided having my characters utter profanity. Or when they do, I leave the exact words to the reader's imagination, just as I leave the details of the sex scenes to the reader's imagination. But I have this scene in the back of my mind, in which my protagonist (a former child-prodigy organist, now grown up and a graduate student) is in a joke-session with her friends, and the jokes keep getting bawdier. And my protagonist tells one so profanity-filled that it shocks her friends. Then one of them tells a joke that uses "organ" as a euphemism for "genitalia," and my protagonist reacts with a blank stare, because that usage has always been a pet peeve with her.