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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How does Dr. Emily Carter perceive the relationship between popular media portrayals of drug culture and public understanding of addiction and trafficking?
**Interview with Dr. Emily Carter, Sociologist and Cultural Critic**
**Interviewer:** Thank you for joining us, Dr. Carter. We’re here to discuss the portrayal of drug culture in popular media, particularly through works like *Breaking Bad*, *The Wire*, and *Euphoria*. What impact do you think these series have on the public’s perception of drug trafficking and abuse?
**Dr. Carter:** Thank you for having me. It’s crucial to understand that these shows serve not only as entertainment but also as a commentary on America’s ongoing struggle with drug-related issues. *Breaking Bad* exemplifies how personal circumstances can lead someone down a dark path, using Walter White’s transformation from a high school teacher to a meth manufacturer as a case study. This narrative connects deeply with the realities of many who feel trapped by their socioeconomic status.
**Interviewer:** In your opinion, how do these series reflect the failure of the war on drugs in the U.S.?
**Dr. Carter:** That’s a key point. Since Nixon’s presidency, the war on drugs has seen increased funding without significant decreases in drug availability or the rate of addiction. Shows like *The Wire* provide a platform for exploring the complexities of this issue—addressing not just the drug users but the systemic problems, including corruption and socioeconomic factors, that perpetuate this cycle.
**Interviewer:** You mentioned *Euphoria* in your analysis. How does it differ in its approach compared to *Breaking Bad* and *The Wire*?
**Dr. Carter:** *Euphoria* focuses primarily on the experiences of youth and their struggles with identity, addiction, and trauma. It brings a contemporary, raw perspective on drug use that resonates with younger audiences, examining the emotional and psychological implications rather than just the external consequences. While *Breaking Bad* and *The Wire* are more grounded in crime and the drug trade, *Euphoria* dives into the individual emotional landscapes of its characters, highlighting the vulnerabilities of a different generation.
**Interviewer:** Considering the recent surge in media focusing on drug culture, do you believe it will encourage a more profound discussion about substance abuse and addiction in society?
**Dr. Carter:** Absolutely. These narratives not only shed light on the severity of the problem but also foster empathy and understanding. By humanizing the struggles of individuals, these shows can challenge stigmas surrounding addiction and encourage viewers to think critically about the societal structures that contribute to drug problems. As more people engage with these stories, it paves the way for important conversations about policy reform, public health approaches, and the need for more comprehensive support systems for those affected by addiction.
**Interviewer:** Lastly, what do you hope audiences take away from these impactful narratives?
**Dr. Carter:** I hope audiences leave with a sense of urgency and responsibility. Understanding that these issues are not just fictional stories but reflections of real-life struggles encourages societal empathy and action. Art has the power to influence, and through engaging with these narratives, we can drive meaningful conversations that lead to real change.
**Interviewer:** Thank you, Dr. Carter, for your insights!
**Dr. Carter:** Thank you for having me!
