[Ed. note: Hey, the protagonist’s name is White.]
If you judged by TV and movies alone, you’d think “pure” drugs were seeping out of American society’s every pore, along with hot doctors and secret agents gone rogue. Even if suburban 15-year-olds don’t ask their dealers for THC percentages after seeing Oliver Stone’s Savages — and smart money says some of them are — craft beer isn’t the only boutique intoxicant buzzing around the nation’s subconscious. In the shadow of the high-fructose-corn-syrup backlash, everyone from the Olive Garden to the proverbial Brooklyn popsicle startup is trying to cash in on craftsmanship. Meanwhile, screenwriters (clever advertisers in their own right) have found that the easiest way to hook viewers on drug-dealer protagonists is to sell crack as small-batch artisanal rock cocaine….
The drug world is a convenient setting for selling white supremacy because it allows for a white underdog in an openly racialized conflict. Besides the War on Terror, there aren’t a lot of other scenarios in which it’s possible to root for the particularly American cocktail of meritocracy, the little guy, the good guy, and the white guy, all at the same time. Put it this way: A show about a small American toy manufacturer laying waste to the villainous and inferior Mexican industry would be such a transparent and reactionary play on post-NAFTA anxieties that no luxury advertiser would dare sponsor it.