Well you know in a MCU movie, Walter White would never be humanized or made sympathetic that way. So there's a flipside to that.
It's one of the weird things about the superhero genre fiction. In a realistic genre, like the crime genre, we have sympathetic criminals and gangsters - the Corleones, Omar Little, Walter White, Tony Soprano -- but the superhero genre exists on the premise that these are scum who need to be put down, that they are somehow lower or lesser than the heroes.
Tim Burton talked about this with Batman. He said that his problem was that he related to the villains as outsiders and freaks who are fundamentally relatable to the audience in the same way German Expressionist films made its monsters and mad scientists relatable, but for him the problem was that the movie still pivoted on Batman somehow putting them down and the audience cheering him on, and he couldn't quite square that circle and make the audience see things his way. In Batman Returns he manages to express that with Batman as this hypocrite rich guy who's naive and condescending, being rich without having to do all the unethical and dodgy things people actually do in the real world to get rich (represented by Max Schreck), who's backstory and looks won him sympathy denied to Oswald Cobblepot (where his funeral mourned by penguins is genuinely sad and ridiculous at the same time), and where Catwoman has lower resources to enact on her (far more justified) sense of revenge. It's the only time a mainstream superhero movie genuinely deconstructed its character on-screen for realsies, and that movie wasn't liked or respected by fans or critics, and it didn't earn as much money as the first one, and Burton basically stepped down from that.