'%20x='0'%20y='0'%20height='100%25'%20width='100%25'%20%0A%20%20%20%20%20%20%20%20%20%20xlink%3Ahref='data:image/jpg;base64,/9j/2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj/2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj/wAARCAAGAAoDASIAAhEBAxEB/8QAFgABAQEAAAAAAAAAAAAAAAAAAAMH/8QAIBAAAQQBBAMAAAAAAAAAAAAAAQACAxIFBAYREyNxkf/EABUBAQEAAAAAAAAAAAAAAAAAAAQF/8QAGREBAAIDAAAAAAAAAAAAAAAAAQACAwUh/9oADAMBAAIRAxEAPwDNNgbcZlcRq8k+ej4JOqNlLNJrYl30AD2qR5GTrbZsRdwOfGERDzByUdZQsWGf/9k='%3E%3C/image%3E%3C/svg%3E)
Adolescence director Philip Barantini has now officially shut down the idea of a follow-up to the show. At Content London, he put an end to months of speculation: “There is no sequel to this.” He also explained why the team is not reprising the story: “For me, it’s about ultimately working with good people, nice people,” he said.
The Emmy-winning Netflix show is a British psychological crime drama created by Jack Thorne and Stephen Graham that follows 13-year-old Jamie Miller. Jamie becomes the prime suspect in the murder of a girl at his school. The show earned widespread critical acclaim.
Adolescence director confirms that the show will not be returning
He emphasized that the show's success was steered by a decisive creative moment.
“We captured lightning in a bottle in terms of how we shot it, but also the reach we had. That doesn’t mean every project going forward can’t have the same ethos.”
These statements officially shut down all ongoing speculations, especially after Plan B producers Dede Gardner and Jeremy Kleiner mentioned having a conversation about a “next iteration.”
Barantini addressed that directly. He said the team simply wants to collaborate again on new ideas, not revive the existing story. His position matches earlier comments from writer Jack Thorne and co-creator Stephen Graham, both of whom said Jamie’s arc was complete.
During the session, Jack Thorne also opened up on how and why Adolescence broke out beyond what many had expected. He reflected on what went through his mind about the global acceptance of the show.
“If we were on Channel 4, we would have done well [in the UK], but I’d be interested whether we’d have sold abroad,” he said.
The show is contextualized in a northern English town and tackles a debate rooted in the UK. He questioned whether international buyers would also feel as connected.
“My experience is the shows that don’t sell are the ones with regional accents, where it’s about something particularly British,” he said.
To make it clearer, he spoke about Mr Bates vs the Post Office, a widely praised UK drama that ITV “couldn’t sell across enough countries to turn a profit,” despite its domestic impact.
His comments ultimately highlighted how a global platform fundamentally changed the visibility and reach of Adolescence, thereby solidifying the show's success. Thorne reflected on the larger TV landscape, on how commissioners continue to rely heavily on crime narratives:
“Writers are being trapped in cul-de-sacs.”
He added that many pitches only move forward if they involve a dead body and a bleak investigator. The success of Adolescence has not shifted that pattern, in his view.
Barantini, meanwhile, is in the middle of new work at Netflix. He is developing Jade Franks’ one-woman play Eat the Rich (but Maybe Not Me Mates X) into a series. He is also set to direct Hell Jumper, a feature film based on the 2024 documentary. These projects suggest he is focused on new creative terrain rather than extending Adolescence.
Trending
The director’s comments leave no room for interpretation. Adolescence will remain a contained four-episode drama. The story is complete, the team is moving on, and the Netflix hit will not return in sequel form.
Reply
