Adolescence: Average But Undercooked

23 Mar, 2025

When a 13-year-old is accused of the murder of a classmate, his family, therapist and the detective in charge are all left asking: what really happened? ¹

Adolescence is another entry into the canon of overwrought British dramas carried by subject matter and Stephen Graham.

I read of the series in a feature on The Guardian, where director Phillip Barantini² stressed that the miniseries’ one-shot direction was not a gimmick. A case of the lady protesting too much, methinks. Aside from the first episode, I can’t see a dramatic reason for its use. The frantic, immediate aftermath of an early-morning arrest? A oner makes sense. It works fantastically in that context. The defendant’s family going to B&Q and talking about Chinese food? Less so.

My issue with one-take projects like this is philosophical. Cinema’s unique strength is the cut; the juxtaposition of disparate images to create meaning. It’s such a powerful tool that forsaking it needs to have dramatic purpose. Barantini’s Boiling Point does this fantastically to capture the super-pressurised environment of a professional kitchen and to highlight the lead character’s (Graham again) imploding life. There is purpose in that film that does not exist for the majority of ‌Adolescence.

At times it feels like a stage-play, which isn’t (nor ever should be) a compliment. Episode three is almost a two-hander. It doesn’t make for a cinematic experience and when you’re making film or television, that’s the point. Otherwise why choose this medium?

Owen Cooper, making his acting debut as Jamie, is impressive and I’m sure he’ll go on to do fine things. Graham plays his usual put-upon scouser with emotional depths and anger issues. He’s great, naturally, but this is far from his best work. Ashley Walters² yet again demonstrates a profound lack of skill with a leaden performance as DI Bascombe. Has the industry learnt nothing from Top Boy?

You’ll notice that all the actors I’ve mentioned are male and for good reason. These are the only characters Adolescence takes the time to explore in depth. The lone female exception is Erin Doherty as Jamie’s psychologist, who appears for one episode. There’s an argument that because the series is focused on misogyny and masculinity, and perhaps a male audience, these characters’ development takes precedent. But would it hurt to explore the impact femicide has on women and girls? Is it not important to discuss this if we want to keep young men from committing crimes like this? It’s touched on briefly, but by the end we’re left with a surface-level examination of a serious issue.

That’s why I think Adolescence has gone stratospheric: it’s shallow.

Episode two is an hour-long lecture about underfunded schools, delivered via punishingly trite scenes of bumbling teachers and disrespectful kids. Episode three describes toxic masculinity for people who struggle with email. The last episode ends with an embarrassing amount of spoon-feeding, in case the theme managed to pass you by.

Timely enough so everyone can relate and understand the concept. Obvious enough so we can all form opinions and rage at each other online.

It’s a discourse generator and a successful one at that. When the World’s Most Sensible Moai Head (Keir Starmer) is backing it being shown in schools³ you know you’ve got a hit on your hands. It’s important to say that Thorne and Graham are not opportunists cashing in on zeitgeist-friendly topics for plaudits and wealth.

But the streaming company producing it may be.

Regardless of what direction the discussion around Adolescence takes, Netflix win. They didn’t see art: they saw engagement. With every bitter argument, smug opinion column or earnest Facebook status, they make money. I’m not naïve, that’s what production companies do. But there’s a cynical veneer around the marketing that makes me believe Netflix wanted to cash in hard. However flawed the art is, it deserves to be treated with respect. A tall order for the experts in exploitation.

I’m happy to dissent and be the only person in the UK who doesn’t care for this series.⁴ It’s an average TV programme that, aesthetic aside, is indistinguishable from any other “prestige” British crime drama over the past ten years.

It’s a shame such an important subject did not get the piece of art it deserved.

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#2025 #Barantini #Drama #UK