‘Heartstopper’ continues exemplary work in portraying sexual identity, realistic romance
Hearstopper fans say “hi” to a new season as the series returned to screens on October 3. As many viewers have grown to love the show, their hearts feel bound to the intricacies of plot and characterization. The series takes on larger themes such as mental health as well as continuing to grapple with teenage gender and sexual identity, all while providing a comfort show for countless people.
The season begins with a light and flirtatious reunion of Nick (Kit Connor, Rocketman) and Charlie (Joe Locke, Agatha All Along) as the Paris squad comes together for a trip to the beach. The previous season ended with Charlie finally opening up to Nick about his past issues with mental health, issues which seem to have worsened.
Charlie’s eating disorder was lightly brushed upon in past seasons, but viewers are now completely immersed. Locke brings an emotional performance, accurately portraying the essence of loneliness and anguish that those suffering with such disorders feel. Struggling mentally while being in a romantic relationship can come with alienation from a partner, but Nick and Charlie represent exemplary queer love that allows for Charlie to get the support he needs. An especially heart wrenching moment is the composition “Black Friday” by Tom Odell as it provides the perfect ambiance for Charlie’s battle with his ED. Although a very difficult subject to represent, Hearstopper handles the issue with integrity and delicacy. The show portrays the realities of mental illnesses without the graphic nature that many others struggle to show accurately. It shows sensitivity to its viewers who have struggled themselves.
Furthermore, Connor’s performance while Nick is estranged from Charlie adds a depth of empathy to the character as he grapples with helping Charlie in his recovery, all while struggling with his own mental health. Nick’s stress culminates in a particularly beautiful scene as he cries in Tao’s (William Gao, Sunrise) arms. Connor not only precisely portrays the sense of desperation and solitude that Nick feels, but the importance of platonic friendships seldom seen in the contemporary depictions of the genre. The representation of this healthy balance remains especially important as the target audience for the show is adolescents.
The main critique of the series has long been its ‘cringiness,’ and this criticism has persisted into its third season. Although true, the whole point of the series is to represent awkward yet healthy teenage love. Too often is queer media met with tragedy or loss, and the corny dialogue between the two is imperative to create precise representation. Teenage love will always come with a sense of ‘cringiness.’
Aside from themes of mental health, Hearstopper opens its arms to a larger range of gender identity. In contrast to author Alice Osman’s comics, Darcy (Kizzy Edgell) comes out as non-binary, becoming one of the few characters in major media that explicitly identifies as such. Edgell came out as non-binary last year and their on screen character’s gender identity became modeled after their own. The glanced over symbolic act of cutting off their hair in Episode 4 serves as a liberating moment for the character and for viewers alike. Gender identity does not have to be a huge deal, and Heartstopper gave Darcy’s self-discovery just the right amount of attention.
Isaac (Tobie Donovan), known as Aled in the comics, also has a sense of self discovery as he comes out as asexual. Donovan excellently portrays the sense of loneliness that many asexual and aromantic people feel as they are first coming to terms with their sexuality. He perfectly emulates the alienation Isaac feels from his friends as they experience teenage love, despite not wanting that type of love himself. Additionally, Isaac represents asexuality and aromanticism as it is often forgotten or disregarded even within his own community. Despite this sometimes erasure, he doesn’t force himself to give people an explanation of his identity. Queer people are often called to educate those around them about their identity, but ultimately that isn’t their responsibility; they don’t owe others a ‘vocabulary lesson,’ as Isaac says. Hearstopper continuously allows for these more minor storylines of identity to be explored with care and accuracy. They show the different facets of the LGBTQ+ community that sometimes become erased, even within queer media .
Imogen (Rhea Norwood, Consent) explores her sexual identity and kisses Sahar (Leila Khan) at her Halloween party. After confusion and internal turmoil, Imogen eventually comes to the realization that she doesn’t think she’s ever ‘liked a boy.’ This representation of compulsory heterosexuality is one that many can relate to, and Heartstopper handles the suppression and uncertainty that she experiences, as well as the impact that societal norms have on discovering sexual identity very beautifully in the development of Imogen’s character. Imogen was not a character in the comics, but her inclusion in portraying a type of sapphic that isn’t often given representation in media proves very important and necessary for the show.
The timeline is in strong juxtaposition with that of the first two seasons. Both season one and two spanned over a few months, and so the timeline of this season felt a bit rushed in certain areas. Many storylines, like that of Tori (Jenny Walser), felt overlooked or ignored as opposed to the comics simply because of the time restraints. Having more time to focus on Charlie’s recovery would’ve also proved important in his representation of dealing with anorexia.
The season ends with major decisions of university, as well as exploring intimate relationships. These characters have truly grown into adulthood, and Heartstopper will likely only get more mature from here.
Grade: A+
by Anika Flores
Published November 4th, 2024
Oshkosh West Index Volume 121 Issue II