Introduction
The mini-series Adolescence, released in March 2025 on Netflix and directed by Phillip Barantini, follows the story of the Miller family, an ordinary household living in Sheffield, in the north of England. Their lives are suddenly turned upside down when Jamie, 13 years old, is arrested by the police for the murder of Kathie, a classmate. Across its four episodes, the series explores the disrupted lives of those close to him, while also shedding light on the work of the detectives leading the investigation and the psychologist assigned to the case.
The mini-series addresses several pressing social issues, such as the spread of misogynistic ideas online, harassment, teenage sexuality, and the impact of social media on young people’s lives. It stands as a strong warning against a troubling and growing phenomenon: the indoctrination of youth by extremist masculinist ideologies. Inspired by real-life events, the series draws in particular from the tragic murders of Ava White, 12 years old, and Elianne Andam, 15 years old, both killed by incel men. Through raw and realistic storytelling, Adolescence immerses the viewer in the world of young boys influenced by incel culture and the misogynistic rhetoric spreading across social media.
The series has already made an impression, so much that the British Prime Minister has announced that it would be shown in British schools, which testifies of its importance in the current context. Beyond the simple denunciation of violence, Adolescence opens up a reflection on masculinist excesses and their impact on society, while raising crucial issues linked to human rights, particularly those of women and young people.
What is incel culture?
Incel culture refers to certain online communities where individuals – mostly cisgender heterosexual men – define themselves as being in a state of involuntary celibacy, meaning that they are unable to find a romantic or sexual partner. This phenomenon goes beyond a mere expression of loneliness: it is often accompanied by a deeply misogynistic discourse in which women are blamed for this rejection. Romantic frustration is redirected into hatred, fueling a sexist and misogynistic ideology rooted in resentment, objectification, and the dehumanisation of women.
A notorious example is Elliot Rodger, a 22 years old who, on 23rd of May 2014, killed six people and injured fourteen others in Isla Vista, California, before taking his own life. Prior to his attack, he uploaded a video on YouTube titled Elliot Rodger’s Retribution, alongside a 141 pages manifesto expressing his hatred towards women, whom he accused of having sexually and mentally ignored him. He claimed allegiance to the Incel movement, portraying himself as a victim of a system in which women always chose “dominant men” over “nice guys” like him. His actions deeply shocked the public and exposed the radical and violent potential of incel ideology.
Since then, Elliot Rodger has been regularly cited in these communities as a martyr figure, openly glorified by some Incels. This shows that the movement is not merely a space for individual grievances but a structured misogynistic subculture with its own codes, references, and violent “heroes”. Through the character of Jamie Miller, Adolescence offers a powerful depiction of how easily young boys can be influenced by incel culture.
Jamie Miller
At the heart of the story is Jamie Miller, a teenager lost in a society that doesn’t teach him how to process his emotions, but rather to repress them and turn them into anger. Social media plays a key role in his trajectory, exposing him to misogynistic content that feeds his hatred towards women and exacerbates his frustrations. Figures like Andrew Tate, who promote an altered and violent version of masculinity, are ever present in his digital world.
All the sexist stereotypes internalised by Jamie online come to the surface during his conversations with the psychologist handling his case: he seems to prefer his father over his mother, and refuses to accept the authority of the psychologist because she is a woman. Jamie sees women as sources of personal validation, a point made clear when he asks the psychologist whether she likes him, despite his aggressive and disrespectful behaviour throughout their session. Altogether, this scene captures one of the series’ central points: how society instills in boys a vision of masculinity based on suppressing vulnerability and dominating women.
One of the major issues addressed in the series is how gender stereotypes are imposed by society. The stereotype according to which boys must be strong, silent, and emotionally untouchable creates fertile ground for misogyny and gender-based violence. Jamie is a product of his time, a young man raised not only on stereotypes, but also in a culture that glorifies violence and misogyny.
In a context in which young people are constantly connected, the series highlights how toxic misogynistic ideas can quickly become perceived as truth. Adolescence reminds us that the overconsumption of hateful content can lead to irreversible actions.
Eddie et Manda Miller
Eddie, the father, is a plumber with a rather reserved personality. The series shows his internal struggle: he wonders whether he could have done anything to prevent this tragic outcome. Through his introspection, Adolescence raises the question of parental responsibility in shaping a child’s values and beliefs. Eddie feels guilty for not having spotted the signs of Jamie’s radicalisation, questioning whether his own education and approach to parenting could have changed the course of events.
Manda, the mother, is also devastated by the situation, but responds differently. She embodies a sense of powerlessness facing Jamie’s growing loneliness. She watches with concern as her son increasingly shuts her out. The series explores the widening disconnection between Jamie and his mother, who, though physically present, is emotionally absent from her son’s life. The lack of genuine communication between them is a key factor in Jamie’s radicalisation no, which the series portrays subtly, put powerfully.
Eddie and Manda’s roles are fundamental, as they illustrate the dilemma faced by parents in a world where young people are increasingly influenced by external ideologies, often invisible, like incel culture on social media. Their characters lead us to question collective responsibility when facing extreme youth behaviours, and the difficulty in detecting the early signs of radicalisation.
The series thus challenges the idea that only deeply dysfunctional families can produce such outcomes. It raises a deeper question: how much of our morality is shaped by our environment, and how much is a personal construction ?
Luke Bascombe
Luke Bascombe, the father of one of Jamie’s classmates, is the detective in charge of investigating Katie’s murder. He learns about the incel codes and ideologies through his son Adam, who is familiar with them via his peers, some of whom use specific emojis to reference them. Through social media, young people engage in conversations about red pill ideology, a masculinist belief that claims that men live in a misandrist society dominated by women. The “80/20” rule is also mentioned, claiming that the top 20% of men monopolise 80% of women.
In the series, Luke is portrayed as pragmatic but deeply human, shaken by the unjustified violence he encounters. The emergence of digital radicalisation and extreme masculinist ideologies among young people unsettles him, as he doesn’t understand this phenomenon. His realisation brings out a generational shock: Luke realises how little he knows about these new forms of ideological violence spreading online. His investigation becomes a form of self-reflection, a confrontation with the institutions’ powerlessness in reaction to a new, viral, and insidious phenomenon
Luke’s role questions the impact of modern society and digital culture on the younger generation, but also how institutions like the police and education systems should respond. Through his character, Adolescence encourages us to consider the scale of the challenge posed by the spread of such ideas – a challenge that affects not only the youth, but also adults, most of whom remain unable to comprehend or contain the phenomenon.
A series shown in school: a bold and controversial choice
The UK department for Education’s decision to screen Adolescence in schools has sparked passionate debate. In contrast, French Education Minister Elisabeth Borne stated that this would not be the case. On the one hand, Adolescence has been hailed as a powerful awareness tool; on the other, concerns have been raised about the content shown to pupils.
- Why support the decision?
One of the strongest arguments in favour of the screening is the series’ ability to spark awareness, especially among young boys. Through believable characters and an accessible plot, Adolescence addresses sensitive issues – sexism, emotional isolation, indoctrination – without being moralistic. It speaks their language, references their digital habits, and shows how hatred can be disguised as “masculinity advice”.
At a time when masculinist figures are appealing to ever-younger audiences, school becomes an essential space for prevention. Screening the series allows teachers to open up dialogue with pupils, break the taboo surrounding incel culture, and give them the tools to think critically. It also involves girls, often the first victims, in a collective discussion on respect, equality, and emotions.
The series could also serve as an interdisciplinary educational resource: in English, PSHE (Personal, Social, Health and Economic education), sociology or even history classes, it provides concrete situations through which to explore concepts that are sometimes abstract, such as stereotypes, hate speech, or online group dynamics.
Above all, this initiative could encourage greater cooperation between schools and families. By sharing a common educational resource, teachers and parents can engage in dialogue about the emotional and social skills essential in preventing violence: emotional regulation, empathy, non-violent conflict resolution…All of these “soft-skills” are often overlooked in school curricula, yet they are crucial in building a healthier masculinity.
- Why object to it?
Some teachers, parents or childhood specialists have voiced concerns. The main objection relates to the psychological and symbolic violence of certain scenes. Although the series does not explicitly depict the murder, it deals with heavy themes – psychological manipulation, misogyny, criminal justice – which may shock or distress younger viewers. Watching the series without proper guidance could intensify discomfort rather than alleviate it.
There is also the risk of desensitisation, particularly if the viewing is not accompanied with genuine critical analysis. Exposing young people to violent content, even with educational intentions, may lead to the normalisation of hate speech or a growing sense of resignation.
Furthermore, the lack of pedagogical support is a legitimate concern. Not all teachers are trained to lead discussions on such complex issues. Without clear guidance (selected scenes, themed sheets, teaching guidelines), some sessions could prove counterproductive, leading to misunderstandings or classroom tensions.
Finally, some criticise a growing tendency to address societal issues through fictional works. Yet a series, however well crafted, cannot single handedly change mentalities. It can provide a rich and meaningful educational foundation, but only if it is part of an active pedagogical approach. The risk lies in passive viewing, which, without critical support, may lead to misinterpretations.
Conclusion – Why should we watch Adolescence ?
Adolescence is not merely about teenage violence; it is a deeply committed work that draws attention to a growing social phenomenon. The series offers a sharp critique of how gender stereotypes and misogyny, spread by masculinist ideologies, feed hate speech against women, while also highlighting the threat posed by youth radicalisation on social media.
Adolescence is a call to action, urging parents, teachers, and institutions to mobilise in order to protect young people from these destructive influences. It warns of the urgent need to understand misogyny as a social, psychological and culture issue, often fuelled by toxic digital environments. With its powerful realism, the series is striking because it does not portray fictional, extreme violence, but rather the everyday violence that has already led to numerous femicides.
Through Adolescence, Philip Barantini holds up a mirror to us. He shows us a radicalised youth searching for guidance, a society lagging behind the digital evolutions and their dangers, and institutions seeking solutions. But above all, he reminds us that inaction comes at a cost.
