Jack Thorne on Adolescence, The Beatles movies and Lord of the Flies: The Radio Times Writers’ Room

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Welcome back to The TopMob Writers’ Room!

We’re thrilled to welcome Jack Thorne, a talented writer with a diverse portfolio. He’s penned scripts for films like Enola Holmes, popular series such as This Is England and His Dark Materials, and the stage play Harry Potter and the Cursed Child. He also wrote Adolescence, which received incredible recognition, winning 8 Primetime Emmys, including an award for Outstanding Writing.

Thorne initially considered careers in politics, acting, or directing, but discovered a passion for playwriting while at university. He began his screenwriting journey by contributing episodes to popular Channel 4 series like Skins and Shameless.

Following his work on the mockumentary series Cast Offs, he collaborated with Shane Meadows on three miniseries. These series continued the story begun in Meadows’ popular film This Is England, and were set in the years 1986, 1988, and 1990.

He’s since worked on a number of successful TV series, including The Fades, National Treasure, Best Interests, Toxic Town, and The Hack. He also adapted Philip Pullman’s His Dark Materials for the BBC, and that’s only a small part of his overall television career.

As a huge theater and movie fan, I’ve noticed this person’s work all over the place! They’ve been involved with some amazing stage productions – I especially loved Harry Potter and the Cursed Child and Stranger Things: The First Shadow. But it doesn’t stop there – they’ve also written screenplays for films like Wonder, The Swimmers, Joy, and all three of the Enola Holmes movies. Seriously impressive range!

His most significant success so far is likely ‘Adolescence,’ the four-episode Netflix series that premiered in 2025. It quickly became a worldwide hit, capturing the public’s imagination, earning numerous awards, and even sparking debate among lawmakers.

He’s now created a new four-episode series for the BBC based on Lord of the Flies. This adaptation closely follows William Golding’s story of boys stranded on a tropical island after a plane crash, with no adults to guide them.

The show features rising stars Winston Sawyers, David McKenna, Lox Pratt, and Ike Talbut, and director Marc Munden has given it a vibrant, colorful look.

Thorne describes Munden’s work as having a similar feel to a TV show directed by Terrence Malick. He emphasizes that the show truly reflects Munden’s unique style, stating that Munden’s creative influence is evident throughout every aspect of the production.

During our conversation, Thorne shared valuable lessons he picked up while working with Bryan Elsley, the creator of Skins. He also gave hints about what’s coming in Enola Holmes 3, but skillfully kept details secret about the four Beatles movies he’s written for Sam Mendes.

He shared a few of his favorite scenes to write and highlighted what he considers the peak of his career – and it’s quite a story!

I just finished watching the full video – you can find it at the top of this article, and let me tell you, it’s worth your time! I’ve included a snippet below, and I’m already looking forward to more behind-the-scenes glimpses from The TopMob Writers’ Room. Keep an eye out for future visits – they’re planning more!

You might also enjoy revisiting our past conversations with Mark Gatiss, Harry and Jack Williams, Noah Hawley, Neil Cross, Steven Knight, and Chris Chibnall.

Jack Thorne on the challenging development of Adolescence and how long he’s been thinking about Lord of the Flies

James Hibbs asked if, while creating the show Adolescence – which was groundbreaking in many ways – there were times the team felt like the project wouldn’t succeed.

Jack Thorne admits he wasn’t fully confident with most of the early episodes. He specifically questioned his approach to episode 2, wondering if he’d presented the material in a way that allowed the actors and crew to succeed, especially given the limitations of the set.

We designed the first and third sets using the incredible work of our production designer, Adam Tomlinson. However, when we used the second location – a school – it didn’t quite work. The layout wasn’t ideal for filming; it lacked the necessary rooms, windows, and other features in the right places, and mostly consisted of long hallways.

I recall sitting down with the director, Phil Barantini, and realizing we had a problem with the story itself. Luckily, three things helped us overcome it. First, Ashley Walters was incredible. Despite being nominated for many awards, I think he’s a truly underrated actor in Adolescence. That particular episode really hinges on his performance, and he carries it beautifully, guiding us through all the complexities.

Secondly, our incredibly talented Director of Photography, Phil Lewis and Matt, transformed the school into a convincing and effective maze. Finally, Toby Bentley, an executive at Netflix, suggested we conclude the episode focusing on Stephen Graham, and this was all decided on Tuesday during the week of filming.

This is the last week of work on this episode. We spent one week rehearsing, one week on technical setup, and then a week filming. Since Stephen was already on set as an executive producer, everyone was able to contribute. Matt had the challenging task of not only getting the camera airborne, but also safely landing it – which required a completely separate set of technical skills. He figured out how to make it all work.

Stephen simply being himself, and showcasing his incredible talent, really revitalized the show in the last few minutes of the episode. It was a powerful combination – Ashley’s emotional performance, Phil’s skill, Matt’s clever ideas, and then Stephen’s impactful contribution at the end – that ultimately made the episode work.

The show featured many outstanding performances, especially from the talented young actors. I particularly think Fatima, who played Jade, had the potential to do even more with the role, and we should have given her more opportunities to shine.

JH asked if there were any plans for future collaborations, noting that while Jamie’s story seemed finished, Stephen had suggested during his Golden Globe acceptance speech that more could be coming.

My husband’s sister called last night and asked if we were working on a story about prisons. I told her we weren’t – definitely not. We don’t have any such story in the works, though it’s possible something might develop later.

So, moving on to Lord of the Flies, your current project – how long have you been considering turning this book into a film?

JT: “I’m 47. I read the book when I was 14. So, 33 years.”

JH: “And have you always had a sense of what you would want to do with the story?”

JT explained the project began during lunch with Joel Wilson, a very talented executive producer. Joel had asked him what book he’d most want to adapt, and JT immediately responded with ‘Lord of the Flies’. He added that producers are always thinking, even when they’re off duty.

I remember telling him I envisioned the project like a relay race, and that idea really stuck with me. I believed the book naturally divided itself into four distinct sections.

I’m a huge believer in ‘show, don’t tell,’ and there’s this quote – it might be Hitchcock, or maybe not, but I love it anyway – that says, ‘Dialogue is just what actors say while their faces do the real storytelling.’ To me, that’s what screenwriting is all about. It’s about creating little glimpses into what characters are really thinking and feeling, and giving the audience a chance to connect with them on that deeper level. That’s the most important thing we do.

The second episode, which centers on Jack, is designed to help viewers understand why he does what he does. It doesn’t necessarily mean you’ll agree with him or even feel sorry for him, but it allows you to grasp his reasoning.

As a screenwriter, what really struck me about Golding’s Lord of the Flies is his surprisingly tender approach to the characters, especially the boys. It’s not about melodramatic displays of emotion; even with a character like Jack, Golding doesn’t need to have him breaking down in tears. Instead, he subtly reveals their motivations, letting you understand where they’re coming from, even if you don’t agree with their actions. There’s a real care and understanding in his writing – with perhaps the exception of Roger, who feels like a different case entirely – and that’s what makes the story so compelling. It’s about showing, not telling, their inner lives.

I believed this story had the potential to be told powerfully on television, and I’m thrilled we were able to achieve that. I’m especially proud of the young actors; their incredible performances speak volumes, making it a show that relies more on visual storytelling than dialogue.

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Lord of the Flies will air on BBC One and BBC iPlayer from Sunday 8th February 2026.

Don’t miss Lord of the Flies! Add it to your watchlist on the TopMob: What to Watch app. Download the app today for daily TV suggestions, articles, and more.

Authors

James HibbsDrama Writer

James Hibbs writes about TV dramas for TopMob, covering shows on streaming services and traditional channels. Before becoming a writer, he worked in public relations, first at a business-to-business agency and then at Fremantle, an international television production company. He has a BA degree in English and Theatre Studies, as well as a Level 5 Diploma in Journalism.

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2026-02-06 11:06