For those who enjoyed *Boiling Point*—Philip Barantini’s riveting single-shot kitchen drama featuring Stephen Graham—*Adolescence* is probably a must-see.

Co-created by Graham and his frequent collaborator Jack Thorne, and directed by Barantini, this four-part Netflix drama/thriller builds on *Boiling Point*’s continuous take style, adapting it to four distinct environments. The series depicts a family in crisis after their 13-year-old son faces allegations of murdering a fellow student.

Similar to *Boiling Point*, *Adolescence* is both intense and emotionally draining. Nonetheless, it boasts exceptional performances, skillful writing, and is impossible to look away from.

### What is *Adolescence* about?

The series establishes its harrowing tone right from the beginning with a tense dawn raid. Armed police invade the Miller family’s residence, breaking down the door and rushing in while Eddie (Graham), his wife Manda (Christine Tremarco), and their daughter Lisa (Amelie Pease) watch in disbelief. The officers quickly move to arrest teenager Jamie (Owen Cooper), who is soon accused of murder. DI Bascome (*Top Boy*’s Ashley Walters) and DS Frank (*Andor*’s Faye Marsay) appear to have a compelling case against him.

What ensues is a continuous hour inside the police precinct, where the camera navigates through officers engaging in light banter, tense solicitors, and the shattered Miller family, who sit in a sterile waiting area trying to understand the allegations against Jamie—who maintains his innocence.

The show’s real-time, one-shot structure amplifies the tension, compelling viewers to endure the turmoil alongside the characters. The following episodes, each shot in a single take, progress through time, revealing the aftermath—first at Jamie’s school, then during a therapy session, and ultimately returning to the Millers as they strive to piece their lives back together.

### *Adolescence*’s one-shot format is a directorial achievement.

Filming an entire miniseries in single takes might appear to be a technical hurdle rather than a narrative benefit, but in *Adolescence*, it enriches the viewing experience. Barantini’s bold technique aligns seamlessly with the show’s tension, while the shifting locations keep each episode engaging.

The initial two episodes—set in a police station and a school—are tumultuous and overwhelming, reflecting the characters’ emotions. The third episode, centered around a therapy session between Jamie and a psychologist (*A Thousand Blows*’ Erin Doherty), has the feel of an intimate theatrical performance, thick with tension. The finale chronicles the Millers during a birthday gathering, where brief moments of happiness are marred by sorrow and rage. The camera remains unflinching, capturing every raw emotion.

Describing *Adolescence* as merely a TV series feels insufficient—it occupies a space between television, film, and theatre, delivering a distinctive and immersive experience. The acting is superb throughout, featuring seasoned performers like Graham and Walters and newcomers Cooper and Pease. The realism is relentless, rendering every moment painfully genuine.

### Does *Adolescence* have any flaws?

The show tackles profoundly disturbing themes, and its unyieldingly grim tone may not resonate with all viewers. Furthermore, as two characters observe in one episode, the narrative centers primarily on the accused, with the victim largely sidelined. However, *Adolescence* isn’t merely a crime suspense tale—it’s a psychological examination of *manosphere* culture and the societal and familial pressures that could lead an otherwise ordinary 13-year-old to commit an unspeakable act.

On this front—and in nearly every other aspect—the show is chillingly effective.

***Adolescence* is now available for streaming on Netflix.**