Erin Doherty's year has been an absolute fever dream of success and surprises! Who wouldn't want to hear about a rising star who nabbed an Emmy and is eyeing more accolades? But here's where it gets controversial: In a world obsessed with reboots and remakes, is her breakout role in an original series like Adolescence proving that fresh stories can triumph over Hollywood's love for nostalgia? Stick around to dive into her journey, and you might just rethink the future of British TV.
Erin Doherty, the talented British actress, is still in a state of disbelief about her remarkable 2024. "Honestly, it all feels like a total illusion," she chuckles during our Zoom chat with The Hollywood Reporter. As a former star of The Crown, she's been pinching herself ever since clinching an Emmy for her standout role in Netflix's blockbuster hit Adolescence—and now, as of December 8, she's also a Golden Globe nominee. This gripping series, crafted by Plan B Entertainment with scripts from Jack Thorne and Stephen Graham, centers on the shocking arrest of a 13-year-old boy played by Owen Cooper, who tragically assaults and kills a classmate.
Adolescence exploded as Netflix's second-most-watched show ever, and Doherty graced the cover of THR in April. She portrays Briony, a dedicated child psychiatrist, in a standout scene in episode three where she clashes with Cooper's character, Jamie, across a tiny table. This intense, 50-minute showdown explores Jamie's deep dive into the toxic online world of the "manosphere"—a term that might be new to some, referring to internet communities promoting extreme views on masculinity, often rooted in misogyny and conspiracy theories. For beginners, think of it as a digital echo chamber that can radicalize young minds, making this sequence a powerful commentary on modern influences. It's this very episode that propelled the entire Adolescence team—Graham, his wife and co-producer Hannah Walters, Doherty, and Cooper—to remarkable fame, collecting awards left and right.
The show was brought to life by Graham and Walters' company, Matriarch, and they spotted Doherty while collaborating on the Disney+ boxing drama A Thousand Blows. The young Brit is over the moon about it. "Discovering Adolescence during my time on A Thousand Blows, spending a whole year with Stephen and Hannah, and falling deeply in love with their vision—it's all encapsulated in these two amazing people inviting me to join their adventure," she shares.
And this is the part most people miss: Unlike a wild rollercoaster with its twists and drops, her experience has been more like a serene swing tower ride—soaring to incredible heights without any lows, filled with pure joy and steady triumph. "The Emmys afterparty was absolutely the pinnacle," Doherty tells THR, reflecting on that unforgettable night in 2025 when Adolescence swept up eight awards, including one for Cooper as the youngest-ever winner in his category. "Everyone was there, the whole crew, and we just reveled in it. We hopped on a bus, all dolled up, feeling fabulous, wondering, 'How did this happen?' It had that glamorous vibe," she grins, "but it was also real folks letting loose."
Of course, such stardom brings a touch of imposter syndrome. "You're sitting there thinking, 'What am I doing among these legends?' It felt like our own mini Christmas," she adds, "a chance to pour your soul into something and then celebrate with a trophy in hand. It's incredibly rare."
But she's not done collecting hardware—Doherty's gearing up for the Golden Globes on January 11, her first nomination, alongside fellow Adolescence cast members Graham, Cooper, and Ashley Walters. "That possibility feels even more surreal," she says. "Growing up, 'Golden Globe' was like this mythical term." Yet, she admits these glittering events are also about reuniting with her on-set family. "When my agent called with the news, my first thought was, 'Will everyone be there?' These things always seemed so distant and otherworldly, so I immediately wondered: 'Will we have an amazing time together? Will our support system be present?'
She's had plenty of that support, but has the newfound fame led to any starstruck encounters with admirers? "My biggest moment was with Sarah Paulson—I adore her," Doherty replies. "She's incredible, and as a gay icon, she's inspiring." Paulson reached out via Instagram, suggesting they meet at the Emmys, and Doherty froze: "I didn't reply for two days, thinking, 'Who am I to message Sarah Paulson?'" Luckily, they connected that evening. She also fangirled over Lauren Graham from Gilmore Girls: "Meeting her was overwhelming. I love that show."
One rewarding aspect has been Adolescence's boost to the British TV scene, showing that original narratives can captivate audiences without relying on established IPs (intellectual properties, like reboots of classic shows). "It's like fashion trends—what's hot and what's not?" Doherty muses. "For a while, everything was reboots and remakes, but this series has made people pause and consider real-world issues worth discussing." She encourages creatives to trust their instincts: "It has instilled confidence in British storytelling, reminding us: We're capable. Follow your passion."
All praise circles back to Graham and Walters. Doherty poetically calls them "the ultimate guardians of our creative world." Walters recently won Producer of the Year at London's Women in Film and TV Awards, delighting the actress. "If I could spend eternity in a room with just Stephen and Hannah, I'd be thrilled—everyone else can step aside," she jokes about collaborating forever.
Fortunately, the trio isn't slowing down. They're set to release season two of Disney+ and Hulu's 1880s-set boxing drama A Thousand Blows, penned by Peaky Blinders creator Steven Knight, on January 9. In the trailer, Doherty's character, Mary Carr—the all-female gang leader—is rallying her team. "She's basically George Clooney in Ocean's 11," the actress laughs.
Season two picks up a year after the first, with Mary reassembling the Forty Elephants gang, reconnecting with the fractured Hezekiah (Malachi Kirby) and estranged Sugar Goodson (Graham). "I adored it. Shooting back-to-back seasons was a huge blessing—we knew everyone intimately, especially the strong women of the Forty Elephants. We're still close today," she explains. It's a tale of redemption, with Mary at her peak: "Everyone ended season one down and out, and now it's about rebuilding, but with the support of those around you." On a broader level, she notes, "It's about uniting to tackle challenges and fight necessary battles."
Doherty can't spill details on what's next beyond A Thousand Blows, but she's clearly in her zone. "I never want to lose that childlike wonder about acting—it's simply trying on different roles like hats." Interestingly, just like Briony, she enjoys the psychological depth. "That drew me to Adolescence. I love psychology so much that I refuse to limit myself. People have so many layers."
One upcoming script has her buzzing, though she keeps it under wraps. "It's indescribable—you just can't let it slip away." When asked what draws her to roles now, she says, "There needs to be an element of challenge, that 'I'm not sure how to pull this off' thrill." Directors and collaborators are key too—who inspires her? "Chloé Zhao is crushing it. I haven't seen Hamnet yet, but everyone's raving—Paul Mescal, Jessie Buckley, it's bound to be brilliant. I'd love to escape into a cinema for it. Working with Chloé, Paul, or Jessie would be mind-blowing."
Doherty exudes positivity, with exciting prospects ahead and lingering praise for her work in a limited series that's been out for nine months. She's embracing her new reality, eager to share it with Graham and Walters: "They're exactly as you'd imagine—true visionaries."
A Thousand Blows streams on Disney+ and Hulu starting January 9.
But here's the controversial twist: In an industry where big budgets often favor franchises, does Adolescence's success mean we're undervaluing original, thought-provoking content? And this is the part most people miss—could embracing more stories like these revitalize TV, or is the nostalgia wave here to stay? What do you think: Should British creatives stick to fresh ideas, or are reboots the safer bet? Do you agree that psychological depth in roles is what makes acting magical? Share your opinions in the comments—let's debate!
