Four years ago, Netflix released a series for teenagers that broke the genre's pre-established codes to explore healthier relationships. In an audiovisual market saturated with melodramas that romanticized risk-taking behaviors, mental disorders, addictions, and traumas, Heartstopper appeared. Influenced by the naive aesthetic borrowed from the comic book on which the plot is originally based, it told us the love story between Charlie and Nick, two students at a British high school. The series provided LGBTQI+ references that a whole host of previous generations had not had access to, with the aim of reflecting a safe environment for all the protagonists. Despite the clichés and the positivism that the series exuded, it did not make the mistake of depicting an idyllic world. It reflected the phobias and hostilities that unfortunately persist in society, but it showed how the creation of emotional bonds can become nuclei of protection that help in advocacy and activism. The protagonists are not outcasts forced into a drama of overcoming and solitary struggle, but a group of teenagers who have a support network of friends, family, and some teachers who help them move forward as any boy and girl of that age needs. Although neither the second nor the third season were better than the first, the series managed to sustain itself more or less according to its initial characteristics. But Heartstopper has died of success due to the Netflix virus, which injects commercial criteria and makes one forget unique qualities and authorship. The platform has finished the series with a final two-hour film. Heartstopper forever is a tedious and senselessly drawn-out drama. What they explain could be fitted into a twenty-minute episode. They have stretched the gum so much that, logically, the children have grown up in four days. The ridiculous situation of having a group of adults pretending to be minors is already happening. A film with no plot or conflict beyond an absurd couple's crisis. Heartstopper had the virtue of avoiding the clichés and misunderstandings typical of romantic comedies, defending the intelligence of characters who knew how to express their feelings well. This has disappeared in favor of drama. Of traumas that appear conveniently to construct conflicts effortlessly. Of a vague malaise that clouds the protagonists when a little suspense is needed. The sexualization of Charlie and Nick has been enhanced, with five half-dark sex scenes distributed with a stopwatch throughout the film. The classic television manual with teenagers taking off their shirts every twenty minutes and using sex as a balm to recover from tears. A tug-of-war that caused a loop of crybabies who don't stop whimpering. A clear example of how to ruin a endearing series and turn it into a bland product to squeeze the udder of Heartstopper's success.
