In this paper, I examine the early theatrical productions and television dramas of Syrian director, writer, and actor, Durayd Lahham, who created the popular character, Ghawwar al-Toushe. Ghawwar appeared continually in miniseries, films, and theatrical productions of the 1960s through the late 70s. Secular in approach and highly critical of politics, the emphasis in these sarcastic comedies was on an embattled masculinity within the family, which served as a microcosm of the state. I argue that the presence of a frustrated masculinity in marital relations served as a way to critique corruption, dictatorship, and economic hardship. Consider "Day'at Tishrin, written by Lahham and Mohammad al-Maghut and directed by Khaldun al-Malla. Here the lengthy engagement of Zana and Naif, who are never able to marry due to economic marginalization and lost dignity, serves as a potent means of denouncing corruption and the oppressive security apparatus. I also examine the miniseries "Hamam al-Hana," "Sahh al-Naum," and "Milh wa Sukkar," where the emphasis is on the notion of marriage as a prison. While much blame for economic and social malaise is placed on the government, society is also held accountable. The social and political critique of the 60s and 70s laid the foundation for the theme of a desperate, politically disenfranchised masculinity, which has dominated contemporary Syrian cultural production in recent years. Indeed, these issues of disempowerment continue to be used as a critique of corruption within societal relations, as well as the government, which has failed to abdide by promises of social welfare. In "Walada min al-Khaserah" (2011) Jaber, who lives with his wife and daughter on the margins of society, says: "We are treated like animals. I'm not considered a man, since I don't have money." In "Abu Janti, Malek Taxi" (2011), Abu Janti is a poor man, supporting his mother and sister on the scraps he makes as a cab driver. At thirty-five, the idea of marrying has reached the level of impossibility. The constant references to Abu Janti's injured masculinity, his continual encounters with the injustice of the government and police, is not only reminiscent of the character, Ghawwar al-Toushe, but the miniseries is filled with direct references to the pioneering, politically critical work of Durayd Lahham.