Generational Masculinities: Fathers, Sons, Violence in "Welcome to Bulletville"

The first season of FX's breakout show with masculine viewers came to a close last night. Using the spare, lean prose stylings of Elmore Leonard and the contemporary questions and crisis of determining American masculinity in the 21st century; Justified demonstrates that is not simply actions but also feelings and levels of connectivity that impact the formation of masculine identities.

While some critics and viewers complained early on that this show was a throwback to older models of television where serialized narratives were not the focus, I would argue this finale demonstrates how the notion of single and long form arcs can be successfully married. Yet, it is not only the narrative structure but the superb acting in this series that sets it apart from many other television shows today.

In previous posts I have argued that the show is a Western for the 21st century, a point which Alan Sepinwall highlights in his recent write-up of the finale. However, what makes this Western narrative different I believe is that the hero is not easily definable, nor are the bad guys which is refreshing at a time when so many people believe that the world is a simple place. In the space of this narrative and its setting Harlan, Kentucky there are no easy answers. What the show excels at is showing that place impacts identity formation along with economic, religious, political and feelings toward diversity.

In the case of Raylan, who's father Arlo (brilliantly played by Raymond J. Barry) is a career criminal and a man who thinks only of himself and his economic fortunes there was no other option for Raylan than to be a deeply cynical and violent man. Arlo's deviousness and greed separate him from Raylan's sometimes tender and soulful side, an element of his character it would seems he developed from his dead mother. Despite all his hatred, fear, and mistrust of Arlo, Raylan shows that perhaps there is some level of feeling towards his father. Arlo is a veteran of the Vietnam war and a model of traditional masculinity with his penchant for drinking, violence, and silence while Raylan often tries to work through his problems by sharing his feelings but only in those moments where he feels safe.

Boyd Crowder (Walton Goggins) like Raylan is a man who struggles to determine his place within the world. Yet, where Raylan finds solace in the law Boyd finds it in his devotion to Christianity that is until his real father, Bo Crowder (M.C. Gainey) also a career criminal tests his faith and patience. After Bo murders all of Boyd's followers in the finale and strings them from the trees we see Boyd standing amidst the carnage with rage and confusion on his face. As he buries these wayward souls whom he has grown to love doubt seeps into his heart as he asks God for a sign to explain his actions. In some ways Boyd's creepy conversion is reminiscent of Robert Mitchum's character in Night of the Hunter.

The lessons learned by these two men from their fathers comes to fruition in this episode as each struggle to deal with a legacy of violence, deceit, and greed. Raylan shoots Arlo in the arm when Arlo chooses Bo and his business over his son- thereby ending the possibility of the two mending their relationship, as Raylan tells Arlo don't call me that (when Arlo calls him son). Boyd blows up his father's meth shipment and then pulls a gun on him only to watch as the Miami cartel boss Gio's niece and nephew kill Bo in front of him. Both men face the reality of their father's sins head on, but Boyd is shaken by his father's death while Raylan is shown to be a man with "ice in his veins" as he battles the cartel while hunkered down in Bo's cabin.

In the end, when Raylan stands with his gun aimed at Boyd as he drives away and chooses to let him go we are left with the realization that throughout all the chaos of this season there is one relationship that matters and that is between Raylan and Boyd. Boyd calls Raylan his last friend and Raylan watches him leave. In this moment it seems that the show is arguing that the sins of the fathers do not have to be passed on to the sons.