Slumming with cindy: Class, precarity, and performance in cindy aus Marzahn's Trash comedy

Abstract

The restructuring of unemployment and welfare benefits under Hartz IV hit former East Germans already suffering economically since unification particularly hard, forcing many into a condition of precarity for which the governing ideology held them responsible. Frustrated in her search for suitable work, Ilka Bessin adapted the self-management model advocated by the reforms to transform her story of marginalization and failure into a comedy success as Ossi trash princess Cindy aus Marzahn. Cultivated by commercial television, Bessin's Cindy was a product, purveyor, and critic of Germany's neoliberal economic policies, illustrating the fraught, collusive relationship between politics and popular culture.