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Gender, Genre, and Seriality in the Wire and Weeds

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Gender, Genre, and Seriality in the Wire and Weeds DEALING WITH DRUGS: GENDER, GENRE, AND SERIALITY IN THE WIRE AND WEEDS By AMY LONG A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2008 Amy Long 2 ACKNOWLEDGMENTS I would like especially to thank my director, Trysh Travis, for her guidance, encouragement, and support throughout the writing process and my time at the University of Florida as a whole. Additionally, my committee members, Florence Babb and Joseph Spillane, deserve thanks for their participation in the project and particularly for, respectively, allowing me to work out some of the ideas presented here in here in her seminar fall 2007, Sex Love & Globalization, and providing me with useful reference materials and guidance. I would also like to thank LaMonda Horton Stallings for giving me the opportunity to develop substantial portions of my chapter on The Wire in her fall 2007 seminar, Theoretical Approaches to Black Popular Culture. In her spring 2008 seminar, History of Masculinities, Louise Newman also provided me with valuable theoretical resources, particularly with regard to the thesis’ first chapter. Mallory Szymanski, my Women’s Studies colleague, deserves acknowledgement for her role in making the last two years enjoyable and productive, particularly during the thesis writing process. I would also like to thank my parents for their support in all my endeavors. Lastly, my sisters, Beverly and Cassie Long, and friends who are too numerous to name (but know who they are) deserve special acknowledgment for giving me much needed diversions and generally putting up with me during this busy time. 3 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................3 ABSTRACT.....................................................................................................................................6 CHAPTER 1 INTRODUCTION ....................................................................................................................8 Genre Overview: Generic Discourses and Drug Dealing Narratives .....................................11 Project Overview: The Wire, Weeds, and the Drug Dealing Genre........................................15 Notes.......................................................................................................................................18 2 GENDER AND THE DRUG DEALING GENRE: HEGEMONIC MASCULINITY AND CAPITALIST LEGITIMACY IN DRUG DEALING NARRATIVES .......................20 Gendered Expansion: Hegemonic Masculinity and the Emergence of Global Drug Markets................................................................................................................................22 Gender and Genre: Drug Discourses and the Prehistory of Dealing Narratives ....................29 Drug Dealers as Self-Made Men: Race, Gender, and Capitalism in the Dealing Genre........37 Resistant Strains: The Wire, Weeds, and Drug Dealing on Post-Network Television ...........50 Notes.......................................................................................................................................52 3 “AND ALL THE PIECES MATTER”: THE WIRE’S SERIALIZED SUBVERSION OF THE DRUG DEALING GENRE.....................................................................................57 “Swear to God, it isn’t a Cop Show”: Situating The Wire in the Televisual Landscape........62 “Everything is Connected”: The Wire, Puzzle Logic, and Generic Subversion.....................67 “All in the Game”: Seriality, Materiality, and Late Capitalist Masculinity ...........................73 Conclusion ..............................................................................................................................84 Notes.......................................................................................................................................86 4 “DEALING IN THE SUBURBS”: GENDER, RACE, AND SERIALIZED SUBVERSION IN WEEDS....................................................................................................93 “Little Boxes on the Hillside”: Situating Weeds in the Televisual Landscape.......................96 “Mrs. Botwin’s Neighborhood”: Sitcom Serialization in Suburbia .....................................101 “I’m Not a Dealer; I’m a Mother”: White Privilege, Symbolic Fatherhood, and Dealing Identity in Weeds...............................................................................................................105 “Nobody’s Bitch Anymore”: From Mother to Gangster in Weeds’ Third Season...............111 Conclusion ............................................................................................................................122 Notes.....................................................................................................................................123 4 5 CONCLUSION.....................................................................................................................132 The Post-Network Era, “Pay Cable Chauvinism,” and Drug Dealing Narratives: Situating Generic Subversion in the Televisual Landscape..............................................134 Conclusion ............................................................................................................................139 Notes.....................................................................................................................................141 REFERENCES ............................................................................................................................144 BIOGRAPHICAL SKETCH .......................................................................................................154 5 Abstract of Thesis Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Arts DEALING WITH DRUGS: GENDER, GENRE, AND SERIALITY IN THE WIRE AND WEEDS By Amy Long May 2008 Chair: Trysh Travis Major: Women’s Studies Since its emergence during the formative years of modern, global capitalism in the fifteenth, sixteenth, and seventeenth centuries, drug distribution has historically worked to cement the hegemonic status of white, capitalist masculinities and marginalize those of racial/ethnic “others.” Although historians and cultural studies scholars have explored the various ways in which discourses about illicit substances have circulated within cultures at particular historical moments, little attention has been paid to the figure of the drug dealer within fictional narratives. Here, I focus on this figure’s development and his representations across a range of texts residing in what I call the “drug dealing genre.” Typically, generic texts work to confer upon the legitimate capitalist economy the meanings that many of its adherents find lacking by emphasizing drug dealing’s failure to provide its practitioners with the self-made masculinities they attempt to achieve. However, two recent television shows that center on drug dealing–HBO’s The Wire (2002-2008) and Showtime’s Weeds (2005-present)–significantly subvert the genre’s conventions by turning its established tropes in on themselves to critique rather than validate legitimate capitalism through the lens of drug dealing. While The Wire uses depictions of its characters’ masculinities to illuminate the connections that exist between licit and illicit 6 economies, Weeds portrays its female protagonist’s illicit career choice as particularly suitable to the production of an autonomous identity, thus validating drug dealing at licit capitalism’s expense. Situating The Wire and Weeds within the drug dealing genre, examining their serialized structures, considering their locations on premium cable, and providing close readings of their narratives, I explore the nature and implications of both shows’ generic subversions. 7 CHAPTER 1 INTRODUCTION Scholars have written relatively extensively on the various ways that ideas about drugs are produced and perpetuated through particular sets of discourses concerning drug use, addiction, interdiction, and distribution. Drug historians have explored the numerous ways in which these discourses have been put to use to create and naturalize uneven distributions of social, economic, and even global power.1 Cultural studies practitioners have looked at the ways in which the intensely gendered, racialized, class-based, and nationalistic ideas that circulate around drugs are reflected and refracted in literature, film, and other media.2 Ethnographers have written about drug users and addicts and, particularly within the last two decades, examined the inner-workings of drug dealing organizations and the inner lives of those who operate within them. More specifically, social scientists and anthropologists have begun to recognize and articulate similarities between the structures and operations of drug dealing organizations, economies, and practices and “legitimate” or legal capitalist enterprises. For example, in their study of middle-market drug distribution in the UK, criminologist Geoffrey Pearson and sociologist Dick Hobbs outline the complex organizational hierarchies along which dealing organizations are structured, discussing them in terms similar to those that might be used to describe licit business organizations.3 Sociologist Patricia Adler refers to her drug trafficking informants as “American
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