Richard Gadd’s ‘Half Man’: A Dark, Brilliant HBO Drama on Brotherhood and Masculinity

“We’re family now,” a character remarks early in the premiere of ‘Half Man’, Richard Gadd’s newest series. “That’s all that matters.” The impact of that statement will define and shape the relationship between two brothers for decades to come.

Gadd’s follow-up to the critically acclaimed and award-winning Netflix series ‘Baby Reindeer’ sees the Scottish writer, actor, and creator take his signature dark storytelling to HBO in a co-production with the BBC. The six-episode miniseries (all episodes were provided to critics ahead of time) weaves an expansive narrative about masculinity, family, and the burdens of identity.

Brothers Bound by Codependence and Conflict

The narrative framework of ‘Half Man’ centers on the lifelong relationship between Niall (Jamie Bell) and his brother Ruben (Richard Gadd). On Niall’s wedding day, Ruben’s sudden return threatens to upend the celebration. As the wedding unfolds, flashbacks reveal how the brothers’ 30-year journey—filled with trials and tribulations—led to their estrangement.

In the 1980s, Niall (played in his younger years by Mitchell Robertson) and Ruben (Stuart Campbell) face a life-altering change when their mothers begin a relationship and move in together. Niall, a bullied and introverted boy, is shocked to learn he’ll share a home with Ruben, who has just been released from a two-year juvenile detention sentence.

Ruben quickly asserts dominance, tossing Niall’s beloved ‘Doctor Who’ books aside and reshaping their shared space. Yet, his presence has an unexpected silver lining: the school bullies who once tormented Niall now hesitate, fearing Ruben’s retaliation. What begins as a line about family—“We’re family now”—evolves into an all-consuming codependence between the brothers.

‘Half Man’ as a Mirror of Toxic Masculinity

As the series progresses, it becomes clear that Niall and Ruben are two halves of the same whole—“half men” who cannot function independently. ‘Half Man’ emerges as a rich exploration of the pitfalls of masculinity, dissecting the self-loathing men often harbor when societal expectations demand specific behaviors.

The series never utters the phrase “toxic masculinity,” yet it delves deeply into the struggles of young men grappling with these pressures. Gadd’s script meticulously layers the identities of Niall, who wrestles with self-acceptance, and Ruben, whose anger masks vulnerability. The societal pressures of each era—from the 1980s to modern times—serve as the backdrop for their respective battles, grounding the narrative in realism without drawing attention to itself.

Repetition and Depth in Gadd’s Storytelling

While ‘Half Man’ excels in its character-driven depth, some viewers may find Gadd’s exploration repetitive as the brothers’ lives unfold. Their cyclical patterns of conflict and reconciliation highlight the inescapable nature of their bond, but the repetition occasionally dilutes the series’ momentum.

Despite this, Gadd’s direction and writing remain viscerally brilliant, offering a haunting portrait of brotherhood and the societal expectations that shape men’s lives.