So, this individual (:salute...not my ideas to follow:) had a general thesis (which is of course reductive, but nevertheless surprisingly accurate to most media), which I will attempt to summarize as follows about media, esp media that creates intense fan followings:
First, you divide most male protagonists into 'alpha' types (natural leaders), 'beta' types (natural followers or community builders), and 'gamma' types (totally flexible).
Then, you commonly (though not always) traumatize them in some way to create drama. There's plenty of shows with plain old alpha, beta, gamma characters, but we are not interested in them in this post.
Traumatizing an alpha creates an alpha bastard, traumatizing a beta creates a sociopath/serial killer/raging misogynist etc. (what we might now think of as classic toxic masculinity, but that wasn't so much under discussion back when she formulated her thesis), and traumatizing a gamma creates a rogue.
Basic hallmarks of an Alpha Bastard:
1. The trauma is usually multilayered and long-term. It almost always includes, but is not limited to, daddy issues.
In Thomas Shelby's case, this would be daddy issues + ptsd from WW1 + class disdain (+ all the shit that goes down in the show).
2. ABs respond to this trauma by becoming emotionally withdrawn, cold/self-controlled, and controlling of others. They attempt to fight back against the power that grinds them down by BECOMING the power. They want to beat the rules of the game by controlling the game itself, and thus elevating themselves above the rules.
Hello, Tommy.
3. They tend to be excellent long-term planners, and outstanding at their 'job', whether that be legitimate or criminal enterprise.
Tommy again.
4. Having hair is not a necessity (of course bald ABs exist) but when present it is usually notably great or at least significant to their identity.
Hilariously apt in Tommy's case.
5. In keeping with 4, appearance is very important to ABs. They don't need the accoutrements of the good life, but they sure do covet and enjoy and prefer them. The best houses, cars, food, booze, clothes, etc... hallmarks of an AB. This doesn't necessarily mean they always have good taste, btw, though many do. Oftentimes some humorous mileage is gotten from the clash between their actual taste and their pretentions of grandeur.
About 50% of the appeal of Peaky Blinders is the style of the houses, clothes, cars, etc. One can add racehorses to Tommy's list, as well as unrefined personal taste...some good jokes in the series such as the atrociously tacky sapphire he uses as a gift, or about how he keeps all the fancy booze in his pubs but doesn't actually know how to make that classic cocktail of the upper crust Brits, the Gin-and-tonic.
6. ABs generally are not fans of small gestures. They go big for all the important milestones of life: "I love you/thank you/please forgive me/I'm generally awesome" are usually marked by things like massively expensive gifts or otherwise dramatic gestures.
Tommy again... buys various people houses, cars, racehorses, aforementioned gigantic sapphires; murders people on others' behalf; finds peoples' lost children, etc.
7. ABs are powerful and often sexy and attractive, but typically extremely challenging b/c they make only poor to mediocre husbands, lovers, family, or friends. They often do make the attempt, but they struggle to prioritize human relationships above their Master of the Universe ambitions/immediate schemes. Thus, their interpersonal relationships are usually under strain of one sort or another. Also, they are not interested in focusing on the hum drum daily chore aspects of life. Good luck getting them to help with housework, or even the nitty gritty of running their business, etc. They have staff for that.
Bingo.
8. Part of the issue with 7 is that ABs manipulate people almost reflexively and can be quite cruel when it comes to emotional manipulation in particular. They often use even loved ones as pawns in their schemes. They love to use sex as a weapon, too. They are effective seducers, though their seduction 'technique' is often just 'I'm clearly so awesome that everyone wants to fuck me, so I'm barely going to bother with flirting or seduction' type of arrogance. This works for them surprisingly often.
Tommy does this constantly, and his 'seduction' technique is hilarious (so much so that my husband and I have taken to saying, "Do you have a map of your house?" when we are trying to be sexy); though I note that he keeps trying to/believing he's using sex as a weapon, only to have that often bite him in the ass, which is amusing.
9. ABs tend to have a weakness for something helpless/innocent/unthreatening. They sometimes get trapped in 'savior' psychology. Sometimes it's babies, often it's animals, sometimes it's (seemingly) innocent or helpless love interests.
Tommy clearly loves horses, though his business interests often require treating the racehorses in a way that the ASPCA might question
10. So why do people put up with ABs in their lives? Well, power is attractive; and the 'good life' is compelling even if it comes with a boatload of manipulation. ABs make for excellent drama. But most important, ABs are phenomenal in crisis situations. They can be expected to save the world or bring it to its knees. Any time you need someone to put a big complex plan in place and (IMPORTANT) have the patience to execute it, write a giant check, hire the hit man or orchestrate the hit, dispose of evidence, put on the celebratory party, infiltrate the government, incite a political movement, or generally swagger around like the biggest, baddest, swinging dick in the zip code, etc.... you call the AB and he delivers in spectacular fashion.
There's a reason that every single episode has slo-mo power walks, usually of Tommy. There's a reason that the show opened with Tommy ostentatiously riding into the Birmingham manufacturing district on a fancy racehorse in a signal that he was about to level up in a huge way. There's a reason that the show milks most of its drama from the few occasions that Tommy's complex machinations get stymied or he gets outplayed. It's not common, b/c he is a King Alpha Bastard Master of the Universe.
So that's your classic Alpha Bastard. This is not my preferred type of hero, so when I was trying to think of ABs that I personally particularly enjoyed, I struggled a bit. Robert Downey Jr as Iron Man generally fits, I think, as does Thomas Crown from the Thomas Crown Affair.
ETA: Oh, duh. Batman/Bruce Wayne = AB.
At the time of her writing the essays, some of the examples given were Tony Soprano, Mr. Big on Sex in the City, Lex Luther (on Smallville? I think), Angel/Angelus on Buffy/Angel, Brian on Queer as Folk.
I'm sure there's tons of ABs out there though. He's a staple of good drama.
Ok, I'll need a break to compose an entry about Rogues.
Long-awaited by approximately 3 of you reading this thread who asked, I finally got time to outline the essential traits of the other male protagonist type that commonly develops big fannish followings (as recreated from a long-ago essay by someone who isn’t me but to whom I am grateful for their perceptiveness and humor):
The Rogue
The Rogue occupies the Rebel-with-Occasional-Cause slot, both hero and antihero, the 'bad boy'. Most pirate/smuggler protagonists fit the rogue type, as do most noir heroes. Someone like Robin Hood would be an early example of a Rogue (with or without associated trauma, depending on that particular Robin Hood's backstory). The original essay examples from 20ish years ago included Spike from
Buffy/Angel, Fox Mulder from
XFiles, Indiana Jones, Han Solo, Rick from
Casablanca, Edward Rochester from
Jane Eyre, Wolverine from
X-Men, and Jack Sparrow from
Pirates of the Caribbean. Some slightly more recent examples from my own viewing/reading history: Jamie Lannister from
Game of Thrones, Benedict Cumberbatch’s
Sherlock, Captain Flint in particular, but most of the primary male characters on
Black Sails.
*Upon more reflection, I’d say that Batman/Bruce Wayne, whom I initially categorized as an Alpha Bastard above, is actually more of a hybrid hero. He’s got a lot of the outward trappings of an AB but more of the inner life of a rogue, depending on the particular interpretation. Tyrion Lannister also seems like a hybrid, with long-term layered trauma and the skill set and ambitions of a perpetually stymied Alpha Bastard, but an inner life more similar to a Rogue.
Basic hallmarks of a Rogue
1. Most often the Rogue starts off as a fairly well-adjusted gamma type dude (see Alpha Bastard post), often of an idealistic or Classical Romantic personality. Frequently the traumatizing event that turns him into a Rogue is One Big Hurt that causes a life-changing trauma or triggers an impulsive decision that sets the course of his subsequent life. Rogues often put a fair amount of effort into rejecting trappings of their pre-trauma life and sometimes also their former personality.
Mulder’s sister got taken by aliens, Rochester was pushed by family into a terrible marriage, Spike failed as a poet/was romantically rejected, Jack Sparrow (most recently) lost his beloved ship, Jamie became the Kingslayer/later semi-rejected by his lover, lost his identity as a warrior, etc.2. Rogues often conceal a soft emotional center (broken heart/shattered ideals) under a tough-guy façade. Personality wise they tend to demonstrate some combo of surliness, overt cynicism, impulsivity, moodiness, obsessiveness, and thrill-seeking behavior. They sometimes also have a tendency toward substance abuse (whereas Alpha Bastards usually need to keep this tendency in check in order to run the universe).
3. Rogues are antisocial, and usually kind of loners. They tend to ruffle feathers when operating in a community/organization because of their lack of patience and tact (they sometimes function entertainingly as classic “Fools” or blunt tellers of uncomfortable truths to authority [Robin Hood, Spike, Sherlock, Wolverine]) and they hate complicated social or political game-playing. Plus, they have unstable lifestyles, are rarely at home, and are frequently in financial difficulties (see below). Consequently, they usually have only one or two close relationships with a love interest, friend, or a trusted sidekick type. They do not tend to appear as much in gangster type narratives, where allegiance to rules, broader ‘family,’ and authority structure is paramount.
4. Rogue are reflexively rebellious when faced with authority figures. They are contemptuous of efforts (:cough: by Alpha Bastards) spent trying to control The System; Rogues would usually rather flip the bird in ostentatious fashion and operate against or outside the establishment. Their most typical opponent is therefore men in uniform or other representatives of social or bureaucratic status quo (they also often clash mightily with ABs, if both occur in the same story).
When Rogues themselves obtain positions of authority or operate within the establishment, they are usually in jeopardy and hanging onto their position by the skin of their teeth via raw talent combined with a lot of bullshitting and/or short-term tactical scheming. Or else they are resentful, surly, and uncomfortable (Jamie Lannister, Wolverine). This makes for terrific entertainment value, IMO. Watching Rogues navigate leadership positions or those that involve responsibility for the weak or downtrodden, or strain to fit their square-peg selves into society’s predetermined round holes, is one of my favorite tropes.
5. Rogues have a lot of intrinsic talent and intelligence but for aforementioned reasons they usually have ‘checkered’ careers (if they have actual jobs) or have long since abandoned legitimate employment in favor of activities like smuggling, piracy/theft, questionable archaeology aka looting, mercenary/assassin work, chasing UFOs, solving unsolvable crimes, or otherwise tilting wildly at their own personal windmills. I remember in the original essay, the writer noted that she doubted Indy ever achieved tenure…and I agree. He's barely publishing, I'll bet...far too busy running around the world looking for artifacts to loot… He’s likely a begrudging teacher, too. He’s like a biologist who wants all year to be field season (I know of what I speak).
6. Unlike ABs, Rogues are minimally interested in fashion in general (too fussy/time-consuming/expensive). Usually, they adopt a consistent and practical look. When they do show an interest in personal style, it’s usually notably idiosyncratic and closely associated with some aspect of their self-identity (or the identity they are working on cultivating), such as Spike’s punk look, Jack Sparrow's [paraphrased] “Rastafarian meets Keith Richards” ensemble, or Indy’s hat.
7. Rogues have little attachment to money or material possessions. Although they frequently engage in pursuits to make money, they are not interested in building nest eggs or investing in real estate. Any money gained goes to emergency bill paying or funding their peculiar obsessions, or they simply spend it like the drunken sailors that they often are. If they possess a place of their own, it functions more as a crash pad/storage hovel than a proper home (Indy, Mulder, Sherlock); and if they happen to own a real house, they usually have incredibly ambivalent feelings about it (Rochester). Also, b/c of their lifestyle, anything valuable they own is frequently stolen by enemies or must be abandoned on short notice (Spike, all the piratey types), so why bother? Ideally, Rogues take their 'homes' with them (pirate/smuggler ships, Wolverine’s camper van). If they have a treasured possession, it’s nearly always either totemic or useful in some way (Indy’s whip and hat, Spike’s DeSoto car and leather coat).
8. Rogues usually make better partners--either friends or lovers, than ABs do, once you get past their cynical, prickly, snarky shell. They don’t have the patience for persistent deception or emotional manipulation; they prefer the direct approach unless they are in a sulk, in which case they tend to be passive aggressive. They tend to be very loyal, and since as we know from (1) that they are often concealing an idealistic heart, they are prone to Grand Gestures on behalf of chosen loved ones or foundational principles, such as giving up the Holy Grail to save your life (Indy), running into a burning house to save you (Rochester), giving themselves up to torture to save your sister (Spike), joining a Rebel Alliance (Han), etc.
However, one problem with this tendency is that Rogues tend to be emotionally flighty, and will sometimes become convinced that a Very Bad Idea is in fact a Grand Gesture (attempting bigamy while crazy wife is kept in attic [Rochester], starting a war with the British Navy [Captain Flint], attempting to murder the kid that caught you hooking up with your sister [Jamie], numerous actions that seem like good ideas when you are a soul-less vampire [Spike], going undercover/getting re-hooked on drugs/faking own death [Sherlock]). Rogues generally require partners that are more practical and act as stabilizing influences.
9. If they have love affairs, Rogues are usually Romantics with a capital R. They are mostly sequentially monogamous (though they typically have little trouble attracting casual partners if they want them). Often, they won't have any romantic partner at all either because they are too busy with their personal obsessions, have been scarred by bad romantic experiences in the past, continue to carry a torch for a lost love, or they fear commitment (that's one they do share with ABs). The good news is that while an AB remains to some degree ‘uncatchable’ at his core (emotionally somewhat removed), if you truly catch a Rogue he is all yours. The downside is, that means he's ALL YOURS, so long after you get sick of him, he’ll probably still be mooning after you, making a pest of himself, and driving away other potential partners with more stable employment.
Finally,
10. Rogues are at their best in a straight-up fight, especially if a personal principle (or a love interest) is involved. As the original essayists’ memorable phrase went, "They shine in ‘run laughing into the mouth of Hell’ type of situations…" so they can be huge assets once they commit to your lost cause or last stand; any situation that involves violent physical confrontation or generally suicidal levels of personal bravery is when they should be called upon. They are NOT as useful for strategic battle planning nor long-term sneakiness nor large bribes (call the Alpha Bastards for that).
The downside of this tendency (if you are in proximity or in a relationship with one) is that Rogues frequently create chaos wherever they go and thus people around them are regularly dragged into their crisis just as often as the Rogue comes swooping in to save the day. (ABs have less tendency to create chaos, but just as much tendency to create collateral damage.)
And what’s worse, Rogues themselves are Lucky Bastards. Frequently they will waltz away from the chaos themselves, unless they are deploying The Biggest Grand Gesture of Them All (suicidal self-sacrifice). Memorable paraphrase from original essay: you allow yourself to be won over by the Rogue's charms and “… next thing you know you are kidnapped by nazis, or abducted by pirates, or some asshole has stolen your ova to make alien clones”.
So, unless the Rogue is actually dead, he will often be found post-crisis, drunk and weeping over your tragic end and no doubt (b/c of the eternal bad boy allure) soon attracting his next collateral ‘victim’ aka friend, partner, or lover.
It is truly hilarious how well Captain Flint hits every single trope on this list, to the extent that we coined the term "Flint Syphilis" while watching Black Sails, b/c of the inexorable gravitational field that his crazy obsession and charisma exerts, infecting practically every character in proximity and sucking them into a vortex of chaos. SO GREAT.
