Jack Thorne, the acclaimed writer behind the Netflix series Adolescence, is at the center of an intense media blitz following the show’s remarkable debut. The series, capturing the complex themes of toxic masculinity and youth violence, has quickly climbed to the top of Netflix’s most-watched list across 71 countries within just a week of its premiere.
Thorne recently sat down with Deadline to share insights into the show, which features a gripping narrative beginning with 13-year-old Jamie Miller, played by newcomer Owen Cooper, being arrested for murder. As the series unfolds over four continuous episodes, it delves into Jamie's interactions within toxic online communities, shedding light on the distressing rise in violence among young men against women.
“The big question was why is violence from young men or boys towards young women or girls going up? Why is this happening?” Thorne remarked, emphasizing that the goal of Adolescence was to explore these pressing issues without offering simplistic answers. “This is an issue that everyone has been aware of, but discovering it through Jamie is something we’ve been set on capturing,” he added.
The show’s unique format, shot in a continuous take, has sparked conversations among viewers and critics alike. Thorne believes that this innovative technique has created an immersive experience that resonates strongly with audiences. He noted, “I think there is a real joy in the incomplete. There is a real joy in how partial this show was able to be.” This method enhances the narrative's depth, allowing viewers to engage with the unfolding drama on a more personal level.
In a separate conversation with the BBC, Thorne stressed the importance of making Adolescence available for discussions in schools and even Parliament. “It’s crucial because this is only going to get worse. It’s something that people need to be talking about, hopefully that’s what drama can do,” he said firmly, underlining the educational potential of the series.
As viewers delve deeper into the storyline, it becomes evident that Jamie’s descent into violence is rooted in the ideologies he consumes online. Thorne elaborated, “We have to understand the things he’s been consuming, especially looking at the Internet, the manosphere and incel culture.” This reflection on the impact of digital communities on youth serves as a critical commentary on current societal challenges.
Despite the show’s success, there exists a palpable concern within the industry regarding funding for British storytelling. Thorne, who also penned Toxic Town for Netflix this year, expressed that while platforms like Netflix are vital in bringing British stories to a global audience, they are not a complete solution for the future of TV production. “If Channel 4 and the BBC are denied the opportunity to make these shows, that’s devastating,” he remarked. He emphasized that emerging writers need the industry’s support to allow diverse stories to be told across various genres.
The relationship between economic pressures and storytelling in British television was a recurring theme in Thorne’s discussions. He worried that financial constraints might limit the variety of narratives available, noting that “when I was growing up, we had a mad variety of different shows that were about all sorts of different facets of life.” He lamented that the dominance of crime shows today suggests a narrowing of the storytelling landscape.
Thorne’s concerns about the industry reflect a broader apprehension regarding the future of British television. He stated that, “it shows that these distinctively British stories can be told on Netflix and resonate with a global audience,” but that there must be a robust system in place to nurture new talent and support unconventional storytelling. He advocates for changes in policy that would allow for more inclusive and diverse programming.
As Adolescence continues to resonate with viewers worldwide, Thorne's vision for the project remains clear. He believes that storytelling has the power to spark discussions and provoke thought around urgent social issues. As he put it, “Television is a really powerful medium. You can still get people talking about one show.” With such compelling narratives emerging, Thorne hopes for a future where diverse stories can thrive in the television landscape.
In a humorous anecdote that added a lighter touch to his interviews, Thorne shared his brief meeting with Brad Pitt during a Zoom call. “I didn’t get a note from Brad Pitt,” Thorne revealed, reminiscing about their 40-second introduction before others joined the call. “So we had 40 seconds where I just stared at this beautiful man,” he quipped, reflecting on the surreal moment amidst the whirlwind of his rising fame.
As the conversation surrounding Adolescence evolves, it is clear that Thorne and his team are not just interested in creating entertaining content but aim to use their platform to contribute to societal change. The dialogue initiated by the series may be just the beginning of a much-needed conversation about the factors contributing to youth violence and how society can address them effectively.
With its successful premiere and growing discourse, Adolescence not only entertains but also serves as a crucial commentary on contemporary issues, positioning itself as a significant player in the current cultural landscape. Thorne's work exemplifies the potential of television to challenge viewers, provoke discussion, and ultimately foster understanding among diverse audiences.
