After six books, three seasons of television and a film-length finale, Heartstopper has come to an end. Often dubbed the most wholesome show on TV, Netflix’s adaptation of Alice Oseman’s young adult LGBTQ+ graphic novel series, which itself began life as a web comic, is a legitimate cultural phenomenon, turning its two leads – Kit Connor and Joe Locke – into household names, while racking up tens of millions of views. In print, meanwhile, the Heartstopper series has sold over 10m copies worldwide, including about 1.3m in the UK alone.
Yet these figures only tell one side of the story of Heartstopper’s impact. At the queer and feminist bookshop where I work part-time in Sheffield, the young people who come in are immediately drawn to copies of Oseman’s books, and often take pictures of the now permanent window display depicting Nick and Charlie, the couple at the story’s heart. I see young queer people’s faces light up when they see we have the book in stock, even though they probably already have a copy at home.
