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Published online by Cambridge University Press: 23 January 2018
As ideas of masculinity have changed in the United States, so too has the presentation of men on television. This article, then, explores a range of characters that have characteristics associated with the alpha male in the unusually vulnerable position of the patient, in a variety of programmes from generic detective dramas through to critically acclaimed productions, to analyse how programme makers navigate questions of masculinity against the cultural backdrop of the most recent fin de siècle. It also demonstrates a range of responses by programme makers, including some that question hypermasculine tendencies only to ultimately reinforce them.
7 Lotz, Amanda D., Cable Guys: Television and Masculinities in the 21st Century (New York: NYU Press, 2014)Google Scholar, eBook Collection (EBSCOhost), accessed 26 June 2017.
9 Mackinnon, 12.
10 Yvonne Villareal, “Aaron Sorkin Signs Off from TV … Maybe,” LA Times, 8 Nov. 2014, at www.latimes.com/entertainment/tv/la-et-st-hbo-newsroom-aaron-sorkin-jeff-daniels-20141108-story.html.
11 For examples, see Miller, Kristen, “From Fears of Entropy to Comfort in Chaos: ‘Arcadia,’ ‘The Waste Land,’ ‘Numb3rs,’ and Man's Relationship with Science,” Bulletin of Science, Technology and Society, 27, 1 (2007), 81–94CrossRefGoogle Scholar; and Wilken, Rowan, “Fantasies of Control: Numb3rs, Scientific Rationalism, and the Management of Everyday Security Risks,” Continuum, 25, 2 (2011), 201–11CrossRefGoogle Scholar.
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18 It is also worth noting that the recurring character of Stanley Keyworth only features prior to Aaron Sorkin's departure as lead writer and executive producer in 2003 and that for each of the episodes in which the character returns Sorkin is listed as the sole writer.
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21 Mahalik, Good, and Englar-Carlson, “Masculinity Scripts,” 127.
22 Ian Miles, “Masculinity and Its Discontents,” Futures, 21, 1 (Feb. 1989), 47–59, 50.
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35 Robert Bianco, “‘Numb3rs’ Looks Like a Winn3r,” USA Today, 20 Jan. 2005.
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