Slough, England:
Those of you who yearn for a fast and easy to digest rhythm thriller that Jack-Knife at the speed of light and is full of amazing conspiracy theories is advised to give a very wide place to the successful British Netflix program, Netflix, Adolescence.
If, on the other hand, it prefers to be immobilized on the sofa with the torn heart, looking at the wall long after the credits have reached oblivion, Adolescence It is your cup of tea. Although we must warn you at this stage that it is unlikely that tea cups will be taken. Any hot drink that can prepare with love will be cold on the arm of its sofa as it catches the horror of what happens when we let adolescents have access without restrictions on social networks.
Divided into four -hour episodes and written by Jack Thorne and Stephen Graham, Adolescence Is the rear kick that all parents need before they are about to yield to proposals led by children involving the words “Instagram account” and “but the parents of all others …”
The balance of probability establishes that not all children with a social media account will be corroded in an insecure, self -placing murderous psychopath and that hates women as Adolescence Jamie Miller. But like Adolescence He strives to illustrate, embark on the radioactive experiment that gives a child a computer and the headphones that fall into noise are similar to hitting a wet finger in a living plug just to see what happens. Should we really tempt destiny and allow our children to venture into a digital cocoon dominated by people like Andrew Tate’s Manospher? Unless you are reading this yourself, you are unlikely to need the explained answer.
A fly on the wall
We open with the police by hitting the door of a suburban family while arresting their thirteen -year -old son, Jamie (perfectly played by Owen Cooper, fifteen, in his first role), under suspicion of the murder of a schoolmate.
The word ‘suspicion’ is used very freely here, since Jamie was careless enough to carry out her stabbing induced by anger in a parking lot in view of a well -located CCTV camera. Whatever the inauguration full of action can lead the lovers of the thriller to believe, there are no deep conspiracies that are waiting. Despite Jamie’s weak protests on the contrary, as a child who insists that he did not eat that Magdalena despite having covered his cheeks in chocolate glaze, we are very quickly about to discover that there is no doubt about Jamie’s fault. This is not a whodunnit. This is not even a Howdunnit. This is a Whydunnit.
Director Philip Barantini chose to shoot Adolescence In a perfect shot. While this means that it is very difficult to obtain all aspects of the sequelae of the murder, for example, we do not have time to pay tribute to the family of the murder victim, this is the closest that will ever become a fly on the wall in a murder investigation. (A gentle caution: if you are currently fighting a headache, wait seeing this program until analgesics have activated. The camera never, never, rests and will be forced to hold an ice package in your rotating head if you continue recklessly in your weakened state).
With this chamber in the movement, we follow Jamie at the Police Station while reading his rights and assigned a lawyer, with the child choosing his father (played by the impeccable Stephen Graham) to act as his “appropriate adult.” We arrived at the camera to the room where the parents and older sister of Jamie are arrested, clinging to the fervent belief that his son could not have played any role in this infernal nightmare. His raw horror is scribbled in sight, and you can almost believe that you are seeing a documentary instead of a script show. The use of a soundtrack remains at the slightest of the minimums. Almost against our wills, they throw us into hell as Jamie’s family, and we cannot look the other way. Before the end of the episode, we, together with Jamie’s father, Eddie and his lawyer, we face the condemnatory evidence that no one can deny. The uniluting anguish for the loss of innocence and the son who will never recover the robberies on Eddie’s face while collapsed in a well of pain.
A disturbing lesson
Throughout the four episodes, one thing is evident: the victim of murder, the Katie family. As Barantini discovered, when you shoot with a single flying camera, you don’t have the luxury of time to explore all the tentacle of a crime like Jamie’s. But this is not the story of Katie, nor that of the embraced and irregular vacuum of that of his family.
No, this is Jamie’s story. More specifically, this is the story of how the minds of young children are molded since they are exposed online to pornography and male ideals, and are left badly equipped so as not to empathy before the port, nor do they treat rejection. As Margaret Atwood watched so very well in a collection of essays, men fear that women will laugh at them, and women fear that men will kill them. This is the quid of Jamie’s motive: at the end of the day, he could not bear that a girl who pursued could make fun of him.
There are no deep and dark secrets that lurk in the shadows of Jamie’s family life. There is no alcoholic mother, absent father, or drug abuse under the surface in underground currents. Jamie is the product of a happy and loving family, whose only crime was to give him a smartphone and say yes when he asked for a computer in his room. While, together with his psychologist, we discovered, before submitting to his murderous impulses against rejection, Jamie spent many nights swallowed by the monitor and locked in his digital world, his headphones sealing the outside world. Where the children once had the works of JK Rowling and Rick Riordan to keep them in company before they slept, children like Jamie spend their nights bombarded with subliminal messages of toxic masculinity on social networks.
The destruction of Jamie’s crime leaves anyone to anyone, except his whole family. More than a year later, we see that pain anchor as they try to navigate life with the disturbing knowledge that they are not without guilt. Little even if they want to admit it, Jamie’s parents accept that their non -intervention approach to devices touched a hand in the murderer without regrets that became their son. Jamie is the villain, but falling prey as he did with male ideals, he is also a victim. Like his father, Eddie, sob in Jamie’s stuffed animal with the desire that he could also have done better, we also succumb to tears. Because we know that as our children succumb to invisible pressures, the line between us and Eddie is thin.
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