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Another American Self-Made: Constructing the Masculinity of Walter

Pavao Parunov
University of Zadar

The popularity of an American cable television drama, Breaking Bad, branched
beyond its viewers and into popular discourse as well as other popular culture
venues . Not only did its protagonist became a point of reference for other
television series as a self-made rebel but he also became a distinguished
character worth of producing and selling merchandise worldwide. Perceived as a
serious television drama, the series received critical appraisal and, until recently,
very little of actual critical attention on the ways it deals with gender
This paper argues that there is a need for analyzing the discourse of masculinity
in the show and situating it in the representations of masculinity in American
culture from the postwar period to date. Here, I'm going to emphasize the
postwar male individual who emobodied a hero of progress and eventually
decayed through representations in film, television and literature showing a
masculinity in crisis and setting the traits of the anti-hero who is torn between
ideals of masculinity, both in private in professional aspect since post war
American hero is often most distinguished through narratives of fathers and
husbands being in conflict between duties as patriarchs and idealized masculinity
of a self-made individual. I will try to argue for reading of Walter's character as
one of anti-hero qualities having in mind that representations of masculinity in
contemporary television narratives are more complex than ever and they shift
between Hero and Antihero as these characters usually operate within trauma
and nostalgia.
I'm going to briefly mention some of the main traits of the traditional narrative
hero to say a bit more what would define an anti-hero. The hero is, according to
Hourihan, a character whose centrality in our culture is unarguable and the

traditional hero quest story is about superiority, dominance and success

(1997:1). Also, according to Fitch, these characters deliver salvation and enact
positive change. They display emotional, physical, and moral strength as well as
charity and fortitude (Fitch, 2004:1). For example, a heroic trope as well as the
discourse of invididualism is represented In early Western genre where the hero
is a white male, a man of action through whom a manhood is defined. His
enemies are those who are perceived as other; threats to the dominance and
superiority of the West (1997:2). Such hero stories function to re-affirm the
superior or dominant of a number of binary opposites such as black/white,
male/female and good/evil with the hero always embodying the superior terms
of these oppisitions (Hourihan,1997:2). The anti-hero does not always embody
the dominant/superior binary nor does the anti-hero necessarily represent the
inferior which would separate him from the villain. The anti-hero can, in fact,
represent both superior and inferior; both good and evil, both masculine and
feminine at one at the same time. The anti-hero is neither hero nor villain, or
sometimes he is both, he's usually represented through one complex and
compelling character.

traditional Hollywood western serves a purpose of an example. John

Fords Stagecoach (1939) recieved a reading on several occasions as a reworking

of American national identity, of how to resolve the conflict between the right to
exercise individual conscience and the demands of collectivist law which imposed
nationhood all represented through the character of Ringo Kid. But the 1960s
brought the anti-hero to westerns in films where protagonists, doomed in a West
that could not survive civilizing America, and they would eventually turn to
violence as mercenaries (The Magnificent Seven, 1960), outlaws (Butch Cassidy
and the Sundance Kid, 1969), or sociopathic killers (The Wild Bunch, 1969)
(2001:1208). Skolsky also commented that a new style of Western idol has
emerged: the anti-hero, the strange, unshaven, cheroot-smoking, nameless
gunfighter or bounty hunter in the sadistic forces of the desert (1974: 63). He
claims that Clint Eastwood is the embodiment of the new Western manwho is
showing only remnants of the morally superior western hero of earlier Hollywood
films (Tasker, 1993:69).
As well as in Western genre, ideology of individualism seen as a strong cultural
value is also relevant for emergance of the anti hero in the American postwar

period. So in the postwar climate of trying to establish a fast normalization and

mobilization, ideology of individualism functioned as the source of economic
progress, rising of the middle class and ultimately providing a way of
embodiment of national identity. Individualism is almost exclusively male
oriented, resulting in the masculine archetype of a self-made man in general
public discourse including literature and the entire realm of mass culture. But
almost simultenously with representations of heroic men, American cultural
history also included problematic man who couldn't meet the idealism of such
masculinity. This is especially notable in the 1950s and early 1960s when the
promise of professional prosperity didn't exactly came true for most men. Much
of American modernity of this time centered around individual authenticity which
was the exact promise of both small business owners and rising corporate world.
Eventually, flocks of white commuters turned into a faceless mass and the
proffesional aspect of masculine identitiy came into crisis as it was clear the the
corporate structure does not pay any attention to the individual. At the same
time, large corporations started to strangle small businesses, something that led
to fewer small business men and therefore a masculine role different from the
role of the American entrepreneur and from rags to riches business man. The
American male of the white middle class would instead usually end up in an
anonymous role working for larger corporations, supporting the American
corporate capitalism instead of the pursuing the ideal of the independent man
working for himself and his own business.

However, by the 1960s, it had become clear that the American Dream was not
accessible to everyone in American society. African Americans, ethnic minorities,
and working women complained that systemic discrimination kept them in





economically (Weir, 2007:24). Furthermore, the notion that America was a

predominately middle class society was shattered through various poverty
studies. According to Benshoff & Griffin, by the 1960s, members of the
counterculture were rebelling against the conformity and materialism of the
1950s, and voicing a strong critique of capitalist exploitation (as well as racism,
sexism and the war in Vietnam) (2004:178). As a result materliazed in film, it
was within this context of uncertainty and disaffection that the morally superior

cinematic hero of the 1950s had to be re-defined by other means of representing

masculinity. The anti-hero in film has then become a recurring figure.
When discussing Dustin Hoffmans acting roles (such as The Graduate (1967) and
Little Big Man (1971), Lenburg defines filmic anti-heroes as sympathetic ,





that often reflect the worlds complex realities (1983: 11). However, to claim



generally sympathetic may be inaccurate given the widespread consensus that

characters such as Travis Bickle in Scorseses Taxi Driver (1976) can be
considered anti-heroic. Rojek offers a different and darker perspective from such
a romantic view; The anti-hero may be defined as an individual who perceives
the codes and mores governing respectable culture as hallucinations (2001:


whilst some representations of the anti-hero have, as Lenburg identified, focused



unlucky, likeable character who appears to have no real control over his or her
circumstances, more have focused on a darker character, a character whose
most identifiable characteristic is that of alienation from society and, , a
character who operates outside the norm. This individual suffering from isolation
and feeling alienated from the moralities of society, can only express himself, or
herself, through violence. Rojek, further claims that violence is frequently the
means employed by the anti-hero to break hallucinatory structures of power
(2001: 161). Again, this is evident in the violent resolution of Scorseses Taxi
Driver. Fitch further notes The anti-hero is rarely happy in situations that please
other men. He prefers conflict and struggle rather than comfort and certainty. His
sense of self-actualization or righteousness is achieved through war or strife
(2004:2). Therefore, the anti-hero is not simply disillusioned with his or her
society, but is frequently actively and violently anti-social, rather than a passive






This rebirth of the archetype on the small screen is a relatively recent

phenomenon. Apart from very few examples in the 1990s, It is, however, in cable
television and in 2000s that the anti-hero has found his natural home and has
been fully developed. Indeed, when looking at the body of quality television
drama that has appeared on cable television in America in the last number of

years, one would struggle to identify a large number of successful original

dramatic programmes without an anti-hero at the fore. Big Love (2006-2011)
entres on a Mormon polygamist; The Shield portrays numerous crooked cops; The
Sopranos presents us with a sexist, racist and violent mob boss and Boardwalk
Empire focuses on a womanizing, crooked politician who will steal, maim and kill,
even those closest to him, in order to remain in power. Two recent series, Mad
Men and Breaking Bad take the trope of anti-hero even further, all with the
support of cable networks.





Commonly referred to as quality television and closely associated with paycable

network HBO, the contemporary (anti)hero drama is presented in a distinctive
visual style and enclosed within discourses of quality and prestige. HBO turned to
original dramatic production in the late 1990s to solidify its brand image as the
destination for quality, must-see television, encapsulated in its 1995 slogan, Its
not TV, Its HBO. Utilising its freedoms as a pay-cable network not subject to
content regulations or modifying content for advertisers, and fitting with the
networks edgy image, the HBO-quality drama has built a reputation for
frequent swearing, nudity, sex, and violence, within slow-forming narratives that
tackle controversial themes. As part of the attempt to redefine the television
drama, the classic heroic trope, a fundamental aspect of American mythology,
has been inverted to explore the lives of morally reprehensible men struggling to
balance paternal duties with immorality and crime. As Deborah Jaramillo notes,
HBOs preferncing of the criminal over the legal system, the bad over the good,
can be demystified as part of the networks attempt to appeal to a demand that
cannot be met within the parameters of the broadcast system to encourage new
subscribers. hour-long dramas within seasons of approximately 10-15 episodes,
known for their narrative complexity and dense cinematic aesthetics.
Masculinity of an anti-hero
In terms of theoretical assements of masculinity, Connell elaborates on the
gender ideology throught the notion of hegemonic masculinity. Gender ideology
is based on representation on only two idealized types of gender, or rather
gender performativity, so that we're given a little or no space to negotiate
characters are fixed in one type of masculinity or femininity with minimal
variations in their performativity and narrative structure largely relies on these

traits as they're ultimately signifed by gender.

As Milestone and Meyer note

assesing Connell, hegemonic masculinity represents men as naturally rational,

efficient and intelligent. Men are associated with strength and power (physical,
mental and social), being active and ambitious, tough and competetive, assertive
and aggressive. (...) Masculine sexuality is characterized by a natural and
constant drive that seeks sastisfaction. Its hegemonic dimension is realized in
two ways such idealized masculinity is seen as dominant; other masculinites,
especially queer ones, are seen as subordinate. Secondly, hegemonic masculinity
is culturally idealized (20) meaning that it incporates behaviours, attituteds
and practices which are seen as good and right for a man to have and to do.
Connell's notions of masculinity and femininity are broad and present ideal types.
But more than that, we might say that these idealized gender types are
becoming outdated or at least, not sufficient for critical reading of contemporary
television representations of anti-hero. One of the concepts that might be useful
for this anaylsis is the one of crisis masculinity or mascuilinities in crisis.
Beynon claims that the masculinty in crisis is a result of several phenomenons
such as feminist and queer criticism of masculinites but also destablizing changes
in the labour market as well as comercialization of masculinities especially in
case of the male body. The result is two fold. In one hand, we met with what he
defines as moral panic over the ideal masculinity which usually serves the
purpose of establishing patriarchal norms as natural and desired. In other hand,
masculinity in crisis can be observed as a trend in popular culture. One of its
results are popular narratives which are starting to abandon representations of
men of heroic qualities and search for new ways of potraying more complex
Masculinity of Walter White
Breaking Bad's first season introduces us to this central character a middle
class, high school chemistry teacher living in bleak suburban New Mexico. Walt
initially appears to be a hopeless and tragic figure. A non-smoker who is
diagnosed with terminal lung cancer, Walter does not appear to have a bright
future. Even before his diagnosis, he is unable to make ends meet despite
working two jobs. Thus, it seems that there is no possibility of him being able to
afford specialist cancer treatment. Therefore, initially out of desperation, Walt
forms an unlikely partnership with an ex-student, Jesse Pinkman, who is involved

in the narcotics industry at a very low level. Walt and Jesse begin to cook crystal
meth, which is exceptional due to Walts knowledge of chemistry. As he is months
away from death and is haunted by the knowledge that his family will be left, not









Therefore, his actions, though shocking, appear to be a result of his desperation

to ensure his family are not left in financial ruin when he passes away. At first, the
drug trade is a means to an end for White, an immoral, drastic action taken
because of an innate desire to protect those closest to him. Indeed, Walt has
worked out the exact amount of money he needs to earn in order to provide
security for his family when he passes away. He is working towards a figure that
will cover his childrens education, the mortgage and the cost of living. However,
as the show progresses, it becomes apparent that no sum of money will
ultimately satisfy him as it appears to be power and control rather than monetary
gain that ultimately drive him. Throughout the first season, Walt retains some
redeeming characteristics. He has moments of emotional turmoil and regret, or at
least disbelief, about the bizarre path he has chosen. One of the events in the
series story is Walter's negotiation whether he should kill Crazy 8, high level drug
dealer who is being held captive in his basement out of fear of a reprieve. He
appears to suffer genuine emotional distress when it comes to killing Crazy 8.
Walt makes a list of pros and cons for killing his prisoner. In fact, Walt is almost
ready to trust Crazy 8s promises that he will not harm Walt or his family upon
release. He prepares to free him when he realises that the captives plan is to
stab Walt with a piece of ceramic plate as soon as he gets close enough. Even
though the narrative suggests that Walt is left with little choice, in the end, but to
kill him, he is distraught and asks, why are you doing this, why are you doing
this? as he realises the course of action he must take. This was one of the
episode story arcs where we were introduced to Walter's personal code of honour
and his personal ethics. From a man who wouldn't kill at all he started to develop
rules of when and whom is it appropriate to kill. Despite Walts initial rationale for
his entry into the narcotics industry, there are signs that perhaps Walt has not so
much been changed by his diagnosis and circumstances as he has been freed by
them. Jesse questions Walts motives and ponders on why a teacher would want
to get involved in the drugs trade. Is Walt depressed or crazy? Walt simply replies







as if he were in a dreamlike state in his prior mundane existence and now he has

been woken with a bang. Despite living through what most people would term the
nightmare of diagnosis; it is as if the news has, ironically, freed Walter. He can
now live the life he secretly or unconsciously desired, free from consequence and
long term ramifications. It becomes apparent through various scenes, particularly
in Season One and Two, that Walts life had, up to this point, been something of a
disappointment. He had a promising career in the private sector that didnt work
out; he is now making a meagre income in a job that does not appear to satisfy
him. There is also the insinuation that he married the wrong woman; that it was
his first love Gretchen, and not Skyler, who he had anticipated marrying. Indeed,
Walt acknowledges the string of disappointments in his life. My wife
is seven months pregnant with a baby we didnt intend. My fifteen-year old son
has cerebral palsy. I am an extremely overqualified high school chemistry
teacher. When I can work, I make $43,700 per year. I have watched all of my
colleagues and friends surpass me in every way imaginable. And within eighteen
months, I will be dead.(BB, S02E03) Thus, Walts entry into the drugs trade is, a
chance for him to redeem himself, to make a success of his life and to regain the










As the show progresses, it becomes apparent that Walt is, largely, no longer
grappling with a guilty conscience nor is he simply manufacturing drugs to
provide enough money to leave to his family. He is enjoying the sense of control
and power and is excited by the illegality and danger of his actions. In fact, his
sexual performance is starting to benefit from it as he gains confidence. In a
major turning point in Season One, Walt shaves his head, adds a hat as an
accesorize and adopts the nickname of Heisnberg that's been given to him. The
new visual apperance doesn't make him look like a cancer sufferer anymore. It
also becomes apparent that Walt is neither focused on the monetary target that
he initially set himself, nor the future and welfare of his wife and family. In fact,
by the end of season two, Walts actions have become more sinister and his
motivations less clear. He places his family in grave danger on numerous
occasions and he fails to take any opportunity to extricate himself from the
criminal underworld in which he has become involved. Instead, Walt focuses on
growing his business empire, eliminating anyone who gets in his way. It soon
becomes clear that Walt will not be satisfied until he is running the entire crystal
meth distribution network in New Mexico. With large sums of money put aside,
there is no longer any moral rational for his actions nor is there any sense that he













While Walts behaviour grows darker in each episode, it is in Season Two that he
reaches a key turning point. In one of the most disturbing scenes in the show;
Walt is in a room with Jesse and Jesses young girlfriend, Jane. Both are high on
heroin and have passed out. Jane begins to choke and needs to be turned over on
her side to prevent herself from choking on her own vomit. Walt watches but he
does nothing and Jesse does not stir.He is complicit in her death; he allows her to
die because she has become a problem for him and has interfered in his business
dealings by urging Jesse to get his share of the cash from Walt and flee the
country with her. This is a key moment in the show and in the development of
Walt as anti-hero. There is no longer any rationale for Walts actions. He allows
Jane to die purely to serve his own self-interests and to rid himself of a nuisance
or an irritation. At this point, Walt no longer merely exists in that grey area
between right and wrong. He's starting to resemble a trule villain until the last
three episodes of the entire show when results of his actions evidently destoryed
lives of his entire family as he is confronted by them. He finally admits to his wife
that all that he has done was only for his own personal pleasure and a way of
reedeming himself saying he never felt more alive as he did before he was
confronted. Still, this wasn't a confession or asking for forgiveness that would
resolve the narrative. He moved on to finish the business he started and
eventually got himself shot. NADOPUNITI.


Situating Walter as a character shows us that he is in fact constructed as a
continuation of an anti-hero trope. Similar to the postwar anti-hero who is torn
between professional and private demands, Walter begins his re-invention as a
man who is not able take care of his family, both financially and emotionally and
is deeply dissatisfied with his professional life. He's an antisocial intelectual and
hardly resembles other men of his own age and class. His own re-invention then
begins with seeking ways of providing financial security for his family but
eventually it also provided for his own personal awakening. Shifting from a bland
white teacher to a dangerous drug lord also meant gaining heroic masculine

traits that Beynon claims to be traits of mythic masculinity. Both in film and
television, they're usually achieved through 4 possible rhetorics the body,
action and violence, internal or external world. Mythic masculinity in terms of the
body means objectification of the physical body as well as eroticism related to it.
Action furtherly makes space for sexualization of the body as well as it makes
violence natural and desired for a male figure. In external world, a man exercizes
authority, takes the role of a leader and provides for the viewers a personal moral
code that we eventually define as universal. Internal world is rarely depicted but
when it is, we're usually shown an internal emotonal turmoil arising from inability
to meet the requirements of desired masculinity. In case of Walter White, we can
observe that the physical body plays an important role in his attempt to become
a masculine hero as he changes his physical apperance to fit with a new
personality. Still, his physical transformation is never really complete to resemble
a mythic masculinity. Action and violence is certainly central in constructing his
masculinity it is depicted as an only way to leave the bladness of old life and to
become a real man. In case of internal and external world we can perhaps
observe how is his character in fact constructed as an anti hero. He constanly
shits from external to internal in attempts to be a confident man in public but is
always pulled back by an internal turmoil. Particularly interesting aspect here is
Walter's personal code of honour or his personal ethics which by the end of the
series completely vanishes and he in fact starts to resemble characteristics of a
villain. Still, the audience remains sympathetic to him as the narrative finds
justification for this bad ethics in his personal trauma.
So we can draw three conclusions from this analysis.
Firstly, Walter White's construction as an anti-hero is a continuation of its
narrative trope, both in literature and in television or film and is closely related to
the discourse of masculinity.
Crisis of masculinity is also evident depicting mythic masculinity in male
characters can hardly function as plausibile for television narratives as it has
been deconstructed to some end meaning that new representations of
masculinity are emerging. Finally, although we can say that Breaking Bad does
destabalize cultural representations of masculinity, it does not mean that both
the series and the character of Walter White don't accomodate male subjecitivity
and that the entire story of the series isn't signified by it. Walter's innability to
take care of his family and succeed profesionally, eventually came to act as a

personal trauma. This trauma is constantly following the narrative as we remain

sympathethic to Walt to the very end and forgive that he's become a villain and
abadoned personal code of honour. This is why his masculinity functions both in
the landscape of popular television as well as a point of identification. Trauma
he's defined by is in fact the result of mascuilinty in crisis and is represented as a
justification for his acts. In that way, Breaking Bad's way of constructing
masculinity is in fact entirely nostalgic and sentimental as it is negotiated
between heroic and anti-heroic masculinities.