‘Adolescence’ Creator Slams ‘Absurd’ Race-Swapping Backlash: Netflix Hit Faces Firestorm Over Casting!

Since its explosive premiere on March 13, 2025, Netflix’s Adolescence has stormed the streaming world, racking up a staggering 66.3 million views in its first two weeks and cementing its status as the UK’s most-watched streaming debut ever with 6.45 million premiere viewers. The four-part British crime thriller, co-created by Jack Thorne and Stephen Graham, has captivated audiences with its one-shot filming and a gripping tale of 13-year-old Jamie Miller (Owen Cooper), a white teen accused of murdering his classmate. With a 98% Rotten Tomatoes score and dominance over charts in more than 75 countries, the series has sparked fierce debates about youth violence and online radicalization. But now, its creator is firing back at a growing backlash—labeled “absurd” by Thorne—over claims of race-swapping the main character, turning praise into a polarizing storm. Here’s why Adolescence is under siege and how its makers are fighting back.

A Triumph Turned Target

Adolescence follows Jamie’s arrest and the unraveling of his family—Eddie (Graham) and Manda (Christine Tremarco)—in real-time episodes that feel like a gut punch. Inspired by the UK’s knife crime epidemic—18,500 offenses in 2023, per the Ministry of Justice—and the “manosphere” influence of figures like Andrew Tate, it’s a raw look at a boy radicalized online. UK Prime Minister Keir Starmer called it “essential viewing” on March 22, 2025, after watching with his teens, and its 42 million Week 2 views prove its global pull. Critics adore it—Variety dubbed it “unflinching”—and fans on X hailed its “haunting” power.

But the honeymoon ended fast. Right-wing voices on X, amplified by figures like Elon Musk’s “wow” to a viral post, accused the show of “race-swapping” Jamie from a Black teen—allegedly based on real killers like Hassan Sentamu (jailed March 2025 for Elianne Andam’s 2023 murder)—to a white boy. “Anti-white propaganda,” fumed influencer Ian Miles Cheong, claiming it dodged immigrant crime to push a “red pill” narrative. The backlash exploded—42,000 reshares, 72,000 likes—branding the casting “deeply evil” and “dishonest.”

Thorne’s Fierce Rebuttal

Jack Thorne didn’t flinch. On The News Agents podcast on March 25, 2025, the co-creator torched the accusations as “absurd.” “There is no part of this that’s based on a true story,” he declared, rejecting links to Sentamu or Southport’s Axel Rudakubana (jailed for the July 2024 murders of three girls). “It’s absurd to say this crime is only committed by Black boys—we’re not making a point about race. We’re making a point about masculinity.” Thorne insisted Jamie’s a fictional composite, born from a wave of knife crimes Graham tracked, not a single case.

Graham doubled down to Tudum: “I’d read about a boy stabbing a girl, then another, then another—it chilled me. We wanted to ask, ‘Why?’” Filming began in July 2024, predating Southport, and Netflix confirmed on March 21 via WhatsOnNetflix, “It’s not one event—it’s a tapestry of stories.” Thorne’s fury peaked: “They’re saying we race-swapped it… nothing’s further from the truth.”

The Backlash’s Roots

The firestorm stems from optics and timing. Sentamu, 17 when he stabbed Andam in Croydon, and Rudakubana, 17 during Southport, are non-white teens—Sentamu of Ugandan descent, Rudakubana born in Cardiff to Rwandan parents. Jamie’s white casting sparked cries of “whitewashing.” X user Keith Woods posted side-by-side pics—Cooper’s Jamie versus Sentamu—claiming Netflix rewrote reality, earning Musk’s nod. “They brainwash us into blaming white men,” one post raged, tying it to immigrant crime stats—yet ignoring that 17.3% of knife offenders aged 10-17 in 2023 span all races, per the House of Commons Library.

Critics like GB News’ Patrick Christys slammed it as “demonizing white working-class boys,” while Evie Magazine called it “narrative control,” alleging Netflix dodged truth for agenda. The noise—4.8 million views on Cheong’s post—drowned out the show’s 24.3 million four-day haul.

Facts vs. Fiction

Thorne’s right: Adolescence isn’t a biopic. Graham’s inspiration—a string of stabbings, not one killer—aligns with knife crime’s broad reach, from white teens like Kyle Clifford (jailed 2024 for triple murder) to diverse cases. The Tate-incel focus reflects real online threats—Elliot Rodger’s 2014 rampage, not just migrant tales. “It’s about boys, not race,” Thorne told Channel 4 News, a line Netflix backs: “Jamie’s fictional, sparked by multiple reports.”

Yet the backlash persists. “Dishonest” trended on X on March 20, with 72,000 likes on Hunter Ash’s “evil” rant. Thorne faced trolls—antisemitic slurs, despite not being Jewish—per a March 20 Daily Mail piece, showing life imitating art’s online hate.

A Message at Risk

The show’s core—misogyny, digital radicalization—risks being lost. “It’s a whydunnit, not a whodunnit,” Thorne told Refinery29, a “life-saving” cry Starmer and educators echo, pushing it for schools. X defenders fight back: “Focus on the message, not race,” one wrote. “It’s for all sons,” a Black parent added. But the race row’s drowning it—Thorne’s “right talk” to the BBC now battles deflection.

Standing Firm

Streaming on Netflix as of March 26, 2025, Adolescence remains a titan—75-country reign, 95% Popcornmeter love. Thorne’s “absurd” slap-down and Graham’s “why” quest hold firm against the storm. “If it saves one kid,” Graham told Rolling Stone UK, “it’s worth it.” The backlash—raw, loud—proves its power, but the creators won’t bend. This isn’t about race—it’s about rage, and they’re shouting it louder than the noise.