Imagine creating a TV show so impactful that it captivates audiences worldwide, sparks national debates, and even influences educational policy. That's the phenomenal success story of 'Adolescence,' a British drama that took Netflix by storm. But can that lightning in a bottle be captured again? That's the million-dollar question industry insiders are grappling with.
At a recent Content London panel, screenwriter Jack Thorne, director Philip Barantini, and Warp Films CCO Emily Feller gathered to discuss the global phenomenon that 'Adolescence' became. Stephen Graham, the show's star, was also scheduled to appear but was unfortunately tied up on set. The series, featuring a stellar cast including Graham, Owen Cooper, Ashley Walters, and Erin Doherty, graced the cover of The Hollywood Reporter after its March release. It swiftly climbed to the top of Netflix's charts, becoming the second most-watched show of all time on the platform, surpassed only by 'Wednesday,' boasting over 540 million viewing hours. Notably, 'Adolescence' also holds the title of the most-watched U.K. title ever on Netflix, following in the footsteps of Richard Gadd's 'Baby Reindeer' by spotlighting British talent and narratives.
The show's impact reverberated beyond entertainment. Remember those scenes in political dramas where politicians are grilled about pressing social issues? Well, in the UK, ministers were being publicly questioned for not having watched 'Adolescence'—a series centered around a young boy who gets radicalized online and is convicted of murdering a female classmate. The show's significance was even acknowledged by Prime Minister Keir Starmer, who approved its screening in schools. And, to top it off, 'Adolescence' swept up awards at the Emmys.
So, what's the secret sauce? What's the 'Adolescence' formula that other creatives are so eager to replicate? "If I could [understand exactly why it broke through], then I’d feel a lot more confident about the rest of my career,” Thorne admitted. “I don’t think any of us really get it... But I also think we caught a lucky moment, and there was a wave that formed, and we were on that wave.” Thorne suggested that a combination of compelling issues, innovative one-shot filming, and exceptional performances contributed to its success, but ultimately, luck played a significant role. He humorously added, "I don’t think there are any sort of key lessons that people can take […] if I did know, I probably wouldn’t tell anyone here."
Feller emphasized the crucial role of producers in supporting creative vision. "I think as producers, we get to support creative vision... and I think that lessons to be learned support the vision and support the creative and allow that freedom to flow. And that absolutely happened with Netflix." She highlighted Netflix's support as a key ingredient, allowing Thorne, Barantini, and Graham to tell their story authentically.
This brings us to a potentially controversial point: the role of streaming platforms in amplifying niche content. Thorne openly wondered whether 'Adolescence' would have achieved the same international success if it had aired on a traditional British channel like Channel 4. "If we were on Channel 4, I think we’d have done well in the U.K., [but] I’d be really interested in if we’d have sold abroad," he stated. He pointed out that shows with strong regional accents and particularly British themes often struggle to gain international traction. 'Adolescence,' with its Liverpudlian accents, was undeniably British, raising doubts about its potential for global sales without Netflix's reach. And this is the part most people miss: Netflix's global reach catapulted a very British story to a worldwide audience.
Thorne, also the President of the Writers’ Guild of Great Britain (WGGB), also voiced concerns about the current obsession with crime dramas in television. "At the moment, there is a lot of writers, and they’re in real trouble... [But] I feel writers are being trapped in cul-de-sacs," he explained. While acknowledging the quality of crime shows, he argued that their dominance limits opportunities for writers with imaginative ideas in other genres. "It means that writers who are capable of amazing leaps of imagination are being boxed into these places, and I hope that that is going to change, but it doesn’t seem to be changing." He expressed frustration within the Guild regarding commissioning attitudes, suggesting a need for greater diversity in storytelling.
But here's where it gets controversial... Is the focus on crime dramas simply a reflection of audience demand, or is it a self-perpetuating cycle driven by commissioning decisions? Are we, as viewers, being deprived of potentially groundbreaking stories because of this trend? And what responsibility do streaming platforms have in fostering a wider range of narratives? What do you think? Do you believe the success of 'Adolescence' is replicable, or was it a unique confluence of factors? And are you tired of the endless stream of crime dramas? Share your thoughts in the comments below!
