Abstract
From the perspective of the television series Breaking Bad (2008-2013), Walter White, its antihero, is not just an "angry middle-aged white guy". He represents the repressed rage of countless ill-used Ph.Ds. This is why "he is the danger." The cultural moment of Breaking Bad may serve for us in Siegfried Kracauer's term as a "close-up shot or establishing shot." The series is an index of Kracauer's "law of levels." White has lived his life according to what he thought was standard and decent conduct. His life has been adequate. He echoes Tolstoy's Ivan Ilyich whose life "was most ordinary and therefore most terrible." White also recalls Stavrogin from Dostoevsky's The Possessed. Stavrogin condemns himself because he can only have been satisfied by himself (in both senses). He is more Mephistopheles than Faust; he is never out of hell because he will not accept the possibility of anything outside himself. Breaking Bad also reifies Carlo Ginzburg's "estrangement." The screens that we carry with us transmit endless meaninglessness. We are consumed by consumerism. Therefore, Walter White is not an antihero: He is the perfect hero for a world in which the marketplace alone determines value.