Adolescence: Netflix Series Demonizes Young White Men And The Manosphere

The progressive media is swooning over a new miniseries produced in Britain and distributed by Netflix called ‘Adolescence’, and after reviewing the story it’s easy to see why.  British government officials are hailing the show as a wake up call and are using it to promote online censorship of the “Manosphere”.  Leftist journalists are seeking to drum up artificial interest, calling it a “masterpiece” that exposes the toxic nature of masculinity. 

At a time when the political left is losing the culture war on almost every front it’s not surprising that they would hyper-promote an otherwise forgettable series that panders to the woke demographic.  Its depiction of a teen murder, driven by the terrible “evils” of conservative influencers who expose the irrational zealotry of feminism and DEI, is pure propaganda fodder.  A desperate attempt to to double down on woke arguments that have been debunked for years.

The creators of Adolescence cite a recent string of knife attacks against girls in Britain as the inspiration for the series, but in typical progressive fashion the production ignores the fact that the vast majority of these crimes were committed by minority and migrant males.  The teen killer in Adolescence is a white British boy, not a minority. 

Britain has seen an 80% increase in knife attacks in the past ten years. Leftists claim this is because of a rising movement of anti-feminism, but something else has been happening in the UK over the past decade that offers a better explanation – Mass immigration, predominantly from third world countries and Muslim populations that have little regard for women’s rights.

Over 53% of all knife crime in Britain is committed by minorities and migrants representing only 18% of the total population according to data collected in 2022.  In the vast majority of attacks on women and young girls the suspects are minorities, as was the case with Southport killer Axel Rudakubana who killed three girls and wounded multiple bystanders at a dance recital in July of 2024.  The event was the last straw and led to British protests and riots.

In true Orwellian form, the Brits tried to blame the weapon and the seller of the weapon instead of the murderer.  The British government and media went on a campaign to scapegoat online retailer Amazon for making it “so easy” for the killer to order a knife.  And they did this because he is a second generation immigrant whose parents came from Rwanda in 2006. 

The minority crime problem was becoming so pervasive that it was damaging the leftist government’s pro-immigration position, so they stopped reporting the ethnicity and migrant status of people arrested for such crimes.  British police refrain from cataloging ethnicity in almost 40% of all cases in what the government argues is an effort to “stem racism”.  If the perpetrator is white, their ethnicity is generally recorded.

Young white males have been the subject of an ongoing character assassination program stretching back to the height of the third-wave feminist takeover of media in 2015.  Open demonization has become the norm and boys growing up in this period of cultural warfare in the west have been told for most of their lives that they are the cause of most of the world’s ills.  Leftists claim that “toxic masculinity” is a social construct and that white males in particular need to be “reeducated” to embrace feminist values before they become “incels” (involuntary celibates) with the potential for mass murder.

This monstrous psy-op to feminize and brainwash young men has led to a predictable backlash, with men’s movements growing at a rapid pace and white Gen-Z males becoming the most conservative population segment in decades.  In other words, the leftists created their own enemy.  They don’t want to admit it, but the Manosphere only exists because of them.

The British government under Keir Starmer is scrambling to thwart the trend.  Officials have demanded a screening of Adolescence in Parliament and are heralding the show as a rallying cry for greater online censorship of dangerous right wing ideas. 

In a way, Adolescence is an indirect admission of what leftists truly fear – The rise of a new generation of men with conservative values, which threatens progressive power over future government.  The creators of the show recently warned that such media projects are in danger of becoming extinct because of funding cuts to the BBC.  The BBC noted in February that they could lose at least 8% (likely far more) of their funding due to cuts to US federal spending by the Trump Administration.

It’s all a bit circular, which is why leftists are so worried.  The more young men go conservative, the more money the leftists lose and the less propaganda they can churn out to demonize young men.  The culture war is over.  The progressives lost.  Shows like Adolescence are a pathetic last gasp of a dying woke movement.