We open with a police raid. More accurately, we open with two officers bantering right before the raid. They’re tasked with apprehending a 13-year-old (Owen Cooper) who we’ll soon learn is a suspect in a grisly murder investigation. For the next hour, the camera will stay focused on this moment in time. The characters we follow might change, but the scene never does.
That’s the central idea behind Adolescence, a gripping crime drama from Jack Thorne and Stephen Graham. Each episode focuses on a distinct moment in the case of Jamie Miller, the aforementioned 13-year-old, through one continuous take. The directing technique has earned a lot of press, but the show’s true strength comes in the layers it slowly reveals. This is a far cry from your standard crime series.
Adolescence’s 4 episodes are dense and full of character moments, both big and small. The show’s pace is an achievement in itself. It packs a lot into each hour and the fact that it never loses sight of the people swept up in all of this is one of the program’s many strengths. The serious subject matter could lead the show into more maudlin territory, but Thorne and Graham’s carefully crafted scripts keep it on track. It helps that the show refuses simple answers and consistently finds new ways to subvert viewer’s expectations.
Writing alone doesn’t make a show special. Thankfully, Adolescence is full of captivating performances. Graham pulls double duty as Jamie’s dad, Eddie. He is the emotional glue that binds the series together. There is a raw emotional energy to everything he does that makes you immediately feel the grief and pain of his situation. Ashley Walters takes the spotlight in episode 2 as DI Bascombe, the lead detective on Jaime’s case. His ability to project an air of confidence that slowly falters throughout the episode helps ground the proceedings. Erin Doherty appears in the show’s most harrowing episode as a forensic psychologist. The moments between her and first-timer Owen Cooper are electric and some of the tensest in a series full of suspense.
Director Phillip Barantini takes what could easily be a gimmick and creates something truly special. Unlike 1917 or Daredevil’s hallway fight scenes, the filmmakers shot Adolescence in one take, rather than editing it to look that way. It’s a technical distinction, but one that adds so much to the craft of this series. Barantini proves to be as impeccable with his construction as the writers and actors. The camera glides between characters and perspectives with no fuss. That it doesn’t call attention to itself is a plus. The directing is just another element for ratcheting up the inherent drama of this story.
Adolescence can be a hard series to watch, but it’s a necessary one. The show delivers its timely message with such care that you can’t look away. Heart-breaking performances and a thought-provoking story help to elevate this to one of the year’s best. Even the show’s biggest flaw, it’s lack of focus on the victim of this crime, is part of the overall message. This is a rare treat: a TV show that sticks with you long after it’s finished.
Adolescence is currently streaming on Netflix.