The image of the American woman has gone through several upheavals since the 1950s, but the masculine ideal seems fixed in cultural aspic: Think slick ad executive Don Draper in Mad Men and the WWII heroes in the Tom Hanks-produced HBO series The Pacific. So his confused, paralyzed counterpart is cropping up in ever-more variations on TV and in movies: the omega male.
In the social hierarchy of a wolf pack in captivity, the omega ranks below the alpha and beta wolves. In human terms, if an executive or a warrior is an alpha male and a nice-guy middle manager like The Office’s Jim Halpert is a beta male, then Greenberg and his brethren are omega males. While the alpha male wants to dominate and the beta male just wants to get by, the omega male has either opted out or, if he used to try, given up. Greenberg says of his somewhat stunted best friend, “We call each other ‘man,’ but it’s a joke. It’s like imitating other people.” The omega male is not experiencing the tired trope of the midlife crisis. A midlife crisis implies agency, a man who has the job and the family and chooses to reject it. The omega male doesn’t have the power to reject anything—he’s the one who has been brushed off. He’s generally unemployed, and his romantic relationships are in shambles—he’s either single or, if he’s married, not happy about it. “I’m doing nothing and I’m tied to no one,” Greenberg boasts.
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