Today, I'm staying home for the immunocompromised students I used to work with.
Obviously, if a show bears the same name as its protagonist, its success will hinge in large part on the portrayal of that character. Barry hits the jackpot in that regard. When it comes to both the writing and the acting, the show’s leading man is firing on all cylinders (premise spoilers.)
Obviously, if a show bears the same name as its protagonist, its success will hinge in large part on the portrayal of that character. Barry hits the jackpot in that regard. When it comes to both the writing and the acting, the show’s leading man is firing on all cylinders (premise spoilers.)
A
TV show asking us to sympathize with someone carrying out highly-immoral
activities is nothing new. Over the years, the popularity of “antihero” stories
has given us shows about gangsters, druglords, and serial killers, along with
plenty of characters whose failings are more garden-variety but still result in
a lot of people getting hurt. Getting us to become invested in the life of
someone like this, not seeing them as a monster but not condoning their actions
either, isn’t something every show can pull off, but the ones who do it well
capture our fascination while making us question our own reactions to it.
Barry
Berkman, a post-9/11 veteran who became a hitman after returning stateside,
definitely fits the bill. Right from the start, the show introduces the tricky
balance it asks us to weigh. Barry kills people for money, which is bad. But he
killed people for the army, which was deemed, not only good, but heroic. Most of his hits are gangsters,
criminals who are labeled “bad people” without much debate. But the people
paying him to kill those gangsters are usually other gangsters, and by taking out their enemies, he helps allow
their power to grow. By no stretch of the imagination could you really call
Barry a good guy, or “just a misunderstood guy,” but by the same token,
painting him as an outright monster seems off the mark as well.
A
big factor here is Barry’s PTSD. He’s been struggling with his mental health
since his time in Afghanistan, and his post-traumatic stress can seize him at
crucial moments. These are the times when he causes harm or death without being
paid for it, when his mind overloads and all he can see is red. It in no way
excuses what he does when he’s caught in the throes of an episode, but it helps
the viewer understand where it comes from. In those moments, we hope for a
resolution in which Barry’s ultimate end emphasizes psychiatric care over retribution.
Even
though his PTSD isn’t usually overwhelming him while he’s carrying out hits, it
still informs his presence in that criminal world. After coming home from
Afghanistan, struggling and rudderless, he was a prime target for Fuchs,
someone who wanted to benefit from the money that such a criminal enterprise
could bring. In Barry, Fuchs saw someone with both the skill he needed and the
mental damage to be steered into doing what he wanted. The show hasn’t drawn
clear lines to show exactly how mercenary Fuchs was in his recruitment of
Barry, and Fuchs’s manipulations don’t exonerate Barry for his own choices, but
Barry was still an easy mark. He was feeling adrift and alone, unable to
effectively reintegrate into society, and along came Fuchs promising to smooth
the way and offering Barry big money to do the only thing he knew of that he
excelled at: killing people.
It’s
perhaps a sign of how desperate Barry is, for a way to fill his days as well as
for an older male figure to direct him, that he becomes so immediately enamored
with Gene’s acting class. After the barest hint of what the class has to offer
(and its offerings are admittedly paltry,) he starts planning to retire from
the hitman business and break into acting instead, hanging on Gene’s guidance
and (middling) encouragement. Although less so than Fuchs, Gene is using him as
well – he’ll eagerly bring up class fees at any opportunity – but Barry doesn’t
care. He’s looking for something to do with all the upheaval and damage that
his service evoked, and while Fuchs offers him a way to channel it into
violence, Gene’s class offers him a way to channel it through acting.
It’s
too soon to say how much hope there is for Barry, if he’ll ever be able to
fully get out of the life he’s been living (since it’s a TV show, the smart
money says not until the season finale, if that.) But he’s trying, and he’s
doing it mostly of his own frantic initiative. I have my fingers crossed for
him.
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