2024-11-17 13:00:00
Bryan Cranston | Aaron-Paul | SKIP-INTRO”>Aaron Paul and Bryan Cranston in the American series “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 crystal meth (“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 its fight against drugs their blessing. From cocaine to crack, from heroin to designer drugs and from the almost joyful trivialization of marijuana to the tragic opioid crisis, Hollywood-produced series detail 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 “Special Issue Le Monde – Drug traffickers: their networks, their crimes, the response”November-December 2024, on sale at kiosks or online by going to 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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What changes in drug policy does Dr. Carter hope to see as a result of the portrayal of addiction in popular media?
**Interview with Dr. Emily Carter, Sociologist and Drug Policy Expert**
**Interviewer:** Thank you for joining us today, Dr. Carter. The recent finale of *Better Call Saul* has sparked discussions about morality and the consequences of one’s actions. How does this tie into the larger narrative presented in series like *Breaking Bad* and *The Wire*?
**Dr. Carter:** Thank you for having me. Both *Better Call Saul* and *Breaking Bad* delve into the moral complexities of their characters’ choices, particularly in the context of drug trafficking. They show how decisions—often made under the guise of necessity—can spiral into tragic consequences. This resonates with real-life issues in America’s ongoing struggle with drug-related problems.
**Interviewer:** Speaking of real-life struggles, the history of drug enforcement in the U.S. has seen significant challenges since Nixon’s presidency. Can you elaborate on how Hollywood has portrayed these complexities?
**Dr. Carter:** Absolutely. Since the late 20th century, we’ve witnessed an increase in crime dramas that reflect societal issues tied to drug trafficking. Shows like *The Wire* not only portray drug trade at a street level but also examine the systemic failures of law enforcement and policy. They reveal a harsh reality where despite increased spending on drug enforcement, the drug crisis proliferates—exposing a paradox that resonates deeply with viewers.
**Interviewer:** Many viewers also see *Euphoria* as a contemporary reflection of youth and drug culture. How does this series compare to the earlier shows in terms of depiction and impact?
**Dr. Carter:** *Euphoria* offers a raw and visually striking portrayal of addiction, focusing on youth and its emotional struggles. Unlike *The Wire*, which provides a macro perspective on systemic issues, *Euphoria* zooms into personal stories, emphasizing the intimate and tragic effects of drug use on individuals. It showcases a more modern heroin epidemic—particularly the opioid crisis affecting younger generations.
**Interviewer:** With shows bringing attention to these issues, what role do you think they play in shaping public perception of drug policy?
**Dr. Carter:** Television has a powerful influence on public opinion. By humanizing the stories of addiction, these series encourage empathy and understanding. They challenge the stigma associated with drug use and add to the conversation about the need for reform in drug policy—shifting from punishment to a more health-oriented approach.
**Interviewer:** with ongoing discussions about legislation and reform, what changes do you hope to see in the future?
**Dr. Carter:** I hope to see a growing acknowledgment that addiction is a public health crisis, not merely a criminal issue. This should lead to increased funding for treatment and harm reduction programs. As storytelling mediums continue to evolve, they have the potential to educate and inspire change at a societal level.
**Interviewer:** Thank you, Dr. Carter, for your insights on these critical issues and their representation in popular media.
**Dr. Carter:** Thank you for having me. It’s important we continue these conversations as both viewers and advocates.