As a teen growing up in the era before shows like Heartstopper graced our screens, I can attest to the profound impact such representation has on shaping one’s perception of love and self-worth. Being an adolescent often means grappling with identity issues and self-doubt, and seeing characters like Elle and Tao navigate their relationship in a healthy, loving, and celebratory way can be nothing short of revolutionary.
[This story contains spoilers from the season three finale of Heartstopper.]
Yasmine Finney, from Heartstopper, shares her thoughts during a Zoom call. She expresses that the first season held a unique charm as many of us were new to set life, making it incredibly genuine. This time around, we’re more mature actors, and the experience is distinctly different. Furthermore, she admits that this season pushed her limits, particularly because she was in a relationship during filming,” or simply, “Yasmine Finney reveals over Zoom that the first season held a special allure due to our naivety as newcomers to set life. In contrast, this season is different since we’re more mature actors, and it posed challenges, notably because she was in a relationship during filming.
As a devoted fan, I’m thrilled to share that “Heartstopper,” Alice Oseman’s beloved YA Netflix series, is back for its third season! This heartwarming drama, which received both acclaim and constructive criticism in its previous seasons, has returned with a noticeable shift in tone. According to the creator and showrunner, this change was intended to move away from the earlier, more lighthearted and optimistic portrayal of coming-of-age experiences. Now streaming on Netflix, this season delves deeper into relationships, sexuality, and mental health for its diverse group of LGBTQIA+ and allied teenagers at two British secondary schools. Oseman explains that this matured narrative was a natural progression for the story, as it had been conceived in this form long before the criticism emerged. She shared these insights with The Hollywood Reporter.
In a novel I wrote prior to “Heartstopper”, there lived a character named Charlie who was experiencing severe mental health struggles, dealing with some intensely difficult situations. Given the narrative, these complex themes were inevitably addressed. They further explained, “As time passes, both the characters, actors, and audience mature. It seems unusual to continuously revisit the same topics in every season. Instead, I find it invigorating to allow the story to develop and progress.
In the third season, the characters Elle (Finney) – a Black transgender girl who identifies as straight – and Tao (William Gao), a cisgender Asian boy also identifying as straight, develop significantly. They are one of the main romantic pairs in the series. Over two seasons, their bond has progressed from friendship to romance in a rapid fashion. Their current storyline delves into the complexities of relationships, both emotionally and physically.
According to Finney’s statement to THR, upon reading the script, he noticed several aspects that would be addressed this season. What particularly stood out to him was the developed relationship between Tao and himself. This relationship evolves into an unbreakable bond, which he finds fascinating, as it is a new experience for Yasmin. The show offers a mature, innovative portrayal of not only the gay lifestyle, but also the transgender experience, and the complexities of adult love.
In the latest chapter of their journey, Oseman notes that both characters carry hidden vulnerabilities and fears they haven’t yet revealed to one another. This secrecy causes some strain in their relationship. What Tao must grasp is the importance of lowering his defenses, while Elle also needs to learn this lesson – to become more open and communicate their vulnerabilities with each other in a fresh, slightly more transparent manner.
As a passionate admirer, I’d like to share an intriguing insight: Traci Abbott, an associate professor of English and Media Studies at Bentley University, is currently investigating trans representation in U.S. teen shows. Her findings suggest that the way Heartstopper portrays its lead duo sets it apart from many American screen romances, particularly those featuring cisgender and transgender teen partners, which is quite fascinating!
“Heartstopper effectively demonstrates various forms of affirmation, whether in friendships or romantic relationships, and provides guidance on expressing emotions to others – a task that can be tricky in teen shows where many relationships may seem unhealthy or manipulative,” she shares with THR. “Moreover, when discussing the representation of trans individuals in the context of romance, it’s crucial to note that transness is not treated as an afterthought or obstacle. Instead, it’s woven seamlessly into the narrative, neither ignored nor overlooked.
A significant aspect of the portrayal of Elle is her backstory, where key elements of her friendship with Tao, as well as her personal transition, are developed outside the initial eight episodes of Heartstopper, according to actress Gao. As Finney explains, they’ve been friends for a long time, having attended an all-boys school together. During this period, Elle went through her transition, and Tao remained supportive throughout. Afterward, Elle moved to a girls’ school, and their romantic story unfolds from there.
Gao notes, “Tao has truly shared in her journey. They have a deep history, genuine friendship, and a strong bond built on love, protection, and camaraderie since the beginning.
In high school, Finney was frequently bullied and insulted by others, with people using derogatory terms towards her. However, in the show “Heartstopper,” Elle experiences some transphobic harassment, but it’s mostly kept off-screen, allowing more focus on the growth of her friendship with Tao and their eventual romantic relationship. Finney describes this as a unique and extraordinary development, as such positive portrayals of transgender relationships are seldom seen in media.
Oseman mentions that the character Tao deeply admires Elle. He finds her flawless and amazing. He longs to spend every moment with her, discussing her so frequently that it becomes slightly grating for those around them. (Chuckles) When crafting this scenario, Oseman aimed to depict a transgender character cherished by their partner. Furthermore, Elle’s trans identity is never problematic or confusing for Tao in any way. Oseman believes it was essential to portray a straight male character, Tao, being attracted to a transgender female character, without casting doubt on his sexuality.
Abbott points out that the show “Heartstopper” differs significantly from most mainstream films and television series, particularly teen shows, which have historically lagged behind U.S. adult programming and U.K. teen series in representing trans relationships. Norman Lear’s 1977 series “All That Glitters” was pioneering in its portrayal of an adult trans-cis partnership without any obstacles, a depiction that wouldn’t be seen quite the same way again until Lana and Lilly Wachowski’s “Sense8”.
Following “All That Glitters,” a period of approximately 40 years ensued, during which relationships between trans and cisgender individuals were often subjected to mockery. This was prior to the expansion of television and film into the realm of romantic dramas. In these narratives, audiences frequently encountered not just sad endings, but also the notion that being transgender serves as an obstacle to genuine love and self-identity, according to Abbott.
Over time, various series have made strides in showing how trans individuals and their non-trans partners deal with attraction, intimacy, and identity. However, as more portrayals emerged, Abbott points out that many stories still placed the burden on trans people to educate cis people about themselves. These narratives often focused excessively on a trans person’s physical appearance in relation to the gender binary, or they presented cisgender characters who fetishized or abused a trans character in intimate relationships.
Heartstopper is part of a new wave of series such as Generation+, Sort Of and Kaos , where characters delve into on-screen relationships and intimacy, yet place less emphasis on physical appearance and more on personal traits. According to Abbott, such straightforward interactions are crucial. We need to see more characters who don’t worry about or are unbothered by these aspects.
Gao points out, “This production pushes limits in numerous aspects, and I believe this is one of them. Showing the casualness of it all is crucial. There’s no stigma or hidden prejudice, maybe found in other productions. These stories should be depicted because they do exist, and hopefully, will continue to unfold.
The ease present throughout the show’s initial two seasons is tested and validated in various aspects as the couple maneuvers their relationship. As expressed by Finney, “This season brings an unprecedented degree of comfort and mutual agreement, which I’ve never experienced with a partner before.
The series maintains authenticity by intertwining its romantic elements with genuine relationship hurdles. Both creators, Gao and Oseman, acknowledge the influence of Finney in preventing the show from resembling a “queer utopia,” often seen in shows like Max’s Gossip Girl or Netflix’s The Politician.
Abbott points out that American teen shows often focus on specific conflicts, suggesting they don’t need to address a character being trans because the show portrays everyone as having moved beyond such issues. However, this is unreachable for viewers who aren’t part of an extremely privileged, affluent queer community.
As a dedicated gamer, I can’t help but feel a strong connection to the characters of Tao and Elle from Heartstopper. Unlike some series where LGBTQ+ relationships are often sidelined or portrayed as exceptional, Heartstopper presents their relationship as just another normal part of life. Tao consistently supports Elle’s artistic journey, and their families wholeheartedly accept and celebrate them as a couple. This depiction goes beyond simply supporting Elle as an individual; it shows their romance in the same light as any other relationship.
As a gamer, I found myself witnessing an intimate moment between Tao and Elle that later took a pause, while another scene displayed an open and truthful dialogue where they delved into reasons behind Elle’s response. That conversation stood out to me, as well as Finney, Oseman, and Gao, because it seemed genuinely reflective of the intricacies and realities in trans-cis relationships.
In Finney’s words, “As a man who identifies as cisgender and heterosexual, like Tao, it’s important to understand that when you fall in love with a transgender person of color, there will be unique challenges. It’s never simple to navigate these relationships, but the added complexity makes it even more difficult.
Gao clarifies that these discussions aren’t based on uncertainty or concerns about public opinion. Instead, they revolve around ensuring Elle feels at ease, focusing primarily on her. However, this focus on Elle indirectly involves Tao as well.
In the story, each character approaches sexuality uniquely, and for Elle, being trans is integrated into this journey. It’s a significant aspect, according to Oseman. When Tao expresses that he doesn’t often consider her trans status or view it as irrelevant, Elle explains that it’s still an essential part of her identity, and it’s important to acknowledge this. Writing about such topics was a learning process for me, understanding when and how to address them authentically in the narrative, with the aim of creating a more authentic and relatable story.
Oseman acknowledges that Finney significantly influenced several scenes, including Elle’s conversation with her friend and fellow trans girl Naomi (Bel Priestley) about her apprehensions regarding her first time. It was during rehearsals when Finney discussed with Oseman the necessity of portraying the challenging aspects of being trans for Elle. “We had a few instances where we exchanged ideas on how this scene should be played, due to my personal experience as someone who, in many ways, embodies Elle,” says Finney. “Alice, being nonbinary, doesn’t have the ability to speak from a transgender female-to-male perspective. Therefore, I was fortunate to have the opportunity to contribute thoughts on certain matters.
In collaboration with Alice, we carefully went over the script. There were moments when we felt it was necessary to pause and discuss, as filming this part wouldn’t be appropriate until we had a proper talk about certain aspects. Yaz spearheaded this crucial conversation that significantly influenced how these scenes unfolded in the final production. It is of paramount importance. Given the vast audience for our show, it was essential to portray their story accurately and provide an authentic, impactful experience.
In discussing the creation of season three, Oseman expresses, “I had a strong desire to portray a truly uplifting journey of a trans individual. Earlier, I was hesitant to delve into the challenging, troublesome aspects of being trans because many trans narratives tend to be gloomy, tragic, and filled with trauma. However, upon our conversation, it became clear, ‘that makes perfect sense,’ and this perspective will create a more impactful and crucial storyline for Elle by integrating these difficulties within the broader themes of the season.
In a different segment, Elle appears on a radio program to discuss her artwork, but instead finds herself fielding questions about trans-related matters by a reporter. Finney, who initially started on this show as a teenager, notes that such situations have always been a part of her experience, albeit now on “a more intense, significantly odd, unique” level. The actress admits, “There have been interviews where I’ve felt uneasy.” She adds, “It can be challenging, but you develop a thicker skin over time.” For Elle, it’s crucial for trans individuals to understand “life won’t be straightforward. It simply won’t, and that resilience is something you gain from life as well. That’s why we’re generally stronger than most.
In our current society, things can often seem incredibly rigid and set in their ways. I used to find myself strongly opposed to such perspectives, but now I appreciate them, as long as the sentiment is reciprocal. I believe this is a challenge many people face – truly respecting another person’s humanity. If we were to strip away all the labels and external factors, we are simply human beings, each with our own feelings, thoughts, and emotions.
In the show, Elle and her family exit after the interview, marking a significant shift in their narrative, as Oseman explains. “Tao encounters a pivotal moment where he is confronted head-on with the extent of transphobia that Elle experiences daily,” says Oseman. Gao and Oseman then delved into how to portray Tao’s response, noting it stems from his fear and empathy for someone he cherishes deeply, as Gao points out, “something we all experience at times.” According to Gao, Tao is primarily worried about Elle. He doesn’t consider himself in the situation. His admiration and affection for Elle are profound. However, this realization dawns on him that he can’t see these boundaries and biases, but others do.
During our production process, we find ourselves creating a heartwarming, affectionate series,” Gao explains to THR. “But when something troubling appears in the news, it hits us that we’re not just expressing love, but also addressing real-world issues. Ignoring them isn’t the solution; instead, we need to confront and acknowledge them.
In the portrayal of Tao, the character, and Oseman, the creators, opted for a more refined reaction, showcasing not just the evolution of the teenage character, but also demonstrating how partners should support trans individuals. As Gao clarifies, initially they considered having Tao react angrily, as he might have in previous seasons. However, they decided that Tao is more complex than that now, having experienced growth and developments throughout season three. This mature response, displayed when Tao allows Elle to approach him with the issue instead of becoming overly protective, serves as a testament to his personal development.
In terms of appealing to its audience, Abbott notes that “Heartstopper” doesn’t stereotype male behavior based solely on their sexual identity. To combat transphobia and homophobia, it’s essential to challenge traditional perceptions of masculinity that dictate men should not be affectionate or emotional, except in anger and violence. It’s refreshing to see Tao portrayed as capable of being affectionate and caring, even during difficult times.
Despite the current season presenting obstacles for the couple, “Heartstopper” continues to evoke the fluttering feelings and explosive sparks associated with their love story. Notably, their first time together is depicted, a rare positive representation of trans characters in romantic comedies or romances, a space previously inhabited by productions like “Anything’s Possible” and “Boy Meets Girl”. Even in contemporary television, Abbott seldom encounters portrayals of heterosexual female intimacy told from the perspective of a trans woman. This unique representation can validate the experiences of many individuals without explicitly acknowledging their specific identities.
That’s due, in part, to certain LGBTQIA+ characters frequently having their intimacy visually minimized or implied in dialogue in comparison to their counterparts, who are seen “rolling around in a bed,” says Abbott. “There’s been a lot of scholarship that says media — like Love, Victor or Never Have I Ever — is validating queer male perspectives and heterosexual female perspectives in the teen sphere. But queer cis women and anyone who is trans or nonbinary is left out of that conversation.”
For Oseman, “I aimed to depict this special moment subtly since Heartstopper isn’t about explicit scenes, but I did want viewers to witness the initial spark, experiencing their excitement and the spontaneity.” They attribute this partly to discussions with Finney: “It’s significant that it occurs during a party with fireworks in the backdrop. We wanted to capture that moment for Tao and Elle, making it feel joyful and true to teenage life.
For Tao, it’s a deeply satisfying moment, devoid of stereotypical portrayals often found in teenage love stories from a male perspective, which might have been prevalent among macho high school boys during my upbringing. Gao emphasizes that while hardships should be addressed and depicted, the simple act of living and experiencing love and romance, without the need for struggle, is a beautiful sight to portray.
According to Abbott, moments of love in teen shows hold great significance because it’s just as groundbreaking to them to realize someone loves them, as it is for them to love someone else. Teenagers often don’t have a strong sense of self-love. As adults, we may assume that we love ourselves, but this isn’t always the case in adult romance. However, this is not the same in teen romance, and Abbott believes this is powerful, regardless of any sexual connotations.
Finney concludes, “It truly transforms not only the future but also those living in apprehension. Transgender or nonbinary individuals who might struggle with self-confidence when it comes to relationships due to experiences similar to Elle’s, this serves as a powerful demonstration that it ought to be simple, and indeed it can be. It shouldn’t be challenging. I wish it achieves its intended purpose effectively. For Elle particularly, I merely hope she gains the visibility from the audience she requires and that people find inspiration in her, just as they did during season one.
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Heartstopper season three is now streaming on Netflix.
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2024-10-05 18:26