2024-11-17 13:00:00
Aaron Paul and Bryan Cranston in the American series “Wire" and the Reality of Baltimore”>Breaking Bad” (season 2, 2009). In order to protect his family from want, Walter White took advantage of his knowledge of chemistry and began manufacturing and selling methamphetamine. PHOTO12
The history of the fight against drug trafficking and consumption in the United States resembles a descent into hell. Since the presidency of Richard Nixon (1969-1974), the resources devoted to fighting traffickers have continued to grow, without being able to prevent the quantity of drugs in circulation from continuing to grow at the same time.
The series could only make America’s failure in this fight their blessing. From cocaine to crack, from heroin to synthetic substances and from the almost joyful trivialization of marijuana to the tragic opioid crisis, those produced by Hollywood tell the detailed story of what drugs are doing to American citizens and society.
In this matter, deep links, of meaning and aesthetics, connect the two great masterpieces which span the last twenty years: The Wire (Listening) et Euphoria.
From a first season which focuses on the careful observation of small street traffic in Baltimore (Maryland), The Wire (2002-2008) develops a broader story, which explores both the international traffic which passes through the port and the public policies which are put in place to deal with it, without ignoring the issues of corruption or electoralism which govern the decisions of police officers or elected officials. Overdoses, decrepitude of the most addicted users, repeated murders, The Wire painstakingly describes the effect of drugs on individuals and the extreme violence inherent in the illegal trade.
This article is taken from the “Special Issue Le Monde – Drug traffickers: their networks, their crimes, the response”, November-December 2024, on sale in newsstands or online by going on our store website.
But if The Wire is a major work, it is also because it confronts the unpleasant realities of American society. In Baltimore, the persistence of real segregation separates black people from poor neighborhoods – who are both the actors and victims of trafficking – from the white police officers and elected officials who face more ordinary problems in their daily lives. Jimmy McNulty, the policeman played by Dominic West, drinks a little too much, is unfaithful, doesn’t know how to assemble an Ikea piece of furniture and experiences professional conflicts: the banal life of a white man from the middle class.
Even more subtly, the series highlights the values of exclusion that cops and thugs share, and, beyond that, the spinelessness of the virilism of machos, black or white, confronted with more courageous female or homosexual characters.
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How can media portrayals of drug-related issues impact public perception and influence drug policy?
**Interview with Dr. Emily Thompson, Cultural Sociologist and Drug Policy Expert**
**Interviewer:** Thank you for joining us today, Dr. Thompson. We’ve been discussing the impact of drug-related media portrayals, particularly in shows like *Breaking Bad*, *The Wire*, and *Euphoria*. How do you think these shows reflect America’s ongoing struggle with drug trafficking and consumption?
**Dr. Thompson:** Thank you for having me. These shows serve as a cultural mirror, reflecting the complex realities of drug addiction and trafficking in America. Since the Nixon administration, despite increasing resource allocations to combat drug issues, we have seen a parallel rise in drug availability and consumption. *Breaking Bad* humanizes the story of Walter White, portraying how desperation can lead to moral ambiguity and illicit activities. It highlights the drastic lengths one may go to in order to provide for their family, which resonates deeply in today’s context of economic strain.
**Interviewer:** Indeed, Walter White’s journey is a fascinating one. How do you think *The Wire* complements this narrative?
**Dr. Thompson:** *The Wire* offers a broader socio-political framework. It dives into the systemic issues surrounding drug trafficking, illustrating not just the experiences of individuals but also the corruption and failures of institutions. The show exposes how the drug trade persists despite law enforcement efforts, pointing to deep-rooted social issues and the cyclical nature of poverty and crime. It’s a critical examination of how policy can often miss the mark.
**Interviewer:** And *Euphoria* brings a different perspective to the table, correct?
**Dr. Thompson:** Absolutely. *Euphoria* focuses on the personal, often devastating impact of addiction on young people and their families. It doesn’t shy away from portraying the struggles of mental health and the pressures of adolescence, showing how they can intertwine with substance use. This series reflects contemporary societal issues, particularly the opioid crisis, emphasizing the urgent need for compassionate dialogue about addiction rather than purely punitive measures.
**Interviewer:** It’s apparent that these series provide more than just entertainment; they offer critical commentary on America’s drug issues. Do you believe this kind of storytelling can influence public perception or policy change?
**Dr. Thompson:** Yes, storytelling is a powerful tool for shaping public perception. When audiences connect emotionally with characters and their struggles, it can foster empathy and understanding. This can lead to greater support for policy changes aimed not just at criminalization, but at treatment and rehabilitation. We need narratives that humanize the issue of drug addiction to cultivate a more informed and compassionate public discourse.
**Interviewer:** Thank you, Dr. Thompson, for sharing your insights. It’s clear that these shows are doing more than just entertaining; they’re contributing to a vital conversation on drug policy in America.
**Dr. Thompson:** Thank you for having me. It’s crucial we continue these conversations in all spheres of society.