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 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 are the implications of popular television shows on the public’s understanding of drug policy and addiction?
**Interview with Dr. Emily Wright, Sociologist and Drug Policy Expert**
**Date:** November 17, 2024
**Interviewer:** Alex Chen
**Alex:** Thank you for joining us today, Dr. Wright. The impact of drug trafficking and consumption in the United States has been a critical issue for decades, and it’s fascinating how shows like *Breaking Bad*, *The Wire*, and *Euphoria* have reflected and, in some ways, shaped public perception of this crisis. What are your thoughts on the cultural significance of these series?
**Dr. Wright:** Thank you for having me, Alex. These shows have managed to highlight the complexities of drug addiction and trafficking in a way that’s both entertaining and informative. *Breaking Bad*, for example, presents an individual story of desperation, showing how Walter White’s decline leads him down a dark path. It encapsulates the personal consequences of drug trafficking while also critiquing broader systemic failures.
**Alex:** Speaking of systemic failures, can you elaborate on how series like *The Wire* address the relationship between drug trafficking and public policy?
**Dr. Wright:** Absolutely. *The Wire* stands out for its intricate portrayal of the drug trade in Baltimore, exploring not just individual stories but the structural issues at play. It critiques the policies that have been implemented since Nixon’s War on Drugs, exposing the cycle of corruption and ineffectiveness within law enforcement and government. By examining both the micro and macro levels of the drug crisis, it invites viewers to understand that this is not merely a law enforcement issue but a societal one.
**Alex:** And what about *Euphoria*? How does it fit into this conversation about drug use and youth culture?
**Dr. Wright:** *Euphoria* takes a different approach by focusing on the psychological struggles of young individuals. It portrays the realities of addiction among the youth demographic, capturing the emotional landscapes and pressures they face. This series emphasizes the tragic impact of drugs on personal identity and relationships, showing that addiction often stems from deeper issues rather than just choice or circumstance.
**Alex:** Some might argue that these shows romanticize drug culture. Do you think there’s a risk of glorification, and how do you see their role in public discourse?
**Dr. Wright:** There’s certainly a fine line to tread. While these series are compelling and engage audiences, they can inadvertently glamorize aspects of drug culture, particularly when they portray the excitement or power associated with drug dealing. However, I believe their primary role is to spark conversation and raise awareness. When done thoughtfully, they can encourage viewers to think critically about the real-life implications of drug policies and the human stories behind addiction.
**Alex:** Thank you, Dr. Wright, for sharing your insights. It’s clear that these narratives do more than entertain; they challenge us to confront uncomfortable truths about society and ourselves.
**Dr. Wright:** Thank you, Alex. It’s been a pleasure discussing these important issues with you.