“Nuhr im Erste” (ARD): The old white man is back

The cabaret show “Nuhr im Erste” with Dieter Nuhr (ARD) is back from summer vacation. And he just walks out of it. TV review.

FRANKFURT – Dieter Nuhr is back from summer vacation. And a lot has been made of the holiday with host Nuhar. What happened during the long summer vacation? Discussion about cultural appropriation – keywords: dreadlocks, Karl May, winneto – and the gender-neutral language that the old white man hates so much. All this without allowing host Nuhar to comment on it every week during prime time on ARD. To Nuhar, who luckily didn’t understand how Twitter works, it must have felt like censorship.

From the very first seconds, it only pops out from Dieter Knuhr: his minute-long greeting becomes a series of apparently defensive jokes about social debate and gender-appropriate language and the awakening in Karl May’s “Vinteau” novels. . The host, with wide-open eyes, frantically stutters into the camera the inconsistent punch lines of the “Chicken: Inner Filet” quality class for several minutes. Everyone should know that the 61 year old man is misunderstood and is not even ready to reflect on himself and his behavior. The cabaret artist doesn’t care that in three minutes he tramples down everything that people stand for that points to the structural discrimination of marginalized groups and who want to be treated more respectfully in society. Huh.

Dieter Nuhr on ARD: Unfiltered crap you’re not allowed to say

Instead, the old white man on the cabaret stage shouted “You can’t say anything else!” with his audience. tries to unite under the prevailing spirit of And Dieter Nuhr manages to do this, at least in the television studio, while recording his shows. This is even more impressive in a morbid way: because while Dieter Nuhr is presenting the entire sermon to his audience, which is not allowed to be said today, everyone involved is still in a television studio where the recording is being done. . And so, in the 15th season, the minor cast of the Lower Rhine and their guests are allowed to stutter their crap on ARD cameras for 45 minutes each week on prime time. And it’s “you can’t say anything more!” Not the exact opposite of censorship. It is also a fire hazard.

Because Nuhar uses her show and her reach to despise the most vulnerable in our society. When he says “mindfulness is the order of the day now” with regard to inclusive language, he does so to discredit the issue. Dieter Nuhr deliberately creates a frame that scientifically questions the approach of intersectionality. For a cabaret artist, making non-discriminatory language is just a lifestyle. So he frames it with the word “mindfulness” and wants to give the impression that the anti-discrimination act is nothing more than an expression of Instagram “hygge” propaganda with sunset pictures accompanied by a motivational slogan.

Dieter Knuhr (ARD) knows once again: “Dreadlocks arise from a lack of personal hygiene”

Coming into this narrative about lifestyle, Dieter Nuhr no longer needs to question himself and his status as an old white man. He may no longer be able to do this as he boasts about the subject in his show “Nuhr im Erste”. For the rest of the evening there is a satire about the “postcolonial educational horror” and the stylization of Carl May’s “Vinteau” books with genuine educational added value.

Nuhar also has to talk about the dreadlocks. In his eyes, these do not represent cultural appropriation: “You are not suitable dreadlocks, they are the result of not taking care of your body”. And instead of the subject, where Nuhr can actually make a valid point—for example that tangled hair is just tangled hair—he gets offended by a possibly remotely justified critique of the discourse. Instead, he disqualifies himself by comparing the criticism of long-haired people by older Nazi cadres in the 1970s with today’s discourse on cultural appropriation.

Dieter Nuhr on ARD: treacherous and inhuman

The argument is as deadly as it is dehumanizing: Nuhr’s reflection on non-discriminatory language and social structures against a colonial background equates it with a fascist ideology responsible for the Holocaust. The fact that Dieter Knuhr also begins to speak of “racism against whites” in this context is not only a relativism of the works of the Third Reich, but also shows how much cabaret artists hate a cosmopolitan and pluralistic society. does. (Moritz Post)