WhenAdolescencetook overNetflix, one of the best aspects was that it felt incredibly fresh. The kind of storyline you may expect from a drama: a family reeling after a shocking revelation, but the exploration of toxic masculinity, misogyny, and use of one-takes for every episode made it unique and pulled you into the story via its visceral nature. Perhaps the only issue withAdolescenceis that it has only four parts. However, if you are still craving a British drama that will bring a new perspective to a previously well-trodden genre,look no further thanCode of Silence.
This six-part series, produced by ITV, follows a partially deaf woman, Alison, played byEastendersandDoctor Whoactor,Rose Ayling-Ellis, who is deaf in real life, as she becomes a lip-reader and then informant for the police during an investigation into a gang’s planned bank heist. We normally know what to expect from a crime drama of this nature, especially with the plethora of shows that follow characters who sink into despair as they investigate elaborate crimes. However,Code of Silencestands apart from other pieces within this genre. Not only are Alison’s daily obstacles and experiences as a partially deaf woman grounded and fascinating, but the larger themes of the show are especially timely.
‘Code of Silence’ Subverts the Typical Crime Drama By Grounding Alison’s Struggles
Typically, in other detective pieces such asLuther, the protagonist’s subplot would surround either a romantic connection or a descent into depression or other dark traits as they come closer to the world of crime. Instead,Code of Silencefocuses on the frustration felt not only by disabled people in the workplace, but also the difficultiesworking-class peoplecan have in just trying to get by. Though she comes under threat later on, when Alison’s mother and roommate, Julie (Fifi Garfield), are focused on in the plot, it involves her dealing with the potential of losing her house or not being able to get a job due to her Access to Work forms being ridiculously delayed. These are relatable to far more people than the idea of evil taking over one’s soul as they spend more time in it, and insteadmake us sympathetic to the characters of Alison and Julie by showing them in positions some of us may have found ourselves inor many may have known someone who has gone through similar and how hard it was. Furthermore, these are issues many people face, but not enough focus is given to them on just how hard these kinds of lives can be, so seeing them portrayed inCode of Silencemakes the show feel especially significant.
While Alison does have a subplot that involves the trope of an ex-lover in Eithan (Rolf Choutan), this is again flipped in terms of how, rather than the protagonist being the one trying to win back the one that got away,Alison is the one telling Eithan she doesn’t want to date him anymore. This gives her far more agencyas a character and explores the deeper issues within her psyche effectively, pushing her to go to more extreme lengths to find satisfaction or, as she tells Eithan in one episode, when he is trying to win her back at a cinema, to give herself “what she needs.”
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‘Code of Silence’ Mixes Strength and Vulnerability Into Alison’s Deafness
The portrayal and inclusion of deaf people in TV and film, though present, has arguably been incredibly limited in terms of leading roles, apart from thesuccessful year of 2021, and this means that the wayCode of Silencehandles the character’s disability should be scrutinized as well as celebrated. In terms of how it is handled, the ITV-produced drama does not present Alison’s deafness as a weakness. However,the lack of power she holds in dynamics and the fact she is always underestimated does come from how her deafnessis perceived by others.
It is only because of her skills as a lip-reader that the investigation gains any information to use. However, the team of detectives implores her to be less involved in the case, such asDS Ashleigh (Charlotte Ritchie), who, although she comes from a place of care, doesn’t realize Alison’s competence. When Alison is near the criminals as she goes undercover, her confidence skyrockets, and we see her being more confrontational to learn what information she can, but only because she knows how they don’t perceive her as a threat, because she is deaf, especially Braden (Joe Absolom), who openly mocks her about her condition.
‘Code of Silence’ Explores the Morals of Crime and Capitalism
In a day and age whenwealth inequality has never been so massive,Code of Silenceuses this to explore not only why someone may turn to crime, but why Alison, and we, may become sympathetic to someone who does. During her role as an informant, Alison becomes increasingly in contact with Liam (Kieron Moore), the hacker for the group, and the youngest. As their relationship develops, we see that this is not a stereotypical criminal, but someone desperate for a life where they no longer have to worry about the burdens of economics. When this is coupled with the financial struggles Alison goes through, and is contrasted with the target of the heist, a mega-rich business person with a spoiled child,the audience is invited to ask whether a criminal is a bad person, or if we could all break the law in the pursuit of a better life, especially if we believe we weren’t truly hurting anyone in doing so.
It may only be two episodes longer thanAdolescence, butCode of Silenceshould definitely be the next show you binge. There is so much to be appreciated from the acting of Ayling-Ellis and the portrayal of her disability, and the new experience you get from the way the story embraces BSL and subtitles. I don’t know if she is the next Sherlock Holmes or Luther (Idris Elba), butCode of Silence’s Alison is certainly an investigator whose case you’ll be thoroughly entertained and intrigued by.
Code of Silence
A deaf police canteen worker with exceptional lip-reading skills is recruited to surveil a criminal gang plotting a high-stakes heist. As she delves deeper into the investigation, she forms a dangerous bond with a gang member, blurring the lines between duty and desire.Override
