This paper critically analyzes the phenomenon of the antihero, using the series Breaking Bad as a cultural product and a paradigmatic example of a Western narrative in which this phenomenon gained popularity. The concept of the antihero is becoming increasingly prevalent in postmodern products of the film and TV industry, intriguing viewers in a unique manner and fostering identification with these characters. To explain this phenomenon, a cultural approach to the series has been chosen, viewing it as a cultural product embedded within the circuit of culture. Therefore, it undergoes stages of production, consumption, regulation, representation, and identification. Moreover, while treating the mentioned series as a prime example of a Western narrative, there will be a discussion about various other cultural phenomena that (un)consciously resonate with viewers, rendering this seemingly unconventional concept of the antihero appealing. This paper, utilizing reception theory, delves into Breaking Bad to analyze the antihero phenomenon, while employing a narrative and discursive analysis, as well as a case study, to provide a holistic view of the antihero's cultural impact. Notably, the study refrains from direct audience engagement or extensive surveys. Instead, it dissects narrative elements, production techniques, and societal contexts, all while spotlighting diverse readings within the show. Utilizing Hall's reception theory and contextualizing the discussion within Western narratives and postmodernism, this paper explores the emergence and allure of the antiheroic archetype, illuminates how Breaking Bad introduced and popularized the antiheroic character of Walter White, all while focusing on the ethical and moral dilemmas within the series, its socio-political commentary, and its interaction with audience interpretations.