“Nuhr im Erste”, the cabaret show with Dieter Nuhr on ARD, is back from the summer break. The TV review.
Frankfurt – Dieter Nuhr is back from the summer break. And a lot has built up over the days off with host Nuhr. What happened during the long summer break? Discussions about cultural appropriations – keywords: dreadlocks, Karl May, Winnetou – and the gender-neutral language so hated by the old white man. All of this without the host Nuhr being allowed to comment on it every week during prime time on ARD. For Nuhr, who luckily didn’t understand how Twitter works, it must have felt like censorship.
From the very first second, it just bubbles out of Dieter Nuhr: His minute-long greeting becomes a series of reflexively defensive jokes about wokeness in social debates and gender-appropriate language and Karl May’s “Winnteou” novels. The host, with wide-open eyes, maniacally stammers incoherent punch lines of the “chicken: inner filet” quality class into the camera for several minutes. Everyone should know that the 61-year-old feels misunderstood and is not prepared to even begin to reflect on himself and his behavior. The cabaret artist doesn’t care that in three minutes he tramples on everything that people stand up for who point out the structural discrimination of marginalized groups and who want to bring about a more respectful treatment of people in society.
Dieter Nuhr on ARD: Unfiltered nonsense that you are supposedly not allowed to say
Instead, the old white man on the cabaret stage tries to unite with his audience under the diffuse feeling of the credo “You can’t say anything more!”. And Dieter Nuhr manages to do that at least in the television studio while recording his show. It’s even impressive in a morbid way: Because while Dieter Nuhr is presenting the full sermon to his audience, which is no longer allowed to be said today, everyone involved is still in a television studio where the recording is being made. And so, in the 15th season, the small artist from the Lower Rhine and his guests are allowed to stammer their nonsense into the ARD cameras for 45 minutes unfiltered every week at prime time. And that’s not just the opposite of “You can’t say anything more!” censorship. It is also a fire hazard.
Because Nuhr uses his show and his reach to despise the weakest in our society. When he says, in relation to inclusive language, that “mindfulness is now the order of the day,” he does so to discredit the issue. Dieter Nuhr deliberately creates a framing that questions the scientifically based approach of intersectionality. For the cabaret artist, creating non-discriminatory language is just a lifestyle. That’s why he frames this with the term “mindfulness” and wants to give the impression that anti-discrimination work is nothing more than the expression of Instagram “hygge” hype with sunset pictures with a motivating slogan.
Dieter Nuhr (ARD) knows: “Dreadlocks arise from the lack of personal hygiene”
Having arrived in this narrative about the lifestyle left, Dieter Nuhr no longer needs to question himself and his position as an old white man. He may no longer be able to do it as drooling as he rants about the topic in his show “Nuhr im Erste”. What follows for the rest of the evening is a tirade about “postcolonial educational terror” and the stylization of Karl May’s “Winnteou” books as works with actual educational added value.
Nuhr also has to talk about dreadlocks. In his eyes, these do not represent cultural appropriation: “You don’t appropriate dreadlocks, they are the result of not caring for your body”. And instead of this topic, where Nuhr could actually make a valid point – for example that matted hair is just matted hair – he rages past a possibly even remotely justified criticism of the discourse. Instead, he disqualifies himself with a comparison by equating the criticism of long-haired people by old Nazi cadres in the 1970s with today’s discourse on cultural appropriation.
Dieter Nuhr on ARD: Perfidious and inhuman
The logic is as perfidious as it is inhuman: Nuhr equates non-discriminatory language and the reflection on social structures against a post-colonial background with a fascist ideology that is responsible for the Holocaust. The fact that Dieter Nuhr also begins to speak of “racism against whites” in this context is not only a relativization of the deeds of the Third Reich, but also reveals how much the cabaret artist despises a cosmopolitan and pluralistic society. (Moritz Post)