As a seasoned writer and observer of popular culture, I can’t help but admire the impact that Alice Oseman has made with her heartwarming series Heartstopper. Her unique approach to depicting teenage relationships, especially those within the LGBTQ+ community, is a breath of fresh air in today’s media landscape where pressure and stereotypes can often dominate.
This interview was originally published in TopMob magazine.
When renowned British actors such as Olivia Colman, Stephen Fry, and Jonathan Bailey join a teenage romance series, it’s evident there’s something special about it beyond its initial appearance. However, even with big-name stars involved, I find it hard to believe Netflix anticipated the phenomenon that Heartstopper would ultimately create.
As a devoted cinephile, I’d put it this way: I’m right there with Charlie, the awkward teen, who finds himself smitten by the school’s rugged rugby star, Nick. We’re now three seasons deep, and they’ve become an established couple, treading the highs and lows of adolescence – when to declare love, when to take that next step physically, where to choose for higher education. Yet, it delves into deeper, murkier waters too – exploring struggles with mental health and eating disorders.
The program boasts a devoted and enthusiastic audience base that has grown steadily over time. Upon the initial casting reveal, Kit Connor (portraying Nick) and Joe Locke (as Charlie), gained a significant number of followers across various social media platforms. This figure has since swelled into millions.
The mastermind behind it all is Alice Oseman, who wrote and developed the webcomic and graphic novel upon which the series is modeled. “Nick and Charlie were secondary characters in my debut novel, Solitaire,” the 29-year-old author clarifies. “In our initial encounter, they are already in a loving partnership. We’re unaware of how they became a couple or their background story. I wanted to explore that narrative because I admired them as characters.
Initially, I attempted structuring it similar to a prose novel, reminiscent of Solitaire, but soon discovered that approach was ineffective. The moment presented itself for me to venture into creating a comic instead. As you may know, I’ve always cherished drawing. I started the webcomic Heartstopper and published new installments every week for people to enjoy at no cost. From there, it gradually flourished.
The webcomic amassed more than 124 million views – and so Oseman, whose first novel was published at 18, set about getting Nick and Charlie’s story in print.
Turns out it wasn’t a walk in the park, despite my previous book publications. My literary representative approached various publishers, but they all seemed uninterested as there appeared to be no demand for this type of work in the UK.
I considered the idea, ‘That sounds reasonable, I’ll go for self-publishing.’ This is a common approach among webcomic creators; they often launch crowd funding campaigns to finance the printing of their books.
Over just two hours, I managed to hit the funding target for Oseman’s project! In the span of two months, 2000 copies of Volume One piled high at the Oseman residence.
Over time, Hachette Children’s Group commenced the publication of graphic novels, which have since garnered sales exceeding eight million copies across thirty-seven different languages.
As a child growing up in Kent during the ’90s, Oseman was immersed in a world of storytelling, comic books, and the Artemis Fowl series. During their teenage years, young adult novels such as The Hunger Games, Twilight, and John Green’s works, along with TV shows like Skins and Glee, were at the forefront of Oseman’s literary and screen experiences. However, did these diverse forms of media make Oseman feel seen or understood?
At a time when I was completely clueless about my identity, I felt a strong sense of disconnection from any narrative that seemed to encapsulate my life. As an individual identifying as asexual, this term was entirely unfamiliar to me. I hadn’t the slightest idea what it meant. Consequently, I began writing during my teenage years because I couldn’t find anything that truly resonated with my experiences. There was never any representation on television or in films to guide me through those experiences.
As a devoted fan, I can’t help but admire Heartstopper for its authentic portrayal of LGBTQ+ characters. Among Charlie and Nick’s circle of friends, there’s Elle, a brave young trans woman, the loving lesbian couple Darcy and Tara, and Isaac, who identifies as asexual and aromantic. This groundbreaking show has been celebrated for providing a safe space for many young viewers to explore their own identities.
Beyond just exploring sexuality, the educational aspect of this series reaches much further. In fact, during this season, it delves into crucial issues related to mental health and eating disorders. To put it simply, Heartstopper wasn’t originally intended to address these topics, but they emerged organically due to the show’s inherently positive, optimistic tone. It serves as a reminder: tough times are inevitable in life, but there is always hope for a brighter future.
In series three, we delve into Charlie’s psychological well-being. We witness him at his most vulnerable, yet we also follow his path to recovery. This aspect is both enlightening and beneficial as it demonstrates that one can emerge from even the deepest despair.
In the latest season, Heartstopper’s storyline includes a touch of romantic intimacy. The buzz around this development has been quite significant, with many expressing surprise and some even shock. However, I believe it’s beneficial for young viewers to witness a couple who take their time before getting intimate. Today’s teenagers often face immense pressure to engage in sexual activities early on. It seems as though everyone is doing it, influenced by the internet and media. This new season provides a refreshing perspective that encourages patience and respect for personal boundaries.
In the series Heartstopper, the progression of Nick and Charlie’s relationship unfolds at a more measured pace. This slower development offers a refreshing perspective for younger viewers. The narrative in season three revolves significantly around the emotional aspects of sex, with characters grappling with questions such as “Am I ready for this?” or “How can I tell if my partner is also prepared?” and “What if it’s embarrassing because I’m unsure about what to do?” It’s hoped that these themes will resonate with many young people.
One distinctive feature of Heartstopper is that Oseman has penned every episode of this series. Typically, when a book gets adapted for television, the broadcaster or production company buys the rights. Often, a writer may be invited to join a writers’ room, but it’s uncommon for them to be entrusted with sole writing duties as Oseman has been.
Patrick Walters, another producer on the series, learned about Heartstopper and contacted my film representative expressing interest in acquiring the story. Impressed by his enthusiasm and ideas, we met and I was eager to collaborate with him. However, I made it clear that I wanted to be part of the process. I didn’t want to simply hand over my story and let others take control.
As a movie aficionado penning my thoughts, I was posed an intriguing proposition: “Why don’t you draft the initial three episodes?” Now, screenwriting wasn’t in my repertoire. I pondered, if my attempt fell flat, they could always bring on board a seasoned scribe. To my delight, they found merit in it! Consequently, I embarked upon penning the entire series. I’m immensely grateful for this opportunity, as it grants me substantial control over the show’s essence, ensuring its fidelity to the comic source material.
The likeness between the script and its visual representation significantly boosts the show’s popularity. Moreover, the actors’ performances, particularly Connor’s portrayal of the compassionate character Nick and Locke’s depiction of the sensitive Charlie, are crucial factors in the show’s success.
In a recent discussion, some people have questioned whether non-LGBTQ+ actors should portray LGBTQ+ characters. Interestingly, although Locke publicly announced his homosexuality at the age of 15, Connor felt compelled to declare himself bisexual following online criticism after the success of the first season. So, how did Oseman navigate conversations about casting and sexual orientation?
As a cinephile speaking up, let me clarify two points: First and foremost, it’s against the law to inquire about someone’s sexuality during the hiring process. Secondly, since our cast was primarily composed of teenagers, it’s important to understand that they might not yet have a clear understanding of their sexual orientation. However, we made it clear throughout our casting process that we were open to talents from within the LGBTQ+ community.
Should an actor develop a strong emotional bond with their character, that’s delightful. However, it’s not essential, and during the application process, we will never inquire into their personal life.
It’s clear that Season 3 will likely scale impressive heights, similar to those achieved by its previous seasons. In what ways has Heartstopper impacted Alice Oseman’s life?
I didn’t anticipate these events taking place, as webcomics are usually quite small-scale and uncommon. However, the success of Heartstopper is a remarkable exception. People might assume that I’d feel tired or drained by now, but truthfully, I adore this story so much and am incredibly grateful for it all.
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2024-09-30 20:04