The Second Golden Age of American television, beginning in the early 2000’s, delivered the high production value of Hollywood cinema to the small screen. Also known as “quality television”, series of this period favored filmic cinematography, psychologically driven scripts, and strong artistic vision. In addition to its formal elements, this collection of television programs often starred unlikeable or problematic male protagonists—commonly referred to as anti-heroes. Rather than glorifying the unwavering moral compass of Ward Cleaver (Leave it to Beaver, 1957-1963) or Jim Anderson (Father Knows Best, 1954-1960), writers and showrunners grew interested in a different type of family man. With the glossy veneer of fifties’ sugar-pop sitcoms stripped
