Jack Posobiec Slams Netflix's 'Adolescence' As "Propaganda Designed To Demonize Young White Men And Vilify Masculinity"
Author and political and cultural pundit Jack Posobiec slammed Netflix’s recent drama Adolescence as “propaganda designed to demonize young white men and vilify masculinity.”
Following Netflix’s announcement that it was working with the government of the United Kingdom to have the show screened in state schools for free, Posobiec decried the show in a post to X.
He wrote, “As the culture war rages on, Netflix’s latest British miniseries, Adolescence, emerges as a stark example of progressive media’s unrelenting assault on white males. Hailed by leftist critics and politicians as a ‘must-watch’ exploration of modern societal ills, the series is, in truth, a thinly veiled piece of propaganda designed to demonize young white men and vilify masculinity itself. By twisting real-world data, race-swapping perpetrators, and scapegoating conservative online spaces, Adolescence reveals not just a bias but an agenda—one that seeks to guilt-trip white boys into submission and silence the growing resistance to woke ideology.”
“At the heart of Adolescence lies the story of Jamie Miller, a 13-year-old white British boy accused of murdering a female classmate,” Posobiec explained. “The series pins his alleged descent into violence on exposure to the ‘manosphere’—a nebulous term for online communities that challenge feminist orthodoxy and celebrate traditional masculinity. The narrative is clear: young white males, radicalized by figures like Andrew Tate, are a ticking time bomb, primed to unleash misogynistic havoc on society. This premise, however, crumbles under scrutiny when juxtaposed against the reality of knife crime in the United Kingdom, the very issue the show claims to address.”
Posobiec then discusses the knife crime problem in the United Kingdom and juxtaposes to the fiction that Adolescence attempts to paint as reality, “Britain has indeed seen a staggering 80% increase in knife attacks over the past decade, a statistic cited by critics of the progressive narrative. Yet, Adolescence conveniently ignores the inconvenient truth: the vast majority of these crimes are committed by minority and migrant males, not white boys from working-class families. High-profile cases, such as the 2023 murder of 15-year-old Elianne Andam in Croydon by a black teenager or the 2024 Southport stabbings by Axel Rudakubana, a 17-year-old of Rwandan descent, underscore this pattern. Official statistics reinforce it—black individuals, despite comprising just 3% of the UK population, account for 16% of homicide suspects. Meanwhile, youth knife crime is overwhelmingly linked to gang culture, broken homes, and socioeconomic despair, not the ‘red pill’ movement or anti-feminist YouTube channels. By casting a white boy as the villain, Adolescence engages in blatant race-swapping, rewriting reality to fit a narrative that indicts whiteness itself.”
“This deliberate distortion is no accident; it’s a calculated move to vilify a demographic the progressive elite fears most: young white men awakening to conservative values,” he observed. “The left has long relied on media to shape public perception, and Adolescence is their latest weapon. The series doesn’t just stop at race—it doubles down on an anti-male crusade. Jamie’s supposed radicalization via the manosphere paints masculinity as inherently toxic, suggesting that any boy who rejects feminist dogma or seeks male role models online is a potential murderer. This is a grotesque caricature of the manosphere, which, at its core, often provides young men with a sense of purpose and community in a world that increasingly tells them their existence is a problem. By conflating this with incel culture and violence, Adolescence dismisses the legitimate struggles of boys—alienation, lack of positive father figures, and societal scorn—while amplifying a mythical threat.”
“The show’s champions, including British Prime Minister Keir Starmer, who suggested screening it in schools, reveal its true purpose: indoctrination. Imagine the message sent to white boys forced to watch this in classrooms—your race and gender make you suspect; your interests, if not sanctioned by the progressive order, are dangerous. This isn’t education; it’s psychological warfare, designed to shame and suppress a generation before they can challenge the status quo,” Posobiec declared. “The irony is palpable—progressives claim to fight ‘toxic masculinity,’ yet their solution is to toxify the very concept of being male, especially if you’re white.”
“Critics like Ian Miles Cheong and Elon Musk have rightly called out Adolescence for what it is: ‘anti-white propaganda.’ Cheong’s viral X post, which Musk amplified with a simple ‘Wow,’ highlighted the race-swapping at the series’ core, sparking outrage among those tired of seeing white males scapegoated. The backlash isn’t just noise—it’s a wake-up call. The culture war isn’t over, as some claim; it’s intensifying, and Adolescence is a desperate salvo from a losing side,” he continued. “Leftist media, facing funding cuts and dwindling influence, clings to such projects as their last gasp, hoping to guilt-trip the public into compliance.”
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“But the public isn’t buying it. The show’s premise—that a 13-year-old could be driven to murder solely by online conservative influencers—lacks real-world grounding. It’s speculative fiction masquerading as social commentary, and its heavy-handedness betrays its intent. White men aren’t the symbolic punching bag Netflix wants them to be; they’re the backbone of a resistance that’s growing louder. Adolescence doesn’t just misrepresent reality—it insults it, and in doing so, it alienates the very audience it claims to enlighten.”
“In the end, Adolescence isn’t art; it’s a political tool. It’s anti-white because it erases the true face of UK knife crime to smear an innocent demographic. It’s anti-male because it reduces masculinity to a pathology, ignoring the root causes of youth violence in favor of a boogeyman. For a right-wing observer, this series is a clarion call: the left fears the rise of strong, unapologetic men, especially white ones, and they’ll stop at nothing to keep them down. But propaganda only works if we let it. The more we expose shows like Adolescence for what they are, the closer we get to winning this war—and reclaiming the narrative for truth,” Posobiec concluded.
As noted by Posobiec, UK Prime Minister Keir Starmer has supported the series and he applauded Netflix working to get the show into the UK school system for free.
Starmer said, “It’s an important initiative to encourage as many pupils as possible to watch the show. As I see from my own children, openly talking about changes in how they communicate, the content they’re seeing, and exploring the conversations they’re having with their peers is vital if we are to properly support them in navigating contemporary challenges, and deal with malign influences.”
“This isn’t a challenge politicians can simply legislate for,” he added. “Believe me, if I could pull a lever to solve it, I would. Only by listening and learning from the experiences of young people and charities can we tackle the issues this groundbreaking show raises.”
Ironically, Starmer recently declared that “ninja swords will be banned by this summer” in response to the growing knife crimes across the country.
Given Starmer’s hypocrisy and contradiction it fits in with Posobiec’s analysis of leftists at-large, “The left does not care when you point out the double standards. They don’t care when you point out their hypocrisy because the left doesn’t even believe in leftism. They only exist to destroy civilization. The destruction is the point."
If you see this, it’s not hard to see that the whole point of Adolescence including the blatant lying is also done “to destroy civilization.”
What do you make of Posobiec’s comments about Adolescence?
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Kind of interesting how Netflix chose to race swap the young man at the center of this story from one is obviously black to one who is white. Now why would they do something like that I wonder?