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While the misery can be comforting, the experience takes a mental toll and a sizable chunk of time away from its audiences, on top of possibly fetishizing the same teens whose stories it borrows. Extending the observation, writer K-CI Williams observes that Heartstopper has remarkable parallels with Thai BL dramas, particularly Bad Buddy.īut even simply viewing the media landscape in the past few years, many successful coming-of-age stories such as HBO’s Euphoria lean towards realism and melodrama in the hopes of humanizing adolescence and depicting the disillusionment that accompanies growing up. Writer Mia Brabham has noted the reemergence of “wholesome” media as the cultural centerpoint - with television shows like Abbott Elementary and Ted Lasso, and films like CODA garnering not only critical but also audience attention. It is easy to understand why people, particularly queer teens and even young adults, have been galvanized around Heartstopper. Things change when the greetings become, in the words of critic Vincen Gregory Yu, “a crash course on 30 different flirty ways to say ‘hi,’” and both boys must figure out the boundaries not only of their ambiguous relationship but also of their identities. When they kiss again, hands holding one another this time, one can’t help but root for this - whatever it is - to survive.Īdapted from the widely successful webcomic and graphic novel by Alice Oseman, Heartstopper is centered around the budding romance between the shy and apologetic drummer Charlie Spring (Joe Locke) and his new seatmate - the popular rugby player and golden retriever incarnate Nick Nelson (Kit Conner). They share their first kiss and when they separate, it feels like the world has shifted back into its rightful place. They inch closer together, their feet and hands touching ever so slightly, animated sparks flying at the point of contact. Panting, they sit on the floor, the sudden silence making room for a truth neither of them have addressed.
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Just as they enter the room, the music fades out - transporting them away from the party and into a private world. As they race upstairs, the music becomes the beat in every step (in one of the show’s many glorious needle drops): Beneath their ragged breath and laughter plays “Alaska” by Maggie Rogers - written in the throes of lostness, detailing how climbing a mountain granted its writer newfound clarity and peace.
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The two leads - Charlie and Nick - race through a crowded party in search of a quiet spot to talk. There is a scene from Netflix’s new coming-of-age drama Heartstopper that has stayed with me since I watched it.