Why everyone is talking about 'Adolescence' on Netflix (2025)

The Queue

Plus: Movies that are leaving streaming platforms on April 1

By Kevin Slane

April 1, 2025

4 minutes to read

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A typical edition of The Queue starts with me going in-depth on a single topic — whether it’s Oscars controversies, the history of “SNL,” or whether Netflix is still worth it — before offering some quick streaming recommendations.

Once a month, however, I’ll be sending you an all-recommendations edition of the newsletter, because the struggle of deciding what to watch is eternal.

This week’s picks include a few movies leaving after this weekend (April 1), Oscar-nominated movies that have recently debuted on streaming, and a mix of reader-submitted and staff recommendations.

‘Adolescence may haunt me forever’

In a fragmented viewing landscape, it’s increasingly rare for one movie or show to completely dominate the cultural conversation. But over the past couple of weeks, I’ve been inundated with messages across all avenues of communication – texts from friends, emails from readers, Slack chats from coworkers – all recommending Netflix’s “Adolescence.”

The four-part limited series, which was produced in the U.K., became the first streaming series ever to top Britain’s version of the Nielsen ratings. It immediately shot to the No. 1 spot on Netflix’s global viewing charts as well, where it has stayed for two weeks and counting.

Kasey Moore, editor in chief of What’s On Netflix, pointed out that “Adolescence” is far outpacing Netflix’s similarly buzzworthy 2024 limited series, “Baby Reindeer,” in total viewership.

So what makes “Adolescence” resonate?

The series, about a 13-year-old boy named Jamie accused of murdering his female classmate, unfolds like a contemporary murder mystery. Each episode is filmed in one unbroken shot, giving the show an immediacy that puts you on edge.

The question of whether Jamie, the teen accused of the murder, is innocent or not quickly becomes immaterial. Instead, a team of puzzled adults try to follow the digital footprints that led to the crime, getting a crash course in Instagram cyberbullying and the mind-altering power of the manosphere and its online influencers.

The show isn’t for everyone. My friend Adam, a father to two young children, was succinct in his review: “‘Adolescence’ may haunt me forever.”

My coworker Katelyn Umholtz said she watched three of the four episodes in one sitting: “It’s another murder mystery type show — which I’m so sick of at this point — but it was the commentary about young kids (especially young boys) on social media, and how oblivious parents are about the dangers their kids face online, that made it worth the watch.”

And reader Ellen S. was taken in by the filmmaking style and the performances: “The single-take filming made me feel like I was witnessing each moment. The acting is breathtaking and the story is heartbreaking and clean…nothing is clichéd or formulaic. It rings true. Kudos to actors Stephen Graham and Owen Cooper and Erin Doherty especially. Actually, double kudos to Stephen Graham for co-authoring the story and co-producing. I love that guy!”

Last call on these movies

All of these movies are leaving their respective streaming services in the next few days, so the time to watch is now.

Note: The Queue arrives in inboxes Fridays at noon. If these viewing suggestions are reaching you too late, sign up now to start your weekend with the freshest streaming recommendations.

“Mad Max: Fury Road” (2015): My favorite movie of the 2010s and in the conversation for the greatest action movie of the 21st century, the real star of this post-apocalyptic thrill ride isn’t Max (Tom Hardy), it’s the flinty Furiosa (Charlize Theron). (Leaving Netflix March 30)

“Baby Driver” (2017): Edgar Wright’s penchant for choreographing action scenes to music is taken to the logical extreme in this heist film about a getaway driver (Ansel Elgort) who constantly listens to (and moves to) the beat of his iPod to drown out his tinnitus. (Leaving Netflix April 1)

“Dirty Rotten Scoundrels” (1988): A suave British con man (Michael Caine) operating on the French Riviera faces competition from a boorish American con man (Steve Martin) over the same mark, a wealthy tourist (Glenne Headly) who they both aim to fleece for $50,000. (Leaving Max April 1)

Play or Skip

Have a show you can’t stop watching? Email me about it at [emailprotected], and your recommendation may appear in a future edition of The Queue.

Press play on these new movies and shows:

“A Complete Unknown” (Hulu): This Bob Dylan biopic missed out on all eight Oscars for which it was nominated, which is a shame. Timothee Chalamet, 29, still has plenty of years left to score a Best Actor win, but his performance as Dylan is an all-timer.

“The Studio” (Apple TV+): If you love the one-take style of “Adolescence,” be sure to stick around for episode two of this Hollywood satire, starring Seth Rogen as a newly promoted film executive who has no idea what he’s doing. Luckily, neither do any of the other studio bigwigs, played by the likes of Bryan Cranston and Catherine O’Hara.

But go ahead and skip this one:

“Happy Face” (Paramount+): An example of a prestige crime show that tries but fails to transcend the genre, “Happy Face” is about the adult daughter (Annaleigh Ashford) of an imprisoned serial killer (Dennis Quaid) who is forced to interact with him when he becomes the true crime topic du jour.

End Credits

That’s a wrap on this edition of The Queue. If you’re a fan, please consider recommending this newsletter to your friends.

PS: Please enjoy these photos of an unrecognizable (but extremely ripped) Matt Damon as old man Odysseus on the set of Christopher Nolan’s “The Odyssey.”

Until next time, good stream hunting, everyone!

— Kevin