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„There Are No Second Acts in American Lives“

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„There Are No Second Acts in American Lives“ ELISABETH K. PAEFGEN „THERE ARE NO SECOND ACTS IN AMERICAN LIVES“ THE WIRE DEUTSCHER TITEL: The Wire SENDER: HBO (USA); FOX Channel (Deutschland) EPISODEN: 60 in 5 Staffeln AUSSTRAHLUNGSZEITRAUM USA: 2. Juni 2002 bis 9. März 2008 AUSSTRAHLUNGSZEITRAUM DEUTSCHLAND: 9. September 2008 bis 4. Juni 2010 VERANTWORTLICHER AUTOR UND PRODUZENT: David Simon, Ed Burns HAUPTDARSTELLER: Jermaine Crawford (Duquan ‚Dukie‘ Weems), Idris Elba (Russell ,Stringer‘ Bell), Maestro Harrell (Randy Wagstaff), Wood Harris (Avon Barksdale), Jamie Hector (Marlo Stanfi eld), Clark Johnson (Augustus ‚Gus‘ Haynes), Julito McCullum (Na- mond Brice), Felicia Pearson (Felicia ,Snoop‘ Peters), Clarke Peters (Lester Freamon), Wendell Pierce (William ‚Bunk‘ Moreland), Lance Reddick (Cedric Daniels), Andre Rojo (Reginald ,Bubbles‘ Cousins), Jim True-Frost (Roland ‚Prez‘ Pryzbylewski), Dominic West (James ‚Jimmy‘ McNulty), Tristan Wilds (Michael Lee), Michael K. Williams (Omar Litt- le), Robert Wisdom (Howard ‚Bunny‘ Colvin) 1. It’s (not) Baltimore! In der letzten Folge der fünften Staff el, kurz bevor THE WIRE endet,1 werden un- vermittelt und unbegründet zwölf Aufnahmen der Stadt Baltimore eingeblendet, von denen einige die Stadt an der amerikanischen Ostküste in einer fast schon kit- schigen ‚Postkartenschönheit‘ zeigen: eine Skyline mit einer ausgefranst sich aus- breitenden Sonne am rechten Bildrand; die stahlblaue Nachtaufnahme einer Straße mit einem kleinen roten Mond im Hintergrund; ein Bürogebäude bei Nacht mit dem Logo der in Baltimore erscheinenden Tageszeitung auf dem Dach; das Halb- rund einer golden strahlenden Sonne mit dem ebenso strahlenden Schriftzug ‚Th e Sun‘; der obere Teil eines Gebäudes, über dem ein noch größerer, noch auff älligerer roter Mond steht (während im Vordergrund ein rotes Stoppschild an den Alltag 1 Ich danke Kevin Vennemann für die (nachhaltige) Anregung, THE WIRE zu schauen; für zahllose THE WIRE-Gespräche, die alle in der einen oder anderen Weise in diesen Text ein- geflossen sind, danke ich ebenfalls Kevin Vennemann sowie Dustin Breitenwischer und Thomas Morsch. – In leichter Abwandlung fällt der im Titel zitierte Ausspruch während einer Diskussion von Gefängnisinsassen über F. Scott Fitzgeralds 1925 erschienenen Ro- man The Great Gatsby (THE WIRE, 2:06). FF5690-Breitenwischer.indd5690-Breitenwischer.indd 115151 118.03.148.03.14 111:271:27 152 ELISABETH K. PAEFGEN erinnert); und die letzte Aufnahme dieser Serie, die sich nicht scheut, eine knallro- te Sonne im Meer versinken zu lassen, während weit im Hintergrund eine Indus- trieanlage zu erkennen ist.2 Und wenngleich die anderen Aufnahmen Mond und Sonne vermeiden, so wird in dieser Bildsequenz ein anderes Baltimore gezeigt, als wir es zumeist in der Serie zu sehen bekommen haben: Gezeigt wird eine ‚normale‘ amerikanische Großstadt mit Hochhäusern, Straßenverkehr und Reihenhäusern in der besonderen, gerade Städten eigenen überraschenden Schönheit. Unmittelbar vor und nach diesen Stadtbildern geht es um einige der (ungeheuren) Lügenge- schichten, mit denen besonders die fünfte Staff el operiert und die zwar für den Zu- schauer, nicht aber für alle intradiegetisch Beteiligten aufgeklärt werden. Sprechen die Stadtbilder im Unterschied dazu die ‚Wahrheit‘? Sollen sie einen Kontrast bil- den zu den zweifelhaften Aktivitäten der Politiker, Redakteure, Polizisten? Oder sollen sie eine halbe Stunde vor Ende der Serie den Zuschauer noch einmal an den Ort erinnern, an dem die Serie spielt, und zwar in einer Weise, wie er während der weitaus meisten Episoden selten oder nie gezeigt wird?3 Auch wenn diese Fragen nicht zu beantworten sind, fällt dieser fast extradiegetische Kommentar an dieser Stelle auf, der noch einmal eine örtliche Verankerung dieser Serie bildmächtig mar- kiert. Keine der anderen ‚großen Fernseherzählungen‘ nach 2000 hat sich so eng an einen Ort gebunden und wird mit diesem derart identifi ziert. THE WIRE spielt in Baltimore.4 Die Stadt ist ein weiterer Mitspieler dieser Serie, der – wie die zahllosen anderen Charaktere –5 seinen eigenen Part in diesem Er- zählkosmos beansprucht.6 Sehr oft fallen Sätze wie ‚that’s Baltimore‘, wenn auf ver- fi lzte Strukturen, politische Machenschaften oder fi nanzielle Engpässe hingewiesen werden soll.7 Wieder und wieder werden Straßennamen genannt, die auf dem 2 Vgl. dazu auch Daniel Eschkötter: „Baltimore: fait social total. Was THE WIRE war“, in: Cargo, Jg. 2 (2009),H. 1, S.64-68, hier: S. 64. 3 Vielleicht sollen diese Bilder auch eine Botschaft wie diese senden: „THE WIRE insists that cities like Baltimore are still worth attempts at real renewal.“ (Peter Clanfield: „‚We Ain’t Got No Yard‘: Crime, Development, and Urban Environment“, in: Tiffany Potter und C.W. Marshall (Hrsg.): THE WIRE: Urban Decay and American Television, New York und London 2009, S. 37-49, hier: S. 49). 4 Darauf weisen schon die Titel einiger Aufsätze hin; vgl. zum Beispiel Afaa M. Weaver: „Bal- timore before THE WIRE“, in: Potter/Marshall: THE WIRE, S. 15-22 sowie David M. Alff: „Yesterday’s Tomorrow Today: Baltimore and the Promise of Reform“, in: Potter/Marshall: THE WIRE, S. 23-36. – „Eine Stadt, die inzwischen vor allem vom Dienstleistungssektor lebt und alte Hafengegenden hat, die zu Luxusbauprojekten werden, und große Stadtberei- che, deren vornehmlich schwarze Bevölkerung verarmt ist. In den Stadtgeschichten findet THE WIRE Material und Protagonisten. Ein ‚ethos of a second-tier city‘, der zweitrangigen Stadt, artikuliert sich in der Serie.“ (Daniel Eschkötter: THE WIRE, Zürich 2012, S. 13). 5 Fredric Jameson: „Realisms and Utopia in THE WIRE“, in: Criticism, Jg. 52 (2010), H. 3/4, S. 359-372, hier: S. 359. 6 „Baltimore is not just setting and backdrop, but subject and fabric for THE WIRE […].“ (Clanfield: „‚We Ain’t Got No Yard‘“, S. 41). 7 Vgl. dazu auch: Marsha Kinder: „Rewiring Baltimore: The Emotive Power of Systemics, Seriality, and the City“, in: Liam Kennedy und Stephen Shapiro (Hrsg.): THE WIRE: Race, FF5690-Breitenwischer.indd5690-Breitenwischer.indd 115252 118.03.148.03.14 111:271:27.
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