By – Trisha Bhatnagar
Abstract
This article examines representations of masculinity under pressure. It assesses how modern screens depict the intense burden of patriarchal conditioning on boys and men. We analyze psychological drama, true crime and stand-up comedy. Specifically, we look at Adolescence, The Monsters and Hasan Minhaj’s specials. A feminist lens reveals how damaging sociocultural norms are to young men.
This body of work illustrates serious crises of male identity. We examine them in terms of isolation, abuse and trauma. It shows how digital culture contributes to aggression and how paternal abuse leaves scars of crime. The Stand-up comedy demonstrates the fragility of modern “alpha-male” performances. These depictions demonstrate a fragile gender hierarchy which craves reform.
Introduction
Today’s contemporary TV and comedy popularly advertise crises in male identity. Boys and men are under pressure from societal and familial expectations. Feminist theories present as a valuable tool to analyze such expressions. Theory reiterates how patriarchal structures affect both genders. For decades, screen narratives depicted stoic, powerful male characters.
However, the media today differs from that. Current narratives portray deep psychological injuries caused by performing authority. Three modern screen portrayals of masculinity, first being the drama series Adolescence. This series follows a boy driven to violence by patriarchal ideals and digital misogyny. Second, a true-crime anthology, The Monsters, which discusses the single-shot episode ‘The Hurt Man’, featuring the confession of paternal abuse. This hit Netflix series juxtaposes how trauma bonds children to abusers, complicating their male identity.
Finally,Hasan Minhaj’s comedy specials titled ‘Homecoming King’ and ‘Off With His Head. Where Minhaj satirically portrays the pressures of immigrant father-son relationships and the absurdity of performing strength online as an “alpha-male.” Together, these works denote a portrayal of masculinity, clarifying how patriarchal ideals fracture the male psyche. Using a feminist lens, we unpack the sociocultural understanding contributing to modern male behaviors, assessing how screens portray this crisis. Ultimately, this assessment stresses the necessity of creating new paradigms for male success.
The Psychologist on Adolescence Hacking the Criminal Brain
Adolescence shows a harrowing representation of the youth on Netflix. Episode 3 focuses on 13 year old Jamie Miller, who is arrested for murdering his classmate Katie. The entire episode occurs in one room where Jamie awaits a psychiatric evaluation by forensic psychologist Briony Ariston. Briony evaluates Jamie to determine whether he is competent to stand trial. A feminist lens reinforces how Jamie’s identity is heavily fragmented. His behavior reflects the destructive nature of modern digital culture. Jamie has internalized harmful online ideologies from the manosphere, having been referred to as an incel by his victim.
This label created immense feelings of inadequacy. Jamie discusses his father, Eddie, and grandfather. He believes masculinity means “showing strength and fixing things”. Seeking approval, Jamie remembers his father looking away in disgust during soccer, leaving him feeling isolated. To compensate, Jamie fought at school. His distorted views regarding women are revealed during his evaluation. He admits to fabricating stories about romantic relations to seem “strong.” Jamie stated “he was straight because he was not gay.” This highlights his limited definition of his own sexuality.
Jamie saw Katie’s vulnerable state as an opportunity to attack her after her private pictures were shared. When she rejected him, his fragile pride led to violence. Jamie carried a knife to scare her. He expected praise because he didn’t rape her, believing this made him a “good person.” This twisted rationale exemplifies his entitlement to women’s bodies. Jamie saw Briony as a threat to his control. When she remained neutral, Jamie exploded in anger, threw hot chocolate, and attempted to intimidate her physically.
When asked, Jamie claimed he would scare “anyone who threatened him.” This aggressive display indicates his desperation to prove he is in charge. He could nothandle a female authority. Throughout, Briony is very deliberate. She gives him hot chocolate and splits a sandwich with him.
These small gestures establish a connection and break his defenses. Once he accidentally discloses information, Briony immediately changes her demeanor. She becomes cold, formal, and emotionally detached.
She fires off five brief yes/no questions. Briony tells him it is their last meeting and asks if there are other matters to discuss. After Briony dismissively states she does not care about him, Jamie collapses. He begins yelling, crying hysterically, and screaming for her to tell his father he is fine. His collapse reveals the terrified child behind the monster, stuck in an endless cycle of needing validation from the male gaze. Adolescence showcases how patriarchy raises boys for self-destruction, echoing the harsh realities of modern youth alienation.
One Unbroken Take: The Artistry of The Monsters
Monsters is a Netflix true-crime anthology exploring paternal trauma. The 5th episode, The Hurt Man, is shot as a single unbroken 33-minute take. It takes place entirely inside a prison interview room featuring Erik Menendez sitting across from his lawyer, Leslie Abramson. Through a feminist perspective, we see how Erik experienced extreme grooming and abuse by his father, Jose Menendez, starting at age six. Jose used manipulative tactics, calling Erik “stupid” and the F slur.
Jose told Erik that he needed to get accustomed to pain, to be strong like a Menendez man, and that suffering was necessary. This physical and emotional abuse severely damaged Erik’s neurodevelopmental identity. Erik considers himself the titular ‘Hurt Man’, reflecting his complete loss of self-worth. He feels irreparably damaged and has no faith he will ever regain his authentic self. His mother, Kitty Menendez, enabled the abuse and ignored his suffering, acting as a bystander.
Kitty inspected Erik’s genitals for signs of HIV or AIDS, fearing social stigma instead of her son’s well-being. Despite this trauma, Erik continues to defend them, proclaiming unconditional love. This tragic paradox connotes how traumatized individuals bond to their abusers. Erik bonded with Jose due to fear and shame, rationalizing the abuse to maintain and hold onto his father’s public image. The single-camera technique forces the viewer to witness Erik’s testimony firsthand, unable to turn away from his terrifying revelations.
Erik’s soft-spoken voice characterises his deep injury and paralysis as a victim. In addition, some would argue Jose used sexual violence to enforce patriarchal authority. Jose viewed his family as commodities for total control. His commands for strength crippled his sons. Ultimately, The Hurt Man concludes howpatriarchal power destroys not just functionality but also families.
Hasan Minhaj and his Dad’s Stark Comedy
Hasan Minhaj contrasts intergenerational trauma and masculinity through satire in two stand-up specials titled Homecoming King and Off With His Head. Homecoming King addresses being brown in America, which Minhaj defines as experiencing daily racism. He also defines it as being caught between American assimilation and retaining Indian traditions. Minhaj compares being raised by immigrant parents versus native-born Americans.
Specifically, he defines immigrant parenting as living under strict rules to ensure success and avoid family shame. In clashes with, native-born parents allow children greater autonomy. Minhaj shares a story about growing up brown and Muslim in America after September 11th (The 9/11 Attack) when their car windows were smashed by goons/stalkers. His father remained calm. His father called this act an “American Dream Tax” to justify accepting racism.
However, Minhaj reacted differently, wanting absolute equality. This difference suggests generational divides in male survival. His father emphasized enduring hardships quietly for the family, while Minhaj touched upon asserting his identity and deserving respect. Minhaj criticizes how this anxiety generates domestic prejudice among men. Off With His Head further develops this theme, addressing legacy and the weight of entering midlife.
Minhaj discusses suffering from “good kid syndrome” as the oldest sibling. He felt intense responsibility to solve family issues, which left him anxious and desperate for validation. He joked about “personal acceptance” as his ultimate psychological fetish, revealing the vulnerabilities underlying his confident stage presence. Minhaj satirizes modern “alpha-male” performances, ridiculing software engineers who use bio-hacking and ice baths, and men who send Caesar quotes and memes.
Minhaj argues cryptocurrency and artificial intelligence reflect male hubris. He jokes that every man contains an element of Andrew Tate. This performative masculinity conceals deep inadequacies, where men take excessive financial risks to exercise control. Minhaj also compares collectivist obligations with Western-defined boundaries. Immigrant parents expect support, whereas Western children desire clear boundaries around their individual identities.
Minhaj jokes about his wife now preferring domestic solitude, while his father would insist they leave their front door unlocked to symbolize openness. This conflict illustrates the struggle between fulfilling collectivist duties as a son versus preserving individual boundaries as a person. Ultimately, Minhaj employs satire to expose strict definitions of traditional masculinity that limit true emotional expression.
Conclusion
In summary, these renowned series and specials demonstrate masculinity under tremendous pressure. Adolescence presents a boy radicalized by digital misogyny. The Monsters portrays the devastating psychological aftermath of paternal abuse and Hasan Minhaj’s comedy specials envisage anxiety from intergenerational obligation. Each depiction proves how rigid gender constructs negatively impact male psychological well-being.
Feminist analysis helps decipher the complexities displayed through these screen-based illustrations. It shows how societal expectations of dominance result in violence. True rehabilitation requires dismantling oppressive patriarchal constructs that define male achievement. We must move beyond restrictive definitions of authority to encourage genuine emotional expression, autonomy and development.
These screen representations highlight an urgent call for healthy paradigms on conceptualizing gender in men’s educational spheres. They scream the high costs paid by adherents to patriarchal ideals. We must pay attention to these hurt men and confront the systems that broke them ie: misogyny, intergenerational emotional abuse, addiction, crime and more.
Author’s Bio
Trisha Bhatnagar is a 4th-year law student pursuing a B.B.A. L.L.B (Hons.) in Business Administration and Legislative Law at Jindal Global Law School. Her interests lie in exploring how gender and identity interact with society and its power structures at large across education, technology, agriculture, sanitation, violence, criminal justice and more.
Image Source : https://www.washingtonpost.com/opinions/2023/07/10/christine-emba-masculinity-new-model/