"Adolescence": A Deep Dive into Masculinity, Not Race, Says Creator Pete Thorne
Netflix’s "Adolescence," a gripping crime drama exploring the dark underbelly of teenage violence, has sparked conversations and garnered critical acclaim. At the heart of the series lies a horrific act of violence, and some viewers have mistakenly interpreted the narrative as a commentary on race. Creator Pete Thorne vehemently refutes this interpretation, emphasizing that the show’s core focus rests on the complexities of masculinity and its potential destructive influence on young boys. "Nothing is further from the truth," Thorne asserts, unequivocally stating that the series is entirely fictional. "There is no part of this that’s based on a true story, not one single part." He underscores that attributing such crimes solely to Black boys is not only inaccurate but also historically unfounded. "It’s absurd to say that this [crime] is only committed by Black boys. It’s not true. And history shows a lot of cases of kids from all races committing these crimes." Thorne reiterates the show’s central theme: "We’re not making a point about race with this. We are making a point about masculinity. We’re trying to get inside a problem. We’re not saying this is one thing or another, we’re saying that this is about boys."
The series delves into the turbulent waters of adolescence, examining how societal pressures and expectations surrounding masculinity can shape young boys’ behaviors and contribute to a culture of violence. Thorne’s intention is not to offer simplistic answers or point fingers, but rather to explore the multifaceted nature of the issue. He acknowledges the complexities of male identity formation and how it can be warped by external influences. "Adolescence" invites viewers to grapple with these uncomfortable truths, urging a deeper understanding of the factors that can lead to such devastating acts. The series is not meant to be a sociological study or a definitive statement on the subject, but rather a dramatic exploration of a pervasive societal problem.
While immensely proud of the series, Thorne expresses one regret: the limited exploration of Jade, the victim’s best friend. He wishes he could have dedicated more screen time to her character, providing audiences with deeper insights into her experience. "I wish we’d done a bit more on Jade," he reflects. "I think there was a way that I could have written that episode 2, where I gave the audience slightly more glimpses of her." Despite this minor reservation, Thorne recognizes the overwhelming positive reception of "Adolescence," which has defied expectations and resonated deeply with viewers and critics alike.
The series has not only earned rave reviews but has also shattered records, becoming the first UK streaming show to top the weekly British ratings chart. It surpassed other popular shows like "Fool Me Once" and "Baby Reindeer" to achieve the largest audience for any streaming TV show in the UK, solidifying its place as a cultural phenomenon. This success underscores the show’s powerful storytelling and its ability to engage viewers on a profound level. The critical acclaim and audience response demonstrate that "Adolescence" has tapped into a vital societal nerve, sparking crucial conversations about masculinity, violence, and the challenges faced by young people today.
However, Thorne cautions against complacency, warning that the future of similar high-quality productions is under threat due to the ongoing funding crisis impacting UK scripted shows. He expresses concern that if institutions like Channel 4 and the BBC are further constrained financially, the consequences for the creative landscape could be devastating. "If Channel 4 and the BBC are denied the opportunity to make these shows, that’s devastating," he warns. Thorne highlights the importance of domestic funding for nurturing emerging talent and allowing them the space to tell their stories. He laments the influence of international finance, which he believes is hindering the development of new writers and ultimately undermining the cultural fabric. "The problem of international finance and what that’s done is incredibly current and leading to a lot of my friends and emerging writers being denied the opportunity to tell stories."
Thorne’s concerns extend beyond individual projects, encompassing the broader impact on the UK’s cultural output. He fears that if aspiring writers are denied opportunities, the entire creative ecosystem risks crumbling. He emphasizes that shows like "Adolescence" and "Toxic Town" become increasingly difficult to produce in such an environment. While he acknowledges the positive role of streaming giants like Netflix, he stresses that they cannot be the sole solution. "If they are denied the opportunity to tell those stories, then the whole culture starts to crumble, and shows like Adolescence and Toxic Town are no longer possible. Netflix making these shows is exciting, but it’s not everything." Thorne’s warning serves as a stark reminder of the importance of supporting public broadcasters and investing in homegrown talent to ensure the continued vibrancy of the UK’s television landscape.
