ADOLESCENCE PRODUCTION
PERFORMANCE OF A LIFETIME Young Owen Cooper and veteran Stephen Graham were pushed to their thespian limits under the constraints of the show’s single-shot takes
WATCH THE TRAILER
W hen a seemingly sweet 13-year-old boy is accused of murdering a girl he goes to school with, his family and the police in charge of the investigation are left grappling for answers. While unravelling what really happened, new Netflix drama Adolescence plunges us into a world of toxic masculinity, cyberbullying, incel culture and the rise of odious online figures like Andrew Tate. With the latter’s name recently cited in the chilling crossbow killer case, this shattering show feels more urgent than ever, tapping into the insidious impact of social media on young minds and giving parents everywhere a horrifying glimpse of what their kids might be up to online. Created by Jack Thorne and Stephen Graham, and directed by Philip Barantini with Matt Lewis as DOP, it’s been nothing short of a global phenomenon. It’s rare for a show to become a genuine water- cooler topic these days, but Adolescence has done exactly that – as much for its filmmaking approach as its content. It made ratings history as the first UK streaming series to top the weekly British TV chart (with nearly 6.5 million viewers tuning in for the first episode alone), and it’s sparked a global conversation, been dissected in Parliament, on podcasts and in papers, as well as receiving pretty much unanimous praise from critics and viewers (at time of writing it’s sitting at a holy grail 100% on Rotten Tomatoes). Adolescence isn’t just emotionally devastating, it’s also technically
09
DEFINITIONMAGS
Powered by FlippingBook