A reflection on kids, culture, narcissism, and the collapse of accountability
A Father Watches
There’s a moment—sitting there, late at night—where I stopped watching the film as a critic and started watching it as a father.
Yes they did a great job on the one shot, a real genius move to make you feel like you’re in it. Your heart and mind can’t blink, and take a breathe between scenes. This is really great drama and you do really feel everything. I think they missed a few episodes to be honest, probably needed episode 1 and 2 to be season 1 and episode 3 and 4 to be season 2. I just struggled to see the boy who peed his pants shout at the psychologist like that.
I thought about my son. About my daughter. About the million things they’re walking into as they grow: screens, shame, identity, violence, silence. I thought about how little room the world makes for them to be soft. To be safe. To say I don’t know who I am without being punished for it.
And somewhere in the mess of that film, between the wasted scenes, the broken threads, the posturing and noise, one line pulled me under.
“I didn’t do anything wrong.”
Not “I didn’t kill her.”
Just… I take no responsibility.
And I felt it in my gut.
I didn’t just watch the boy.
I watched the dad.
And I broke a little.
Because maybe he tried. Maybe he didn’t. (We see more of that as the series continues)
But there’s a pain in watching your child become someone you can’t reach anymore.
Someone who won’t even say sorry.
Someone who still thinks he’s done nothing wrong.
There’s a line—quiet, almost forgettable if you’re not really listening—but it’s the most haunting moment of all.
A boy looks at his dad and says:
“I didn’t do anything wrong.”
He doesn’t say, “I didn’t kill her.”
He doesn’t even try to argue context, or intention, or consequence.
Just a blanket denial.
A clinical erasure of personal responsibility.
And right there is the whole sickness exposed.
This isn’t a claim of innocence. It’s the mantra of the modern narcissist.
It’s the way ego eats truth.
The way performance replaces presence.
The way boys are taught to survive through detachment—
not to understand what they’ve done,
but to convince the world they’ve done nothing wrong.
The film itself seems like it’s reaching for something meaningful—British knife culture, lost boys, violence, grooming, shame, online bullying, warped sexuality, digital detachment… even hints of incel ideology and male fragility.
But it never lands.
Instead, it spreads itself too thin.
Like a first-time filmmaker flexing all their muscles at once,
shouting “Look what I can do!” without ever asking,
“What am I really trying to say?”
There’s this haze of almosts everywhere.
Almost a comment on porn addiction and male shame.
Almost an exploration of how young men become emotionally numb.
Almost a critique of systems that fail boys until blood is drawn.
But the threads unravel.
Like his two friends. One of them gives him the knife.
That’s a pivotal moment. Or… it should be.
But who is he? Why is he carrying? What does that say about their lives, their fears, their boundaries?
He appears, disappears, leaves no mark.
The cop and his son at the school? Wasted.
They set up a tension—a possibility for redemption, or collapse, or even just a moment of clarity.
But it all leads… nowhere.
Another scene that means nothing.
And then, for an entire episode, the van gets spray-painted with “NONCE.”
No context. No payoff.
That word carries so much weight in the UK.
Violence. Misunderstanding. Public execution via shame.
But in this film?
It’s just… there.
Another discarded thread in a pile of unfinished ideas.
This isn’t storytelling.
This is trauma-porn dressed up in aesthetic.
It’s mood over meaning.
Vibe over voice.
But still—still—that line:
“I didn’t do anything wrong.”
It sticks.
It sits with you long after the credits roll.
Because it’s the only real moment of reflection in a sea of noise.
And maybe that’s what this film accidentally revealed:
That the most dangerous thing isn’t the knife.
It’s the boy who uses it,
and feels nothing.
A generation of young men, hardened by screens,
bored of empathy,
numb to the damage they cause.
They don’t apologise.
They don’t name what they did.
They just say—
“I didn’t do anything wrong.”
If that’s not the true tragedy of adolescence today,
I don’t know what is.
What Stays With Us
In the end, the film tries to be about so much, but forgets to be for anyone.
It fails the boys.
It fails the fathers.
It fails the audience.
It forgets that stories are meant to hold us.
To help us feel less alone.
Not just to impress, or provoke, or perform.
There’s a moment I can’t shake, when the dad in the film tries to defend his son playing goalkeeper, and the other dads mock him. You see a flicker of pain, of pride, of powerlessness. And I thought: Never me. I commit, again and again and again, to stand with my children in whatever they choose. To cheer for them from the sidelines, to support their art, to sing a song with them if they ask. I will be unashamed, with tears in my eyes if I have to, as I love them through everything. Let the world laugh—I’ll be there, heart wide open.
Because if we don’t stand with our children,
the world will teach them to stand against themselves.
But still, somewhere in that noise, one truth came through:
The most terrifying thing about this world we’re raising kids in
isn’t just the violence.
It’s the emptiness that follows.
The emotional deadness.
The absence of remorse.
The performance of innocence without any of the weight.
“I didn’t do anything wrong.”
That’s what stays with me.
That’s what I’m afraid of.
And that’s why we tell better stories.