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What “Malcolm In The Middle” And “Joker” Can Teach Us About Deviance

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What makes someone deviant? What turns otherwise normal human beings into the kind of deviants who go onto commit crimes, foster discord, or lash out at the rest of society? These questions are often contemplated by psychologists, police, politicians, and people who just want to live in peace.

The answers aren’t easy, but they often make for compelling movies and TV shows. Some dare to offer answers that are as revealing as they are distressing. That’s part of what made “Joker” such an impactful movie. It’s also what triggered the controversy surrounding its subversive message. I tried to explore that message my review of the movie, but in doing so, I uncovered something surprising.

The themes in “Joker” are more relevant today than they’ve been in years. It makes the case that when people denigrate, marginalize, or ignore those in the lowest rungs of society, they’re going to create the kinds of monsters and supervillains that undermine the current order. Moreover, they deserve the chaos and deviance that these individuals cause.

In “Joker,” Arthur Fleck was a perfect storm of unfortunate circumstances and societal denigration. While Gotham City didn’t turn him into the Joker, they put him in a position to make those fateful choices. Nobody tried to help him or give him other options. If anything, the help and options he needed were taken away. It was part of what made his deviance both compelling and understandable.

It reminded me of a famous TV show that made a similar point, albeit one from a very different genre and medium. It dared to make that point decade earlier, long before the current controversies surrounding mass shooters in movie theaters and so-called “incel culture.” That show is “Malcolm In The Middle.”

The two narratives couldn’t be more different. One is an R-rated movie that defies the conventions of the superhero genre and explores the twisted mind of an iconic villain. The other is a prime-time sitcom full of funny, cartoonish antics from a dysfunctional working-class family. One is dark and serious. The other is funny and light-hearted.

Despite those vast differences, they convey very similar messages. They both make the case that a callous, negligent society will create deviant individuals within its most disadvantaged. They also highlight how efforts to push them aside or suppress their deviance will only make things worse.

In “Joker,” it turned Arthur Fleck into an agent of chaos who went onto inspire more chaos in others. The circumstances in “Malcolm In The Middle” were very different and a lot more subtle, but the underlying message was still there.

It’s subtle, but it’s there.

From the first episode of the show to its finale, Malcolm and his family are depicted as both dysfunctional and disadvantaged. In some instances, they’re downright destitute. On many occasions, they deal with crippling debt, dead-end jobs, and arrogant upper-class types who look down on them with disgust. More often than not, Malcolm and his brothers get back at them in their own creative way.

Whatever form the antics take, the show never uses the lower-class status of Malcolm’s family to justify their behavior. Much like “Joker,” it establishes that the characters have agency. They’re dealt a lousy hand, but they still have opportunities to make non-deviant choices. They’re rarely forced into deviant acts. Opportunities arise and they exercise poor judgement, to say the least.

The very least.

Malcolm and his brothers didn’t have to lie about what happened to Dewey’s bike in Season 1, Episode 15. They did it anyways and things only escalated from there when the consequences caught up with them.

Malcom and his brother didn’t have to buy their mother a terrible birthday gift in Season 2, Episode 3. They still did and the end result led to them fighting an army of clowns in one of the show’s most memorable moments.

It’s not just the kids, either. Hal didn’t have to resort to unorthodox tactics when coaching Dewey’s soccer team in Season 3, Episode 16. He still did and things only got messier from there.

Lois didn’t have to force Malcolm to getting a job as terrible as hers in order to teach him a lesson in Season 5, Episode 6. She still did and, in doing so, taught him an entirely different lesson about just how screwed people like them are. It’s a message that even found its way into her memorable speech in the series finale.

It’s an important component of the show’s brilliance and humor. Malcolm and his family are a mess. They’re constantly getting screwed over by circumstances, bad choices, and other people who look down on them. However, they never come off as victims, nor do they carry themselves as such. They have opportunities to become less dysfunction, but often squander them.

Arthur Fleck had chances to become something other than a killer clown. There were a number of instances in “Joker” in which he could’ve gone a different path. He simply chose not to and society didn’t lift a finger to help him. If anything, they took away what little help he got.

Throughout seven seasons in “Malcolm In The Middle,” Malcolm’s family finds themselves in similar situations. One of the best examples is in Season 4, Episode 17, which happened to be the second clip show episode. In that episode, Hal and Lois recount the births of their kids as they prepare for the arrival of another.

In every instance, the births are subject to strange and hilarious circumstances. In one of them, Lois goes into labor in the driveway of their house because Francis locked her out of the car. Then, while she’s writhing in pain from the labor, a jogger passes by. She yells out she’s having a baby, but the jogger just ignores her and congratulates her.

It’s funny, but symptomatic of the family’s lot in life. Nobody goes out of their way for them. Nobody offers to help them. It even happens again a few episodes later in Season 4, Episode 21 when Lois goes into labor with Jamie. Even though someone calls 9-1-1 and an ambulance arrives, they don’t get there until after she gives birth. The EMTs even joke about how they stopped for coffee.

Like Arthur Fleck, the society around Malcolm’s family doesn’t care about them. They even go out of their way to avoid or neglect them. In “Joker,” Arthur is repeatedly victimized by both the system and individuals who go out of their way to harass him. His situation is already bad, but these ordeals only make it worse.

Early in the movie, Arthur does show signs that he’s capable of being a decent person. He tried to make a kid on the bus laugh. He entertained sick children at a hospital. He could’ve been a productive, positive force in society. Then, society started screwing him over and bad choices on his part led him to become a dangerous deviant.

While Malcolm and his family didn’t become as deviant as the Joker, they still did plenty of damage with their antics. At the same time, there were plenty of instances that showed that, as dysfunctional as they were, they could still be good and decent to others when given the chance. They just rarely got those changes and society rarely provided the incentives.

It’s a powerful message with respect to what makes people deviant. Some people are at the mercy of bad circumstances, be they poverty, mental illness, or having an overbearing mother like Lois. They’re still capable of being good, but it’s easier for them to become deviant when society neglects them. That deviance only compounds as a result of poor judgement and bad choices.

Yes, they compound a LOT.

There are plenty of differences between “Joker” and “Malcolm In The Middle.” Whereas “Joker” takes things to the worst possible outcome in the descent towards deviance, “Malcolm In The Middle” manages to maintain a more hopeful outlook. People can still be deviant and dysfunctional, but they can rise above it. The events of the series finale affirm that.

Those differences aside, this movie and this TV show offer lessons and insight into something that all societies must deal with. There will always be a certain level of deviance. There will also be those more inclined to pursue it. It’s just a matter of how to confront it. More than anything else, “Joker” and “Malcolm In The Middle” shows the consequences of confronting it the wrong way.

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The Mixed (Yet Uplifting) Message Of “Malcolm In The Middle”

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Not every TV show gets to have a series finale. In fact, it’s fairly rare for any show, be it a sitcom, a drama, or a Saturday morning cartoon, to get to that point. More shows tend to get canceled before a finale can ever make it to the drawing board.

When a show does get to that point, though, it’s still no guarantee that the finale will be satisfying. Ideally, the end of a long-running show should tie up loose ends, create a sense of closure, and reward the audience for sticking with the story since it began. That’s the best case scenario. More often than not, finales tend to be mixed.

Truly satisfying finales like that of “M*A*S*H” are a rarity. More often than not, a series finale is going to leave some fans elated and others upset. To this day, there are still people who argue about the finale of “Lost” and I imagine there will be just as many arguments about the finale to “How I Met Your Mother.”

It’s next to impossible to create a finale that satisfies everybody. The most anyone could hope for is a show that at least creates a complete story, even if it remains open-ended to some extent. That’s how the finale to “Breaking Bad” handled things and while not perfect, I think it worked in the context of the show.

There is another show, however, that didn’t try that hard to make the perfect finale. In fact, the show did something unique in that it embraced the idea that there’s no perfect ending, but there is a path forward. There’s no final triumph or ultimate reward for the characters. There’s only the understanding that life goes on, there’s no easy way to do things, and sometimes the things you don’t like will always guide you.

That show is “Malcolm In The Middle,” a quirky, but entertaining sitcom full of juvenile humor and questionable messages. For some, the show just took family dysfunction to an absurd extreme. Even so, it was pretty funny. Between lovable charisma of Frankie Muniz, the physical comedy of Bryan Cranston before he was Walter White, and the overly dramatic presence of Jane Kaczmarek, this show had a lot to offer.

Like “Married With Children” before it, this show went the opposite direction of the typical feel-good sitcom. Malcolm’s family aren’t the upstanding, upbeat models of society in the mold of “Father Knows Best.” They’re a collection of low-class, ill-mannered, under-privileged brutes who always find themselves in bad situations that inspire bad decisions.

They’re the kind of dysfunctional family that give other dysfunctional families a bad name. Part of their appeal was how they navigated that dysfunction. They rarely learned their lessons, they rarely underwent meaningful growth, and they often screw themselves over with their bad decisions. That’s what made it funny.

For seven seasons, the antics of Malcolm and his family followed a fairly successful formula. Malcolm, his brothers, and his parents find themselves in trouble or in over their heads. They struggle to rectify the situation, but often end up making things worse and incurring plenty of memorable comedy along the way.

In the series finale, however, the show takes that formula and injects something unique into the mix. After seven seasons of wild antics, spectacular failures, and memorable monologues, “Malcolm In The Middle” sent a message that went beyond the forces behind family dysfunction. I would even go so far as to say that message is more relevant now than it was when the episode aired in 2006.

The main premise of the episode revolves around Malcolm graduating valedictorian from high school. Being a certified genius, as revealed in the first episode, his life is the only one within his dysfunctional family that has the potential to be something. There are other assorted side-plots to the episode, one of which involves a giant bag of shit that Reese created, but this is the main catalyst for the ultimate conclusion of the show.

Shortly before graduation, Malcolm is given the kind of opportunity that most people can only dream of. Instead of college, he’s offered a lucrative job at a tech company that would’ve given him a six-figure salary, stock options, and a far less hectic life compared to the one his working class family afforded him.

Malcolm makes clear that he wants that job. He wants that life because, unlike his brothers, he has a chance to escape it. Like so many other times throughout the show, though, his control-freak mother steps in and stops it. She makes the decision for him. He’s going to college. On top of that, he’s going to have to work his way through, drudging along as a janitor instead of using his genius to make things easier.

Naturally, he’s not happy about this. It’s not the first time his mother has made choices that affected his entire life. In fact, that’s one of the most prevailing tropes of the show. No matter what Malcolm or his brothers do, they can never escape their mother’s neurotic control.

She doesn’t just want to control what he does after he graduates, either. She wants to put him and/or shove him down a path towards becoming President of the United States. Both she and Hal, played by Bryan Cranston, reveal that they’ve had this in mind for Malcolm since they found out he was a genius. It leaves him baffled, frustrated, and pretty upset.

Among other things.

However, this time his mother gives meaning to her decision that go beyond the usual “I’m your mother so do as I say” excuse. Instead, she does something that nobody on the show ever attempted to do to that point. She imparts upon Malcolm, and the audience by default, a series of harsh truths within the context of the bigger picture.

Those truths all hit hard as they come pouring out in a memorable exchange that helps encapsulate so much of the dysfunction Malcolm’s family endures. At the same time, it also makes a compelling case for why Malcolm should become President.

Lois: That doesn’t matter. What does matter is you’ll be the only person in that position who will ever give a crap about people like us. We’ve been getting the short end of the stick for thousands of years, and I, for one, am sick of it. Now, you are going to be president, mister, and that’s the end of it.

Malcolm: Did it ever occur to you that I could have taken this job, gotten really rich and then bought my way into being President?

Lois: Off course it did. We decided against it.

Malcolm: What?!

Lois: Because then you wouldn’t be a good President. You wouldn’t have suffered enough.

Malcolm: I’ve been suffering all my life!

Lois: I’m sorry. It’s not enough. You know what it’s like to be poor, and you know what it’s like to work hard. Now you’re going to learn what it’s like to sweep floors and bust your ass and accomplish twice as much as all the kids around you. And it won’t mean anything because they will still look down on you. And you will want so much for them to like you and they just won’t. And it’ll break your heart, and that’ll make your heart bigger and open your eyes and finally you will realize that there’s more to life than proving you’re the smartest person in the world. I’m sorry, Malcolm, but you don’t get the easy path. You don’t get to just have fun and be rich and live the life of luxury.

Beyond simply reinforcing how much Lois exerts control over her children, her words reflect the collective frustration of families mired in dysfunction. From the Bundy family in “Married With Children” to the real people in the world who have kids they can’t manage and jobs that don’t pay enough, she articulated a sentiment that is difficult for most non-working class people to grasp.

Malcolm and his family are essentially trapped in the dungeon of modern society. They’re low-class, ill-mannered people who never got the opportunities to climb the social ranks. Lois and Hal work demeaning, low-paying jobs that don’t provide nearly enough to support a large family, let alone one full of rowdy children that get in trouble every other week. How could they not be dysfunctional in that environment?

It’s an environment that keeps anyone who wasn’t born into a good situation from improving their lives. It’s an environment that breeds and reinforces the dysfunction that Malcolm and his brothers so hilariously embody. Any time somebody does get a chance to leave, they jump at the opportunity and never look back. Moreover, they don’t do anything to help those who never get that chance.

Lois knows this. She can already see that happening with Malcolm. If he takes that job, he’ll just get rich and comfortable, forgetting about where he came from and never giving another thought to those who weren’t as fortunate as him. That’s entirely understandable, as Malcolm’s reaction so nicely demonstrates.

Most people do take the easy path out of hardship, poverty, and dysfunction. It’s not just a temptation. It’s a reflex. Growing up poor and dysfunctional is akin to torture and, as is often the case with torture, people naturally do whatever it takes to make it stop. Lois, for all her neurotic tendencies, is pushing Malcolm to endure for the good of every other dysfunctional family like them.

What makes these final moments of the show so powerful is that Malcolm actually listens to his mother in this case. He doesn’t fight her, for once. In the final scenes of the show, he actually follows the path she lays out for him, going to Harvard and working as a janitor to pay his way through. He’ll continue to suffer the effects of his family’s dysfunction, but it’ll help him maintain perspective.

That perspective is something almost no modern President will have. They really can’t because most modern politicians are millionaires. They essentially do exactly what Malcolm suggested, getting rich first and then buying their way into power. The fact that many politicians seem so out of touch with ordinary people, especially the working class, gives further weight to Lois’ words.

Rather than leave his dysfunction behind, Malcolm will carry it with him. He’ll use it to bring a perspective that others either don’t know about or don’t want to confront. Unlike everyone else who tries to raise awareness of working class dysfunction, he’s smarter than them. He’s actually capable of overcoming the traditional barriers that keep people like him from achieving real power.

It’s an unexpected, but satisfying brand of hope. Most episodes of “Malcolm In The Middle” tend to end with a sense of misanthropy that reverts Malcolm’s family back to the status quo. They’re never allowed to get ahead or rise above their dysfunction. At the same time, though, they don’t sink into a defeatist malaise like the Bundy family.

That’s exactly what puts Malcolm in a position to do something more in the end. Everything that held him and his family back is now a catalyst for something greater. He has both the perspective and the aptitude to do great things, such as become a President who actually cares about helping dysfunctional family’s like his.

At a time when income inequality is on the rise and the working class is enduring greater hardship, the world needs leaders who have Malcolm’s perspective. Unfortunately, such leaders are exceedingly rare, especially as powerful institutions become more and more prone to the interests of the rich.

The “Malcolm In The Middle” finale dares people to imagine what we can do when capable people from dysfunctional backgrounds actually get a chance to do something greater. The show doesn’t offer too many details about what happens to Malcolm beyond Harvard, but it’s refreshing and even a little uplifting to think that a show full of so much exaggerated dysfunction could envision a brighter future.

That future may not improve for people like Reese, though, but that’s probably beyond Malcolm’s abilities. Some dysfunction is just too great, even for a genius President.

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Magneto: The Original Walter White?

It’s a common pattern in pop culture. Elvis and the Beatles didn’t invent rock music. They just made it mainstream. “The Godfather” didn’t invent the Italian Mafia. It just made it mainstream. The movie “Deep Throat” didn’t invent blowjobs. The human race figured that out centuries ago. The movie just finally got around to recognizing how amazing the concept would be.

These patterns often play out before our eyes without us really noticing. Nobody ever realizes they’re part of something greater, at least until they’re being played by Denzel Washington or Daniel Day Lewis in a movie. There’s always some strange revolution going on and I’m not talking about the kind that involves fad diets.

When I decided to break down the impact of Walter White on villains and antagonists in pop culture, I knew I was a bit late to the party. “Breaking Bad” has been off the air since 2013. In that time, the cultural impact of Walter White and how Bryan Cranston brought this character to life has spread. Many have already done far more thorough breakdowns of this character that are far more insightful than anything I could ever do.

At the same time, however, a part of me still looks at Walter White and sees the same pattern that has played out in music, TV, and even porn. Like Elvis, Walter White didn’t invent the complex antagonist/anti-hero. He just made it mainstream. However, I think there’s another character who accomplished this while Bryan Cranston was voicing bad Power Rangers villains.

Which character am I talking about? What kind of character could’ve possibly captured the complexities and depth that Walter White embodied without having his own show on AMC? This character actually pre-dates AMC, cable TV, Power Rangers, and even hippies. His name is Erik Lensherr, but he’s best known as the X-men villain, Magneto.

Yes, this is going to be another one of those posts. If you’ve been following this blog for any length of time, you know I jump at the chance to relate anything I can to comic books, especially X-men.

I’ve already used X-men to highlight what I feel are relevant issues. I’ve cited an X-men comic as a prime example of a true relationship of equals. I’ve cited X-men as teaching valuable lessons in the importance of foreplay. I’ve even singled out one X-man in particular, Storm, as a more viable female icon than Wonder Woman.

That said, it should come as no surprise that I make another connection when the unapologetic comic book fan in me sees the opportunity. For Magneto, the opportunity is definitely there. Based on his story, his personality, and his actions, he can claim that he was Walter White before there ever was a Walter White.

That claim isn’t hard to justify to anyone who learned about Magneto from the X-men movies, specifically the first X-men movie in which he was played by Gandalf himself, Sir Ian McKellen, and the pseudo-reboot entitled “X-men: First Class” in which Michael Fassbender gave the character an uncomfortable amount of sex appeal.

Both these movies make it a point to emphasize one of the most important, not to mention traumatic, aspects of Magneto’s character. He’s a holocaust survivor. He didn’t just live through one of the greatest atrocities in the history of mankind. He lost his entire family in it. He literally saw humanity at its worst. Can anyone honestly blame him for being a villain?

Unlike Walter White, it wasn’t desperation or circumstance that made Magneto want to give a big middle finger to the human race and get the ball rolling on their successors. He’s always been a little pissed off at the world for allowing such an atrocity. When you’re surrounded by the greatest evils of humanity, is it any wonder why you would found a group called the Brotherhood of “Evil” Mutants?

Even if he does have a good reason for being evil, this justification alone doesn’t put Magneto on the same level as Walter White. A major aspect of Walter White and the concept he embodies is the complexity of his character. If Magneto were just another Dr. Doom wannabe who just happens to have a better reason for hating the human race, then this concept wouldn’t apply.

However, Magneto does have depth. He does have complexity. His history is rich with stories that has him navigating a vast gray area of morality. One day, he’s a reformed man who helps the X-men fight off killer robots trying to wipe them out. On another, he’s creating a giant mutant monster to unleash upon the human race.

This isn’t just a bitter old man who gets moodier than most. His shifting allegiances, as well as his efforts to walk that fine line between villain and anti-hero, doesn’t happen sporadically. Magical spells aren’t used to just make him a hero, although that tactic has been used on other characters in comics.

Magneto’s story, much like Walter White, follows him making hard decisions in difficult situations. The consequences of these decisions lead him down many paths, some of which get pretty damn dark. Just read Cullen Bunn’s 2014 “Magneto” series for proof of that. That series alone ensures Magneto deserves to be on the same level as Walter White.

What makes Walter White such a compelling character is that his struggle and his hard decisions feel so real. He’s a man struggling in a difficult situation, but those situations only serve to bring out the worst in him.

Magneto may live in a world of mutants, superheroes, and characters who ride cosmic surfboards, but what he endures is painfully real. He lived through a real atrocity that has scars that we, as a species, are still struggling to confront. Whether the evil within him was always there or influenced by these struggles, it still felt painfully real.

The X-men, and the mutant struggle that Magneto has always been a part of, embodies the struggles of minorities. Even X-men director, Bryan Singer, has cited these struggles as an important part of the mythos. The struggles of minorities and the atrocities they suffer is painfully real.

In the case of Magneto, the horror of these real events helped shape his fictional path as a character. Walter White can’t claim he endured such atrocities. He endured injustice, but not on the same level as Magneto. These forces shaped their respective stories and personas.

At the end of the day, it still leaves us wondering whether these forces actually made them evil or just brought out the evil that was already there. While it may involve a little of both in the grand scheme of things, it’s still a big part of what makes these characters so compelling. At least with Magneto, he can say he knocked first.

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Villains, Antagonists, And The Walter White Effect

He’s the bad guy. He’s the obstacle. He’s the one that the hero must outwit. To put it more succinctly, he’s the one who knocks. Call him what you want. Say he’s a villain, an anti-hero, and an antagonist. We know who these characters are and we understand their role.

Then, Walter White came along and ran the concept over with his car. Villains, heroes, and antagonists have not been the same since.

Some may argue it has improved the way in which we tell stories. Some may argue that it has been a detriment, creating a race of sorts to abandon old ideals and make every character feel all too human. For fictional characters not bound by the crushing limits of the real world, this can be a race that no one should want to win. However, I believe the rise of Walter White and “Breaking Bad” has raised the bar for characters of all types.

I call it the “Walter White Effect.” I know that’s not very original, but it sheds light on a concept that has been permeating pop culture since “Breaking Bad” became a phenomenon. We’ve seen it in movies, TV shows, comic books, and video games. What else explains Dr. Doom becoming the new Iron Man?

It’s just not enough for villains to be villainous anymore. It’s not enough for anti-heroes to have an edge anymore. Walter White has changed the way we think about protagonists, antagonists, heroes, anti-heroes, and everything in between. As an aspiring erotica/romance writer, I’ve already felt the effects of those changes and I even welcome them.

This is an issue that spins right out of my recent discussions on the nature of evil in humans. In discussing such a morbid topic, I tried to keep things basic while also trying not to make too many people want to spit in their own gene pool. For this discussion, however, I want to focus on just one of those trees in the vast forest of human evil.

In doing so, I know I’ll rile up those who don’t believe that Walter White deserves to be classified as “evil.” I understand that argument. To call Walter White “evil” the same way we call IRS agents evil is to cast too wide a net on a remarkably complex character. However, for the purposes of this discussion, I want to focus on the traits that highlight the “evil” qualities of Walter White and characters like him.

Those who have binge-watched “Breaking Bad” know Walt’s story well. He started off as this affable, sympathetic man who endured one too many bad breaks, if that’s not too fitting a term. He had a family who loved him, a baby on the way, and friends who supported him. On the surface, he had every reason to be a good person.

Then, the bad breaks added up. He was diagnosed with advanced-stage cancer and given only a couple years left to live. Being a grossly overqualified high school chemistry teacher, he was destined to leave his wife, son, and newborn baby with nothing. Something had to give. It led him down a dark path, one that eventually brought out the worst in him.

It’s a story that puts a major twist on the familiar “Hero’s Journey” that we know so well. In some respects, Walt started out as a hero, doing bad things for good reasons. He did what he did to provide for his family, not to snort crank off a strippers ass. However, that journey morphed into something very different, one that has set a new standard for heroes and villains alike.

Bit by bit, sin by sin, and excuse by excuse, Walter White descended into this evil mindset. He killed former partners. He also lied to others. He even abandoned his initial reason for becoming a criminal. It was no longer enough to just provide for his family. He was in the “empire business” as he put it.

These are not the thoughts, actions, and traits of a hero. This is no longer a character who deserves such sympathy. Walter White became a true villain. In the end, he basically admitted as such. He said outright, “I did it for me. I liked it. I was good at it.” It effectively completed his journey into being a villain.

In doing so, Walter White proved something that nobody thought to prove. He showed through “Breaking Bad” that a villain’s journey could be every bit as compelling as a hero’s journey. It’s not enough for a villain to just be an egocentric, mustache-twirling asshat who wants to take over the world. Villains need just as much depth as heroes.

This presents a new challenge for everyone from movie producers to aspiring erotica/romance writers. It’s hard enough writing a compelling protagonist. The success of Walter White as both a villain and a protagonist effectively raises the bar.

Villains are now the new heroes. Anti-heroes generate more interest. What else explains the success of characters like Deadpool? It’s not enough for Superman, Batman, and Captain America to save the day anymore. We need villains who have better reasons for being who they are.

This effect has already skewed the standards somewhat and not just in the sense that it helped make Deadpool one of the most profitable movies of 2016. Just look at the villains in “Captain America: Civil War” and “Batman v. Superman: Dawn of Justice.” Nobody is going to mistake Jesse Eisenberg’s Lex Luthor or Daniel Brühl’s as Helmut Zemo for Walter White anytime soon.

We can, however, forgive some of these shortcomings because the Walter White Effect is still very new. It’s still sinking in. People are just starting to try and emulate the success of Walter White and not just through “Breaking Bad” spinoffs.

It happened with westerns. It happened with sci-fi movies. When someone stumbles upon a winning formula, others try to recreate it with varying degrees of success. What else explains the glut of “Die Hard” ripoffs in the 90s?

Even if this does mean we’re in for multiple Walt wannabes over the next decade, I believe the lasting impact of the Walter White Effect will be a positive one. I think it’s better for all mediums, be they movies or erotica/romance novels, when both protagonists and antagonists alike are compelling.

The challenge, however, is making that journey into evil a compelling one. Walter White’s journey was long and difficult. There were times he could’ve stepped off that path, but didn’t. In the end, as others have pointed out, Walt always had this evil tendency within him. He just needed the right push in the wrong direction.

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