I just watched the four-part TV series Adolescence that has created quite a media splash. The show tells the story of a 13-year old boy Jamie who would come home from school and then spend all his time online on the computer in his room. The parents did not worry too much about this, seeing it as somewhat normal behavior, until he is charged with the knifing death of a classmate Katie. They are incredulous that he could have done this but, as the show unfolds, they discover that his world of peers in school and online has taken him down some dark roads. The parents, ordinary people who live ordinary lives and try to do their best to bring up their children well, wonder where and how they went wrong and how they could have missed all the signs that their son was being influenced by others who were feeding them ideas that led to dangerous feelings of inadequacy and grievance.
The show makes a point of noting how adults are oblivious to what is going on in the world of adolescents and even when they know, misread the signals. This is shown in a scene where the detective’s son tells the father that he is blundering ineffectively because he does not understand the nuances of emojis, and that those emojis that he thought showed a liking by Katie for Jamie were actually sarcastic.
It is Mascombe’s own son, Adam, (Amari Jayden Bacchus), a recalcitrant kid, Fredo’s favorite target, who gets his father to understand his own ignorance. “It’s not going well because you’re not getting it,” Adam explains. “You’re not reading what they’re doing, what’s happening.” He shows his father a comment that Katie posted on Jamie’s Instagram. “Looks like she’s being nice?” Actually, the boy explains, the emojis she uses are coded ways of denigrating Jamie, of calling him an incel. “Adolescence” lives in the paranoid world that Andrew Tate made.