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Avril's avatar

Yup. One of the things that got me about Adolescence was the violence of the police raid in the opening scene, and the way everyone accepted that arresting a 13-year-old child accused of murder justified a pre-dawn raid that terrorised his entire family. I think there’s a line later about how the police didn’t throw anyone to the ground, they just instructed his family to get on the ground for their own safety, and we’re all meant to think, “Oh, yes, these police are the good ones”. Sexist, misogynist, homophobic, racist violence has always been a problem, but as we watch a live-streamed genocide, as the American government disappears protesters, and as we still haven’t come to terms with the founding violence of the Australian colony that continues to play out in things like deaths in custody, I can’t accept the idea that individual 13-year-old murderers are the world’s worst violent offenders.

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Henry Bachofer's avatar

Both your Apr 1 piece (Tim) and this piece (Simon) do a terrific job of pointing out the broader importance of Adolescence—easily one of the best pieces of film-making I've seen in years.

I have been puzzled by the extraordinarily cramped 'reading' ('viewing?') given Adolescence by many cultural critics who seem to be blinded to the larger picture by their own obsession with toxic masculinity—which BTW I believe is a very real and very serious problem that is closely related to toxic individuality (a condition that affects and increasingly large number of women as well as men).

What impressed me about Adolescence was the devastating critique it made of the entire society of which the 'manosphere' is a part and within which social media operates. In Iain Banks' novel The Player of Games one of the characters makes the observation:

“… a guilty system recognizes no innocents. As with any power apparatus which thinks everybody’s either for it or against it, we’re against it. You would be too, if you thought about it. The very way you think places you among its enemies. This might not be your fault, because every society imposes some of its values on those raised within it, but the point is that some societies try to maximize that effect, and some try to minimize it. You come from one of the latter and you’re being asked to explain yourself to one of the former. Prevarication will be more difficult than you might imagine; neutrality is probably impossible. You cannot choose not to have the politics you do; they are not some separate set of entities somehow detachable from the rest of your being; they are a function of your existence. I know that and they know that; you had better accept it.”

Much later, another character picks up on this comment:

“The ship told you a guilty system recognizes no innocents. I’d say it does. It recognizes the innocence of a young child, for example, and you saw how they treated that. In a sense it even recognizes the ‘sanctity’ of the body… but only to violate it. Once again, Gurgeh, it all boils down to ownership, possession; about taking and having.”

This comes very close to what I saw in the film: People struggling with their world coming apart and with the long-developing sense that their social and political and economic institutions were failing them — and that they were themselves part of and contributing to that failure. The 'manosphere' was simply a symptom of that broader failure, not its totality or its cause. Adolescence is a brilliant picture of what moral failure looks like and feels like.

In my opinion the critics who keep reducing the film to a complaint about the manosphere are simply illustrating the larger point made by the film and its extraordinary writers, director, cinematographers, technical crew, and actors. The use of single continuous shot for each of the four episodes was not merely a technical tour de force but was also essential to the point, brilliantly made, that you can't pick the fabric of these characters lives apart to decide who (or what) to blame for the tragedy.

My apology for using your really terrific commentary — I can't wait to read your book — as a jumping off point for my own thoughts.

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