2024-11-17 13:00:00
Aaron Paul and Bryan Cranston in the American series “The 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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**Interview with Dr. Emily Hart, Drug Policy Expert**
**Interviewer:** Thank you for joining us today, Dr. Hart. As an expert in drug policy, how do you view the portrayal of drug-related issues in series like *Breaking Bad* compared to real-life challenges in the fight against drug trafficking?
**Dr. Emily Hart:** Thank you for having me. *Breaking Bad* offers a compelling narrative that highlights the complexities of drug trafficking and its impact on individuals and families. Walter White’s descent into the methamphetamine trade illustrates how desperate circumstances can lead one to take extreme measures. This resonates with real-life stories, particularly how economic hardship often drives individuals into drug production or distribution.
**Interviewer:** The series is often praised for its character development and moral ambiguity. In the context of the U.S. drug crisis, do you think this kind of storytelling can influence public perception and policy?
**Dr. Emily Hart:** Absolutely. Hollywood often shapes cultural narratives, and shows like *Breaking Bad* and *The Wire* humanize the struggles within the drug trade. They force viewers to confront the reality of addiction, the failures of policy, and the societal impacts of drugs. Such narratives can foster empathy, but they also risk oversimplifying the issues or romanticizing the drug trade, which is something we must be wary of.
**Interviewer:** You mentioned *The Wire* as well. How do you see the connection between these two series in their treatment of drug-related themes?
**Dr. Emily Hart:** Both *The Wire* and *Breaking Bad* provide a critical lens on the failures of the American system. While *The Wire* offers a more systemic view of drug policies and their repercussions in Baltimore, *Breaking Bad* focuses on the personal journey of an individual caught in that larger narrative. Together, they represent different but complementary facets of the drug crisis, linking personal choices to systemic failures.
**Interviewer:** Given the challenges you outlined, what do you think needs to change in the approach to drug policy in the United States?
**Dr. Emily Hart:** We need a paradigm shift from punitive measures to a more health-centered approach. This includes increased access to treatment for addiction, mental health support, and harm reduction strategies. The war on drugs has been largely ineffective, and it’s time for a more nuanced understanding that considers socioeconomic factors and prioritizes rehabilitation over incarceration.
**Interviewer:** Thank you, Dr. Hart. Your insights offer valuable context to the ongoing conversation about drugs in America and the role that popular media plays in shaping public opinion.
**Dr. Emily Hart:** Thank you for having me. It’s crucial that we keep discussing these issues, especially as they continue to evolve in our society.
