Big Time Adolescence (2019) Ending Explained
tl;dr
Big Time Adolescence (2019) is a coming-of-age comedy-drama that follows 16-year-old Mo Harris (Griffin Gluck) as he navigates adolescence under the influence of his charismatic but irresponsible older friend, Zeke (Pete Davidson). The film culminates in Mo realizing the toxic nature of their friendship after Zeke's reckless behavior leads to legal consequences and emotional fallout. In the end, Mo distances himself from Zeke, choosing personal growth over destructive loyalty, symbolizing his transition into maturity. The ambiguous final scene leaves Zeke's future uncertain while suggesting Mo is on a healthier path. The film explores themes of mentorship, self-worth, and the consequences of idolizing flawed figures.
Detailed Explanation of the Ending
The climax of Big Time Adolescence occurs when Mo's involvement with Zeke reaches a breaking point. After Zeke convinces Mo to sell drugs at a college party, Mo is caught by the police, leading to his arrest. This moment serves as the catalyst for Mo's realization that Zeke's influence is harmful rather than aspirational. Though Zeke initially tries to downplay the incident, Mo's parents (particularly his father, played by Jon Cryer) intervene, forcing Mo to confront the reality of his choices. The legal repercussions and familial disappointment finally make Mo see Zeke for what he is: a stunted adult clinging to adolescence, unable to take responsibility for his actions or those he drags down with him.
The emotional core of the ending revolves around Mo's decision to cut ties with Zeke. In their final confrontation, Mo acknowledges that while Zeke made him feel cool and accepted, their friendship was ultimately one-sided and destructive. Zeke, despite his affection for Mo, is incapable of change, as seen when he immediately reverts to his careless behavior after Mo leaves. The film doesn't offer a neat resolution for Zeke, leaving his fate ambiguous-a deliberate choice underscoring the cyclical nature of his dysfunction. Meanwhile, Mo's parting words (“I think I just grew up”) signal his emotional maturation, though the film avoids a overly optimistic ending, implying that growth is ongoing and messy.
Unresolved Questions
1. What happens to Zeke after Mo leaves him?
- The film suggests Zeke will continue his aimless, self-destructive lifestyle, likely repeating the same mistakes with new impressionable friends.
- Alternatively, Mo's rejection could be a wake-up call, though the film provides no evidence Zeke is capable of change.
Does Mo fully recover from Zeke's influence?
- The ending implies Mo is on a better path, but his journey is just beginning. His growth is tentative, not guaranteed.
- His final smile hints at optimism, but the film leaves room for setbacks.
How does Mo's relationship with his family evolve?
- His arrest likely strains his bond with his parents, but their intervention suggests they'll support his redemption.
- The film doesn't explore this deeply, leaving their future dynamic open-ended.
Personal Opinion
Big Time Adolescence excels in its nuanced portrayal of a toxic friendship, avoiding clichés to deliver a poignant, darkly humorous take on adolescence. Pete Davidson's performance as Zeke is both charismatic and pitiable, making him a compelling anti-mentor. The ending is satisfying yet realistic - Mo's growth feels earned, but the lack of a tidy resolution for Zeke reinforces the film's themes. My only critique is that Mo's arc could've delved deeper into his post-Zeke life, but the ambiguity works for the story's tone. Overall, it's a sharp, affecting film that balances comedy and drama while delivering a sobering message about the cost of misplaced admiration.
Final Thoughts
The film's strength lies in its refusal to romanticize Mo and Zeke's friendship. Instead, it portrays their dynamic with uncomfortable honesty, showing how easily young people can confuse validation for genuine connection. The ending's ambiguity mirrors real life, where growth isn't linear and mentors aren't always villains-just flawed people incapable of giving what they never had. Big Time Adolescence is a standout in the coming-of-age genre precisely because it doesn't sugarcoat the messy, often painful process of growing up.