Pregnant Lori Grimes (Sarah Wayne Callies) felt her demise in “The Walking Dead.”

NEW YORK — Even by the gruesome standards of AMC’s zombie megahit “The Walking Dead,” the death of Lori Grimes, the heavily pregnant wife of protagonist Rick Grimes, was unusually brutal: a crude prison-floor C-section followed by a bullet to the head dispatched by her young son, Carl.

Yet many viewers greeted the development not with despair or horror but with a sadistic kind of glee, flocking to Twitter, Facebook and online comment threads to post heartwarming eulogies like this one: “Lori left The Walking Dead the same way she came in. With her pants off.”

The incongruous reaction to Lori’s demise in the Nov. 4 episode fits in with a broader trend at AMC, where unpopular first wives have become a network hallmark in the same way incest plot lines and gratuitous female nudity have at HBO.

In addition to Lori, there’s Betty, the long-suffering spouse (and now ex) of “Mad Men’s” Don Draper, and Skyler, currently trapped in what may be the most miserable marriage in television history to Walter White, the high school chemistry teacher turned crystal meth kingpin at the center of “Breaking Bad.”

Lori’s bloody end capped off a particularly rough year for AMC’s first wives club. When the once-svelte Betty showed up at the beginning of “Mad Men’s” fifth season carrying 50 or so pounds of extra weight, “Fat Betty” became an instant meme. Similarly, when Skyler plunged into her pool in a desperate cry for help this summer on “Breaking Bad,” her detractors wondered aloud why she didn’t just drown herself already.

Whether it’s a problem built into the antihero drama, a reaction to haphazard character development or just plain old-fashioned sexism, wife-bashing is for many viewers an integral part of the AMC experience. Even professional TV-watchers have joined in the hate: In her recap of Lori’s farewell episode, Vulture writer Starlee Kine declared, “Take that, Fat Betty; that is how you ‘correct’ an unlikable character.”

All three women face difficulties that by any reasonable measure ought to elicit our sympathy, from borderline psychopathic spouses to the ever-present threat of flesh-eating zombies. Yet Lori, Betty and Skyler have all committed minor sins that make them wholly unsympathetic — or at least “annoying” — to certain viewers: They’ve each slept with men other than their husbands, made parenting mistakes, and, perhaps worst of all, gotten in the way of their partner’s bad behavior.

“There’s a narrative challenge to doing stories about male criminals or men who have an exciting violence to them: It’s how to handle the women in their lives,” explained Emily Nussbaum, TV critic for the New Yorker. “You’re rooting for the antiheroes in this really complicated, libidinal, charge-up, cathartic, taboo way.”

Shows like “Breaking Bad” encourage viewers to relate to men who do truly unspeakable things (poisoning children) while judging their wives for much smaller transgressions (retaliatory affairs). If they stand up to the men in their lives, they’re irritating obstacles; if they don’t, they’re hypocritical colluders. See also: Soprano, Carmela.

“These women are called upon to provide the drama, to serve as roadblocks that the male protagonist has to get around,” said Anna Holmes, founder of the feminist website Jezebel.com.

And because television is still written predominantly by men, about men, even the most forward-thinking writers will resort to a certain shorthand when it comes to female characters, says Alyssa Rosenberg, a TV columnist at Slate and the Atlantic. “Skyler nags, Betty is cold and personality-less. Lori is lame and stupid enough to get pregnant during an apocalypse.”

Ultimately the biggest problem for the wives of AMC may also be the most intractable: “Women are socialized to identify with both male and female protagonists, but I don’t think men are socialized to identify with female protagonists. When they are asked to do so, they rebel,” argued Holmes.

While this may be true, women are among the most vocal AMC wife-bashers out there, especially when it comes to poor old Betty. And with the rise of troubled female leads like Carrie Mathison on “Homeland” or Hannah Horvath on “Girls,” the language of television is gradually beginning to change, Nussbaum says.

“It doesn’t have to be this kind of toggle switch between somebody who’s empowering and somebody who’s annoying. Once you open up the floodgates to bad female behavior, it’s good for everyone.”