Throughout media texts, most men share certain common characteristics. They are strong, stoic, protective, rational and independent, to name a few. Characters such as James Bond, Tony Soprano and most superheroes greatly exemplify many of these qualities. Reoccurring representations of men with these same attributes contribute to what is called hegemonic masculinity, or “normative male behavior” (Iftkhar, November 6, 2014). This stereotype causes the audience to associate certain qualities with men. Gotham, a new television series that creatively divulges the backstories of Batman and his most famous rivals, appeals to a male audience and represents masculinity in the classic ways. Through both character illustration and dialogue, Gotham portrays most of its male characters as strong, aggressive, and independent protectors, reinforcing the conception of hegemonic masculinity. At the same time, the show also presents characters who challenge or pervert those norms exploring invalidity of the stereotype. The city of Gotham is in bad shape. Crime lords rule and have made deals with the Gotham County Police Department to keep it that way. For example, some doctors work on the black market to treat criminals and police officers agree not to arrest them in exchange for information about the patients they see. In addition to structured crime, strange murders frequently occur in the city. James Gordon, newly appointed police homicide detective and son of former district attorney, shares his father’s vision of a safe and thriving Gotham. Achieving this, Gordon believes, involves challenging the mob bosses and taking back police control of the city. While the rest of the police staff does not share his goals, Gordon is determined, often working late nights and handling dirty cases that other detectives won’t touch. Shortly after his arrival, the city already shows signs of improved safety. Gordon’s dedication to his job and rapid success in his several of his first cases makes him, in a way, the protector of Gotham. In addition to protecting the city, Gordon also protects his fiancée, Barbara. As the love interest of a daring police detective, she naturally assumes a dangerous position. Barbara herself is the owner of an art gallery but in the several episodes viewed for this paper, she never appears at work. She is most often shown at home, vulnerable and nervously awaiting Gordon’s safe return. In Penguin’s Umbrella, Gordon explicitly saves Barbara by overpowering 2 gangsters who torment her to encourage Gordon to comply with their demands. Later in the same episode, Gordon emphasizes his desire to protect his fiancée when he tells her “If I know you’re safe, there’s nothing they can do to me” (Heller, 2014). Barbara relies on Gordon and often acts nervous and emotional. In The Mask, after suffering near-loss of Gordon and her own life, Barbara is in desperate need of comfort demonstrated by her heavy weeping. Gordon, being the hegemonic man that he is, reassures her, “I won’t let anyone hurt you” (Heller, 2014). Barbara may be a strong woman but she leans on Gordon for full protection.
Besides Gordon, other male characters serve as protectors as well, including all of the mostly-male police force whose job is, most simply, to protect. Part of this group is Gordon’s brash but shrewd partner, Harvey Bullock. Harvey comes to appreciate Gordon’s approach and, like him, he defends citizens by beating bad guys. For instance, in The Spirit of the Goat, he saves his former partner (and most likely several future victims) by killing a murderer (Heller, 2014).
Gotham’s illustration of man’s duty to protect through the protagonist and other important characters reinforces the idea to viewers and may cause some male viewers to feel they need to be more of a protector themselves. In addition, by accepting this stereotype, female viewers may be more willing to look to men to protect them. While men are noticeably most often the attackers in the show, the overarching theme of man as protector suggests that women and society as a whole should depend on men for safety. Whether they are protecting or hurting, Gotham’s men are strong and aggressive. Fight scenes make up critical content of the show. Each episode includes at least one, often several, fights between Gordon and a bad guy or between mob members. As the protagonist, Gordon is the “realest” man of the show. And, as demonstrated in Gotham, real men fight. “It’s not that I like fighting but I’m not afraid to either,” he says (Heller, 2014). Bullock, likewise, has no problem punching anyone in the face, including Gordon. When they’re not physically fighting, male characters are extremely confrontational. They speak loudly, directly, and often make threats.
One of the most significant demonstrations of hegemonic aggressiveness in Gotham comes when Bruce Wayne is bullied at school. Bruce, already somewhat of an outside figure being the son of the most famous benefactors of Gotham, is beat up on his first day returning to school after his parents died. Upon leaning about the situation when he picks Bruce up from school, Alfred, the Waynes’ butler and Bruce’s caretaker, is clearly dissatisfied that Bruce didn’t fight back. Consequently, he takes him to the boy’s house where he encourages him to get revenge and praises him when Bruce physically harms the boy (Heller, 2014). To the characters of Gotham, fighting is expected and for Bruce, it’s an initiation into “normal” male life. This expected aggressiveness and violence contributes to the model that makes up hegemonic masculinity. Viewers watching Gotham’s men continuously fighting each other may further believe that violence is a necessary part of a man’s life. In order to win fights in Gotham, men must be strong. In just a few episodes, Gordon wins several individual battles, often facing numerous attackers at the same time. More specifically, in The Mask, he kills 2 aggressors on his own before killing their boss as well (Heller, 2014). As a recognized war hero, Gordon fights with the skills of a trained fighter and demonstrates extreme toughness. Even when injured, he musters up enough strength to win fights or save himself. For example, Gordon escapes from 3 assassins even after suffering a gunshot wound. Furthermore, he insists on leaving the hospital within hours of stitching up his wounds although the doctor suggests he needs a whole week to recover. Gordon may be strong but so are his adversaries. Nobody goes down easy. What is more, none of the characters have superpowers so the fighting remains realistic. In Gotham, man’s strength, especially Gordon’s, is put on grand display, suggesting that strength is a necessary component of true masculinity. Although Gotham’s newfound hero works alongside dozens of other men and women, he functions very independently. Gordon does things others won’t dare to do. He has a hunger to bring criminals to justice and break the hold the mobs have on the city. Most other officers are not willing to stand up to gangsters and make a change. The most drastic realization of this situation occurs when an assassin sent by mob boss Falcone shows up at the police station to kill Gordon. Normally, there is no way a criminal could get away with committing murder in a room full of cops but everyone but Gordon and his boss run away in fear. Even then, he tells his boss to leave and Gordon is left to fend for himself. He escapes (Heller, 2014). Viewers continually witness Gordon willingly embrace his independence claiming that he needs to do some things himself. Even if he could receive help, he doesn’t always want it. In The Mask, Gordon ill advisedly decides to explore a criminal warehouse on his own where he puts himself in a life-threatening position but fends off 3 men to survive (Heller, 2014). In a way, Gordon answers to nobody. Because of his revolutionary approach, Gordon isolates himself from other members of the police force and his “I can-do it” attitude sometimes carries him into dangerous situations without help. Gordon’s self-reliance may be inspiring to some viewers but overall adds to the male stereotype. According to classic masculinity in media, men don’t need to depend on others (Iftkhar, November 6, 2014). This idea is dangerous because men who are not as independent may think less of their own masculinity. Moreover, nobody can actually do everything on his own. While Detective James Gordon is busy trying to protect the city, there are a few characters hard at work attempting to conquer it. In doing so, they not only challenge Gordon’s plans but also his classic hegemonic masculinity. Oswald Cobblepot (aka “Penguin”) was a lackey of mob boss, Fish Mooney, but becomes tired of that work and decides to chase his own criminal dreams. “One day, I’m going to be somebody in this town,” he tells his mother. Like Gordon, Cobblepot is aggressive and confrontational. Not to protect others, however, but to harm them and further his own selfish goals. Cobblepot utilizes violence to move up the ranks of the criminal ladder and even simply to get himself a sandwich (Heller, 2014). Cobblepot’s use of violence contrasts with Gordon, who fights bad guys to save other people. In addition, Cobblepot is less independent than the detective, leaning on his mother for comfort. After being beaten up in The Spirit of the Goat, he goes to visit his mother where he sadly tells her “All I wanted was a little respect. And they hurt me, so cruelly” (Heller, 2014). She then gives her adult son a sponge bath. Later, in The Mask, he returns to his mother with the stab wound on his hand from Mooney. Like a small child, he explains that somebody was mean to him. His mother tells him story from her childhood and he leaves uplifted (Heller, 2014).
Although, Cobblepot is violent like the other characters, his use of aggression for pure harm rather than defense of others contrasts with the hegemonic view of man as a protector represented by Gordon and Bullock. His actions suggest that men don’t need to protect other people. Furthermore, his desire to seek security and encouragement from his mother proposes men need not be so independent. Cobblepot’s former boss, Fish Mooney, also confronts the normative male stereotype. More specifically, she exemplifies stereotypical male traits and tackles the issue of male dominance in society. Mooney herself is a crime lord with several men working under her control who look to her for guidance and protection. Her desire to be on the top of the hierarchy stems from a traumatic experience in childhood. Mooney’s mother worked as a prostitute and, as a young girl, Mooney witnessed two men abuse and kill her mother. From then on, she vowed to never let men take control over her. Mooney believes she could make Gotham better and, with fellow mob boss Carmine Falcone approaching old age, she states, “Somebody has to take over; it might as well be me” (Heller, 2014).
Mooney carries herself confidently, expecting what she says will be done. She’s aggressive and somewhat sadistic. She tolerates no threats to her power and is willing to get her hands dirty. In particular, she breaks Cobblepot’s leg for betraying her and later stabs him for returning to apologize. She also delivers a knock-out blow to Gordon after he accuses her of framing the murder of Bruce’s parents (Heller, 2014). Mooney also takes advantage of men, sleeping with Falcone’s ally, Nicholai, only to get past Falcone. When also asked about another man, Lazlo, she claims he is just a “boy [she keeps] around for exercise” (Heller, 2014). Her use of sex as a weapon and for pure pleasure contrasts with the stereotype of women being used by men, as her mother was. Mooney’s outright attack on hegemonic masculinity provides a realization of the stereotype represented by other characters and serves as a point of comparison. She rises to the male characters’ level of strength, aggression and independence, demonstrating that this combination of characteristics –that classically make up masculinity –is not only for men. In addition, her position of power in the city of Gotham and over men rejects the notion that society should be male-dominated.
In Gotham, masculinity is represented primarily by Detective James Gordon and reinforced by other male characters like Harvey Bullock and Bruce Wayne. Through their constant fighting and toughness exhibited against opponents, manliness is portrayed to consist of aggression and strength. By Gordon’s frequent isolation and attempt to defend both the city of Gotham and Barbara, he also exemplifies man’s self-reliance and duty to protect. However, Oswald Cobblepot’s manipulation of violence for harm and selfish gain and dependence on his mother imply that not all men are self-sustaining protectors. In addition, Fish Mooney’s character places a woman in a powerful role and demonstrates that women can hold characteristics notoriously reserved for men. Nevertheless, the series’ protagonist wields the greatest influence in constructing the representation of masculinity in the show. Gordon is an attractive character. Bold, strong, courageous and moral, he naturally draws the spotlight. Thus, by his display of common male attributes combined with similar characters, Gotham overall furthers the hegemonic masculinity constructed by the media. Consequently, as men connect these qualities with masculinity, the hegemonic form shapes their own perceptions of what true men should be.

Sources
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