Netflix has just released a 4-part British miniseries entitled "Adolescence", which depicts a teenaged (ofc white British) incel who murders a female classmate because she rejected his advances. The series is of course already a darling with critics, receiving a rare 100% rating on Rotten Tomatoes. It is also one of the most vile, petty, spiteful and overall disgusting pieces of anti-male propaganda that I have ever witnessed, made all the more infuriating because the target of its poisonous agitprop is not just grown men, but specifically boys.

IMDB has, of course, deleted my negative review of the show and removed my 1-star rating, even after I drastically pulled my punches, which has prompted me to finally delete my IMDB account. But this piece of trash pissed me off enough that I need to vent some of the "male rage" that the show's lead writer made it clear is the subject of his production, so I figured I'd post my unabridged rant here instead.

The first thing to note about the series is that quite aside from its subject matter, everything else about it is also deisgned as award-bait. Each episode is shot as one long, continuous take: an unabashed, self-congratulatory appeal to the high-minded basement-dwellers who pretentiously call themselves "cinephiles." The show's dialogue and casting are also clearly designed to appeal to the self-indulgent urban elitists who make up the critic class. I am extremely disapponted in Stephen Graham, an actor for whom I have a lot of respect, for taking on this project, but the guy's such a workoholic that he probably doesn't pass on much of anything that he's offered.

But the truly infuriating aspect is the show's cultural agenda. In a country where potentially hundreds of thousands of young white girls have been systematically raped and violated over decades by the newly imported replacement demographic, aided and abetted by the police and government authorities, the subject of this impotent, self-flagellating psychodrama is a 13-year-old white working class boy who violently stabs a female classmate to death because he felt rejected by her.

Of course, it's not enough to single out just one imaginary case of a murderous juvenile incel. The series specifically mentions the "manosphere," and its overt goal is of course to stir up the ongoing moral panic surrounding influencers like Andrew Tate, who is never mentioned by name, but whose shadow looms imposingly over every line of dialogue. Nor is it sufficient to portray the young boys in the show as mere victims of incel propaganda: they are of course male, and so according to feminist dogma can never be victims of anything. Instead, every adolescent boy in the show, not just the lead character who commits the murder, is portrayed as an animalistic powderkeg of pent-up masculine rage, barely contained by the civilizing constraints of feminized society, which is the only thing preventing all of them from turning into the misogynistic murder machines that they are apparently all born to be.

This portrayal is not limited to the juvenile male characters either. In fact, the only male character in the entire show who is portrayed in any way positively is the black police officer who is the lead investigator of the murder. Even the boy's father, played by Stephen Graham, is shown to be an inept, inattentive parent who is totally oblivious to the sinister online rabbit-hole his son has embarked into, who later develops a hair-trigger temper when his denial is overcome and he is forced to confront what his son has done, whereupon he lashes out violently and everyone and everything around him.

The heroes of the show, by contrast, are the black lead investigator, his female partner, and especially the female therapist who, through a combination of manipulation and coercion, convinces the homicidal teenager to confess to his crime, culminating in a yass-queen girlboss sequence where she calmly sticks it to him and forces him to back down after he loses his temper.

Altogether, this show can only be interpeted as a deliberate, spiteful, vindictive indictment of maleness and masculinity, unwilling to give even young boys the benefit of the doubt, basing its hateful propaganda on a fictionalized version of an incident for which I'm not aware of even a single real-world parralel in the UK. It seems deliberatley designed to stoke middle-class hand-wringing over the growing anti-feminist backlash online, to drive a wedge between any parents who consume thos content and their own sons, whom the show implores them to regard with suspicion and revulsion. Worse, given the timing of its production and release, it also seems to be a deliberate attempt to refocus the attention of mainstream British society away from the real and actual threat to the safety of young girls in the UK.

Ultimately, this show demonstrates a profound lack of self-awareness or reflection, and it is a monumental exercise in doubling down. Its answer to the alienation, frustration, loneliness, fear and ennui that has gripped an entire generation of young boys as a result of feminist demonization and ostracization is to lambast them with yet more of the same. This is a glaring example of why feminism and, in the case of this show's lead writer, male weakness in the face of feminism has always been both the progenitor of the woke cultural movement and the final boss that must be defeated in order to put an end to it.

This went on longer than I intended.