This show is exactly what the world needs right now and has needed for decades. I initially found Heartstopper to be very generic, not worthy of anything more than a passing reference. It was only until I considered its wider implications that I realised its importance in media history. The word 'representation' is thrown around a lot these days, but this is something Heartstopper absolutely nails. It accurately represents closeted and out queerness, gay people, trans people, and male bisexuality. Racial diversity was also decent, and teenagers were finally cast as teenage characters, rather than ripped or big-breasted actors approaching 30 years old. I hope this gives the younger generation a more realistic perception of their own body image. Finally, a first kiss between queer characters was given over a minute of uncut and uninterrupted screen time, and it was one of the most beautiful scenes in television history.
Firstly, I want to say that the directing, performances, and score were mostly on point, with some nice song choices in the soundtrack. I'm particularly impressed with Joe Locke's performance, considering this was his first professional role. He had some heavy scenes that he absolutely knocked out of the park, especially alongside his more experienced co-star Kit Connor. Their on-screen chemistry continued to evolve along with their characters', and it was a joy to watch. On other technical aspects with the writing, Heartstopper falls a bit short. The dialogue is often clunky, and Nick and Charlie's relationship seems to blossom at a lightning pace. Perhaps slowing character development down with an extra 5 minutes per episode would've helped, but this might've interfered with its bingeablity. I appreciate that the show is already far more expanded than the graphic novel and actually flows quite nicely, but I think this could've been pushed a little bit further. In particular, the first episode was far too short to introduce the characters and their relationships with one another, and it suffers as a result. Exposition is also often heavy-handed, most infamously with the illuminated 'MUSIC' sign above Charlie's bed to tell the audience that he likes music, which is directly from the graphic novel. The result is a very cheesy and clichéd high school romance. Ultimately, I realised that I just did not care about these technical critiques because of how refreshing it was to finally see queer relationships featured in such a healthy and hopeful way, something that has been the norm for straight teen romances in media for decades.
Heartstopper is surprising in a conventionally unsurprising way. There were so many points where I rolled my eyes, thinking that I knew where the story was going and was caught off-guard by characters simply doing the decent thing, rather than stumbling into the pitfalls of confected drama. Characters actually talk through their issues with one another. For example, Nick sorts out his double-booked dates by talking it out with Charlie and Imogen, and both are understanding and compassionate. In any other show, he would've been alienated after deceiving both of them, but these relationships are instead strengthened with a masterclass in open communication. On paper, this seems like poor writing because so many opportunities to stir up conflict were circumvented, but I instead found this incredibly refreshing. I only now realise how we have been conditioned by media to view legitimate traumas of the queer experience as cheap plot devices. In Heartstopper, there are struggles with bullying, but nobody is beat up because of their identity, nobody battles with homophobic adult figures, nobody is outed against their will (except for Charlie the previous year), and nobody gets AIDS. While internalised homophobia is shown, it isn't really used as a character flaw of the love interest. There is no substance abuse or sexual violence (apart from forced kissing). In fact, there is no sex at all, only innocent teen romance with queer characters centre stage. Who knew such a thing were possible? This renders the age rating of Heartstopper in most countries incomprehensible; it should be appropriate for audiences over 12 or 13 with parental guidance. Is this another case of queer media being slapped with higher age ratings?
My praise of Heartstopper somewhat conflicts with the deep sense of melancholy I had upon finishing the show. I couldn't understand why I was obsessing over such a simple young adult romance and why it hurt me so badly. After some soul-searching and research, I think I finally have the answer. The reason why I love Heartstopper is also the reason why it hurts me. I never had this show or these positive queer experiences during my adolescence. I'm not jealous of the current generation for having this available; I'm thrilled for them, and it's about damn time. It's more like I'm mourning my younger self and experiences that he never had. He never had such a supportive friend group, and he never had a high school romance, which is something that straight people take for granted and can now look back on with fondness. The butterflies, wondering if they like you back, will-they-won't-they. I know this is an experience shared by many older viewers of the show, and I'm not even that old but there was nothing like Heartstopper even ten years ago. Anyway, I'll go cry some more now, and maybe I'll watch it again at some point and finally come to terms with these repressed feelings. Who knew loving queer representation would trigger more trauma than all the violence and abuse of darker shows like Euphoria and Sex Education?
Firstly, I want to say that the directing, performances, and score were mostly on point, with some nice song choices in the soundtrack. I'm particularly impressed with Joe Locke's performance, considering this was his first professional role. He had some heavy scenes that he absolutely knocked out of the park, especially alongside his more experienced co-star Kit Connor. Their on-screen chemistry continued to evolve along with their characters', and it was a joy to watch. On other technical aspects with the writing, Heartstopper falls a bit short. The dialogue is often clunky, and Nick and Charlie's relationship seems to blossom at a lightning pace. Perhaps slowing character development down with an extra 5 minutes per episode would've helped, but this might've interfered with its bingeablity. I appreciate that the show is already far more expanded than the graphic novel and actually flows quite nicely, but I think this could've been pushed a little bit further. In particular, the first episode was far too short to introduce the characters and their relationships with one another, and it suffers as a result. Exposition is also often heavy-handed, most infamously with the illuminated 'MUSIC' sign above Charlie's bed to tell the audience that he likes music, which is directly from the graphic novel. The result is a very cheesy and clichéd high school romance. Ultimately, I realised that I just did not care about these technical critiques because of how refreshing it was to finally see queer relationships featured in such a healthy and hopeful way, something that has been the norm for straight teen romances in media for decades.
Heartstopper is surprising in a conventionally unsurprising way. There were so many points where I rolled my eyes, thinking that I knew where the story was going and was caught off-guard by characters simply doing the decent thing, rather than stumbling into the pitfalls of confected drama. Characters actually talk through their issues with one another. For example, Nick sorts out his double-booked dates by talking it out with Charlie and Imogen, and both are understanding and compassionate. In any other show, he would've been alienated after deceiving both of them, but these relationships are instead strengthened with a masterclass in open communication. On paper, this seems like poor writing because so many opportunities to stir up conflict were circumvented, but I instead found this incredibly refreshing. I only now realise how we have been conditioned by media to view legitimate traumas of the queer experience as cheap plot devices. In Heartstopper, there are struggles with bullying, but nobody is beat up because of their identity, nobody battles with homophobic adult figures, nobody is outed against their will (except for Charlie the previous year), and nobody gets AIDS. While internalised homophobia is shown, it isn't really used as a character flaw of the love interest. There is no substance abuse or sexual violence (apart from forced kissing). In fact, there is no sex at all, only innocent teen romance with queer characters centre stage. Who knew such a thing were possible? This renders the age rating of Heartstopper in most countries incomprehensible; it should be appropriate for audiences over 12 or 13 with parental guidance. Is this another case of queer media being slapped with higher age ratings?
My praise of Heartstopper somewhat conflicts with the deep sense of melancholy I had upon finishing the show. I couldn't understand why I was obsessing over such a simple young adult romance and why it hurt me so badly. After some soul-searching and research, I think I finally have the answer. The reason why I love Heartstopper is also the reason why it hurts me. I never had this show or these positive queer experiences during my adolescence. I'm not jealous of the current generation for having this available; I'm thrilled for them, and it's about damn time. It's more like I'm mourning my younger self and experiences that he never had. He never had such a supportive friend group, and he never had a high school romance, which is something that straight people take for granted and can now look back on with fondness. The butterflies, wondering if they like you back, will-they-won't-they. I know this is an experience shared by many older viewers of the show, and I'm not even that old but there was nothing like Heartstopper even ten years ago. Anyway, I'll go cry some more now, and maybe I'll watch it again at some point and finally come to terms with these repressed feelings. Who knew loving queer representation would trigger more trauma than all the violence and abuse of darker shows like Euphoria and Sex Education?