At the beginning of March, Netflix released yet another hit show that has taken the world by storm, turning global audiences’ attention to some of the most complex issues: toxic masculinity and online radicalization. Much like “Baby Reindeer,” the new series “Adolescence” is inciting crucial conversations about contemporary issues that have largely been untouched — perhaps because they seem too perplexing for the entertainment industry to even attempt commentary on.
“Adolescence” chronicles the events following the arrest of the Miller family’s son Jamie, played by Owen Cooper, a 13-year-old charged with the brutal murder of his classmate Katie. Do not worry; that is not a spoiler. Instead of being a dramatic true crime series with a whodunnit narrative, the show aims to explore why Jamie did what he did.
A common belief is that killers can only be born from abusive fathers, alcoholic mothers or some other life-altering trauma. Contrary to that notion, none of those things have happened in Jamie’s short life. His parents, Eddie, played by Stephen Graham, and Manda, played by Christine Tremarco, are flawed but loving. Jamie and his sister Lisa, played by Amélie Pease, get along. The Miller family lives in the English working-class suburbs. Everything is painstakingly normal; it is what happens outside of the family’s sight that ultimately leads Jamie to commit the crime that will follow him for life.
Like many kids his age, Jamie has an unmonitored internet presence across multiple social media platforms. Simultaneously, conservative thought is becoming increasingly evident online, as seen with the popularity of “manosphere” influencers like Andrew Tate, who voice misogynistic values — often preaching that men must be ultra-macho and that women “belong in the kitchen,” as the sexist saying goes. “Adolescence” is not shy about its driving question: what effect does viewing chauvinist content have on a teenage boy’s developing mind?
Although the answer to that question may not always be that it produces merciless killers, the show nevertheless highlights the harmful effects online radicalization can have on young people — particularly teen boys. The consequences of rising conservatism are already evident, and “Adolescence” underscores the urgency of addressing it before it permeates broader sociopolitical settings.
The show’s deep roots in reality stand out even more through its shooting style. Philip Barantini‘s directorial choice to film all four episodes in one harrowing shot immerses the audience fully into each character’s inner life. The dynamic camerawork, jumping from character to character, creates an intense experience that heightens the emotional impact and leaves viewers with little time to breathe.
The one-shot approach is especially effective in the third episode, keeping the audience permanently on the edge of their seat. Set seven months after Jamie’s arrest, viewers witness his final session with child psychologist Briony Ariston, played by Erin Doherty, whose job is to assess his mental state. Briony asks Jamie a range of questions about his personal life, from his relationship with his father to his views on women. As the conversation unfolds, Jamie grows increasingly agitated and borderline violent, forcing viewers to confront the reality that toxic masculinity can lead young men to believe they can do anything without consequences.
The demanding nature of filming continuously for hours at a time and still delivering a strong performance is beyond impressive. While Doherty excels in her portrayal of the cool, calm and collected child psychologist and Graham, Tremarco and Pease all add to the heartbreaking portrayal of a family left in pieces; Cooper ultimately steals the show. Despite having no prior acting experience, Cooper delivers a performance so compelling that he makes it possible for viewers to grasp the unthinkable — that a 13-year-old could have murdered a girl his age in cold blood.
Last week, I was at a meeting where the group was doing a classic icebreaker — sharing our favorite book, movie or TV show. I mentioned “Adolescence,” given it was the last show I watched that had truly left an impression on me. As I provided a summary, one person exclaimed that the show’s premise was a stretch and odd. At that moment, I thought to myself: This is exactly why TV like “Adolescence” is needed.
Whether people choose to believe it or not, “Adolescence” mirrors reality. In recent years, there has been an alarming uptick in violence against young girls, with multiple cases resembling the one depicted in the series. Like Graham noted in a recent interview, the saying “it takes a village to raise a child” extends beyond community and parenting; institutions like the education system and the government also bear responsibility. “Adolescence“ serves as a crucial first step in bringing attention to this issue, already sparking important conversations and driving positive change.
