Summer is nigh, and with it new seasons of Weeds (June 8), True blood (June 14), and Mad men (August). TubaTV can’t wait, because all these season finales are leaving some serious holes in our week nights.
This month’s triumphant return of Breaking bad — hands down the smartest, funniest, most poignant show on television at the moment — has me wondering whether we aren’t currently experiencing a sort of hangover from the media’s intoxication with all things Latin in the 90s. To wit: when the Botwins trade Agrestic for Ren Mar in the fourth season of Weeds, the previously unproblematic Mexican origin of Nancy’s product suddenly becomes an abiding concern. What troubles Nancy isn’t so much the product itself as the other kinds of commodities being smuggled into the States along with it: namely, underage Central American sex workers. Likewise, the successful production of crystal meth in Breaking bad is represented as being potentially dangerous, but ultimately a matter of how well one understands chemistry. The problem with meth, then, is not on the supply-side: the source of Walt White’s woes is the infrastructure involved in distributing an illegal drug in New Mexico. Latino gangs, that is.
(A quick aside: for all its brilliance, The wire only really alluded to the port of Baltimore as a choice position within a larger, international system of contraband circulation during its second season. The geographical — not to mention material — origin of West Baltimore’s drugs was left un-interrogated. Again, it was the confluence of human trafficking and drug trafficking that prompted the Baltimore PD’s scrutiny of the docks.)
So what Jenji Kohan and Vince Gilligan discover when they unveil their respective commodity-fetishes is not a system of social relations structured around the rational exploitation of productive forces, so much as a series of unproductive corpses. Behind these, a different kind of fetish: the well-worn stereotype of the Mexican bandido. When Weeds begins asking itself where Nancy’s grass comes from, Guillermo transforms from wise-cracking machista to sociopath in under half a season. Similarly, when Walt wants to start wholesaling his meth, he has to deal with Breaking bad‘s resident vato loco, Tuco.
What’s so interesting about this stereotype, though, is that it’s not the exclusive prerogative of xenophobes north of the border. Here’s just one particularly uncanny quote from Ignacio Altamirano’s late 19th century novel El Zarco, which remains a classic of high school curricula in Mexico to this day: “The lowland bandits were cruel, above all. Horrible and superfluous though a cruelty might be, they would commit it, out of instinct, out of brutality, out of the sheer desire to augment the people’s terror and delight in it… [Their] character was extraordinary and exceptional, an explosion of vice, cruelty and infamy the likes of which had never before been seen in Mexico.”
This comparison, restricted though it may be to the level of homology, suggests that the figure of the narco/bandido poses something more than a strictly racial threat, something more than a threat to the national (b)order. I suspect this threat, when coupled to the ego-reducing effects of illegal intoxicants, is rather that of irrationality, in both economic and psychological senses: that is, the unproductive (intoxicated or assassinated) body.
I’ll close these preliminary observations with a challenge: I think it’s time — high time, even — that American television unequivocally cross the US-Mexico border. Rather than being transfixed by the grotesque figure of a Pablo Escobar (as in Vincent Chase’s dismally over-acted vision of “Medellín,”), rather than seeking morbid titillation in the flayed corpse of an American FBI agent (a la Weeds), I think the (liberal, educated, premium-cable watching) American public is ready for a more thoughtful analysis of the political economy that actually sustains international drug trafficking. If you’re reading, HBO, TubaTV has a teleplay for you.