4sakeofart

Besides a limited budget, the biggest problem was casting the part of Jeong Ha Yeon aka David. Boys Love continues to open many doors for young actors who would otherwise not get a chance to pursue a career in acting. BL has proved to be a wonderful vehicle for many handsome young male actors, boyband idols, and social media celebrities. Because there are so many new faces and the casting directors must get it right every time, it creates challenges. For example, in this drama, based on the plot, I envisioned the role of Jeong Ha Yeon to be someone blessed with beautiful androgyny. Jeon Chang Ha is loaded with it (he looks the part) but is new to acting so was unable to make me believe that he was actually in love with Yeon Seok. But I do not criticize or belittle any young, inexperienced, or untrained actor for trying to fulfil a dream. It's just that Entertainers are at the mercy of a public with very different views based on their own unique preferences, life experience and cultural values, so all of them must learn to value criticism and grow a thick skin. So stay the course, young Jeon Chang Ha.

It's hard to find, but, no matter the genre (friendship, bromance, romance), Screen Chemistry is an absolute necessity. Leaving aside comparisons of storyline, script and/or production value, no one can deny the magical romantic screen chemistry between Johnny Huang & Timmy Xu as Gu Hai & Bai Lou Yin in my favorite BL drama of all time, Addicted/Heroin; Xiao Zhan & Wang Yi Bo as Wei Wu Xian and Lan Wang Ji in The Untamed; Mao Zi Jun and Ian Yi as Jiang Wei Lou and Chen Yu Zhi in Killer and Healer; Bai Yu & Zu Yi Long as Zhao Yun Lan & Shen Wei in Guardian; the memorable chemistry on display between Lee Jung-suk & Kim Woo Bin as Go Nam Soon and Park Heung Soo in School 2013. More examples of perfect screen chemistry include Max & Tul as Korn and Knock in Bad Romance; Fluke & Ohm as Pharm and Dean in the beautiful Until We Meet Again; Earth & Mix in the equally beautiful Tale of a Thousand Stars; Zach Lu & Fandy Fan as Qiu Zi Xuan & Hsia Yu Hao in History 2: Crossing The Line; Lee Shi Kang & Hsu Mu Ji as Xuan Jun Cheng and Lin Xun in Because of You; Akaso Eiji & Machida Keita as Adachi Kiyoshi and Kurosawa Yuichi in Cherry Magic; Gong Yoo and Lee Dong Wook as Kim Shin and Grim Reaper in Goblin, and my favorite BL couple of all time, Meng In & Liang Wei Feng who stole the show as Yuan Da Yu & Wang Zhi Shui in Advance Bravely. At the moment, the BL world is basking in the glow of this year's newest and hottest couple, Ohm & Nanon as Prat and Pan in the highly entertaining Bad Buddy. Perfect Screen Chemistry cannot work, however, without good acting.

Jin Gun and Jeon Chang Ha did not have the best romantic chemistry in First Love Again but if there is a sequel I hope the director asks them to invest some quality time together acting like a couple. All dramas and movies require actors to do homework as part of their preparation. Boys Love is no different.

Most cultures use a two-gender classification system; male and female, but not all. Some Asian cultures readily acknowledge and accept a three-gender classification system, even if they don't like third gender people. The three-gender classification system is male, female, and third, where the "third" gender is represented by, for example, the Kathoey (Thailand), the Bakla (Philippines), or the more famous and widely celebrated Hijras of India (mostly Hindu). But only the Hijras consider themselves authentically gendered, meaning they do not classify as male, female, intersexed (hermaphrodite), transsexual (transitioning) or biologically unsexed (a eunuch, for example). In Hindu culture, Hijras are a sexually aware subculture, with their own unique sexual mental and physical understanding. They genuinely believe that God created three genders. Many Indian anthropologists agree with them. And there are many modern Western civilizations that use a multi-gender classification system; for example, male, female, androgyne (hermaphrodite or intersexed), transsexual (disharmony between the physical and mental self) and ungendered/unsexed (eunuch). So our understanding of gender is likely based on our different cultural, religious, and moral values.

I agree with the poster below, skz_minlix (see https://kisskh.at/profile/Yuwie); e.g., pansexual is not a gender, as far as we know. It is one of many sexual attraction identifiers. I have argued before that a practicing heterosexual male suddenly attracted to another male, as in this drama, is more likely fundamentally heterosexual with a bisexual or pansexual leaning. But there are also practicing homosexuals with a bisexual or pansexual leaning as well, but my point is that a man whose sexual preference is female cannot at the same time have a sexual preference for men. If he has a preference, his classification is either straight or gay. If he does not have a preference, his classification is either bisexual or pansexual. The one thing that turns it all upside down is the human heart, which is unsurprisingly gender neutral. So it is possible for a straight man to fall in love with another man, even if that is not his dominant sexual preference, no matter which way he leans. The leaning is not a determining factor.

Finally, I think pan should be extended to include males, females, transsexuals, androgynes (intersex, hermaphrodites), and even the unsexed (some people are attracted to eunuchs you know; some really good girl-disguised-as-boy Chinese and Korean dramas taught me that). But gender is a topic that is hotly debated, not just on MDL, but across the entire cultural spectrum, and will continue to be.

https://www.youtube.com/channel/UCQQpeBDwujGzQr1RYFhgTMg/videos

https://www.youtube.com/channel/UCQQpeBDwujGzQr1RYFhgTMg/videos

I tried to do what you asked. I couldn't. I typed "How to start a Discussion Thread" into the MDL search engine several times but got no information on how to start such a thread. I have no objections to you starting a Killer and Healer Interpretation discussion thread that includes my two posts on the contrasting metaphors and meanings in Killer and Healer. You have my permission to copy and paste them as needed. In fact, I'd consider it an honor. I hope you include your own thoughts and posts as well. Jina's post (see above) contains a link that is also informative as it provides a short visual (3 or 4 minute cut) overview of the fate of each romantic, filial, and platonic love relationship in Killer and Healer. I also have a couple requests. Please send me the link for setting up a discussion thread (for future reference), and, the link to the Killer and Healer Interpretation Discussion thread that you started/plan to start.

In episode 25, Commissioner Bai encounters the kidnapped and bullied An'er on the street, buys him from his captor, and sets about changing his name. An'er chose "Jiang" because that was his mother's surname but Commissioner Bai interprets "Jiang" to mean " a river of fresh water flowing eastward". Commissioner Bai then remembers a line from a poem that was apparently important to him, which we know as "Picking Mulberries" by Lu Benzhong: "I hate that I am not like the moon high up the pavilion on the river". In this case, I interpret this to mean that Commissioner Bai wonders if he did the right thing in adopting An'er; e.g., whether he can be a loving father to a troubled youth that clearly needs that from him. "Yue" means moon and the last word, "Lou" means "affection or love" and the result of this naming exercise is "Jiang Yue Lou".

I do not know why the metaphorical phrase "Jiang Lou Yue" in the poem is changed to "Jiang Yue Lou" in the drama. So unless the two phrases have the same meaning I doubt this author, who clearly pays attention to detail, would randomly reverse Lou Yue and Yue Lou. Here's my best guess. The name reversal is consistent with the theme of opposites; e.g., dark vs light, loving vs losing, and heartfelt vs heartache that characterizes every relationship in this drama. Even the title, Killer and Healer, is an opposite. So many uniquely different individuals choosing to love despite insurmountable differences. So a "first to last", "left to right" name reversal would be consistent with this theme of opposites; especially when applied to a bipolar protagonist.

By the way, the English translation of the Chinese title "Hen Jun Bu Si Jiang Lou Yue" appears to mean "Hate that your King is not the moon over the river pavilion". For example, "Hen" means "hate/regret". Jun means "King/ruler" (the author substitutes "I" for "King"). "Bu Si" means "is not". And "Jiang Yuelou" means "Moon over the river pavilion", all of which gets reduced to the aptly named Killer and Healer. In my opinion, Killer and Healer is not just a gut-wrenching love story. I think it was also meant to be an homage to Lu Benzhong because almost the entirety of "Picking Mulberries" is quoted in this drama.

Thanks for the link. It was informative. It provides a clear picture of the dual moon metaphor of loving (full moon) and losing (new moon). It shows the fate of every relationship, spanning romantic, filial, and platonic love. Each of them loved. Each of them lost. I would not be surprised to see the original BL version of this drama on a different platform someday; a platform beyond the reach of Chinese censors. Despite the excessive violence, it is a good drama. I am not surprised, however, that Word of Honor attracted more viewers than Killer and Healer. Whatever your artistic preference, it is only natural that a viewer would prefer a drama that warms the heart rather than one that breaks it.

I saw several requests below for this information. Killer and Healer is based on the following poem: "Picking Mulberries" by Lu Benzhong (1084 - 1145) of the Song Dynasty. There are two translations and each line of the poem/song is numbered to the right.

Poem

I grieve that my love is not like the moon over the riverside tower: 1
South and North, East and West, 2
South and North, East and West, 3
Only constant companionship and no separation. 4

I grieve that my love is all too like the moon over the riverside tower: 5
A brief waxing, and then a waning, 6
A brief waxing, and then a waning, 7
I wait for the full circle of union—but how short-lived! 8


Song (Ci Poetry from the Song Dynasty, characterized by repetition and rhyme; e.g. a song poem)

I'm grieved to find you unlike the moon at its best, 9
North, south, east, west. 10
North, south, east, west, 11
It would accompany me without any rest. 12

I'm grieved to find you like the moon which would fain 13
Now wax, now wane. 14
You wax and wane. 15
When will you come around like the full moon again? 16

(As translated by Xu Yuanchong)
Hate your Lord is not like Jiang Louyue, 17
North-south east-west, 18
North-south east-west, 19
Only stay with you. 20

I hate the king like Jiang Louyue, 21
Temporarily full and still losing money, 22
Temporarily full and still losing money, 23
When will you be reunited? 24

Metaphors:

1. Jiang Lou Yue (see line 17 above) means "moon over the riverside tower" (see lines 1 and 5 above) or since a riverside tower is also called a pavilion, "moon over the riverside pavillion". From the Chinese dictionary, it appears "Jiang" means river; "yue" means moon, and "lou" means love. Every member of the Song literati owned a pavilion, as did Lu Benzhong (often abbreviated Lu Ben).
2. The moon is a contrasting dual metaphor of love. A full moon (See lines 1-4 above) is a metaphor for love that stays with you wherever you go (see line 4 and line 20). The speaker laments that his/her love is not like the full moon over the pavilion. The moon can also be a metaphor for love that is transitory; e.g., uncertain (see lines 5-8 above). The speaker laments that his/her love might be short-lived and end in despair or darkness (see lines 8 and 24). The meaning of moon and its crescents is discussed in #4 below.
3. The north-south-east-west is a metaphor of wandering far from home and away from loved ones where dreams of reunion is the only thing that sustains them (see lines 2-3, 10-11 and 18-19 above), even if only for a short period of time (lines 8, 16, and 24 above).
4. Wax and Wane refers to new moon crescents that are only visible right before sunrise ("waning" crescent) and right after sunset ("waxing" crescent) but are otherwise not visible at all. See lines 6-7 and 14-15 above. The speaker laments that his/her love is like a new moon.

As it applies to Killer and Healer: Chen Yu Zhi is forced to betray Jiang Yue Lou to save his sister. He laments (paraphrase), "I hate that I am not like the moon above the river tower pavilion that can be with you always and follow you wherever you go". The implication is that their love is more likely to end than flourish.

I can't figure why this production team asked viewers to invest a month and a half in a drama that ends with such superfluous and gratuitous violence. Isn't the goal to increase market share and audience participation? I don't get it. On the other hand, I loved the adaptation of Lu Benzhong's "Picking Mulberries". The dual metaphor of loving and losing; e.g., the moon above the river pavilion, applies to every relationship in this drama, from the virtuous Chen Yu Zhi and the bipolar Jiang Yue Lou to ill-fated Zahn Jun Bai and Yu Tang Chun, Jiang Yue Lou and his wayward mother, Jiang Yue Lou and Commissioner Bai, Chen Yu Zhi and his little sister, as well as Chu Ran and her unrequited love for Jiang Yue Lou. Even "Jiang Yue Lou", a contrasting metaphor in the poem, is perfectly personified in the drama as a bipolar detective named Jiang Yue Lou. I can't speak to technical details but I think this storyline is very well conceived and would have attracted far more viewers in its original version.

Finally, the screen chemistry between Mao Zi Jun and Ian Yi is legendary; second to none. It was a pleasure to watch. This couple will stay in my head forever.

This is the result of many pieces of information that I had to combine into what I hope is a cogent post, but, if I got something wrong, please correct it.

Its nice that females are now credited for the current popularity of both Boy-Boy and Boy-Girl romantic dramas. Chinese Boys Love in particular would never have achieved the international acclaim it currently enjoys without support from straight women and the LGBTQ+ community. Many lambs were sacrificed for sake of wonderful Chinese Boys Love dramas like The Untamed, Guardian and Word of Honor but none greater than the primordial god of Chinese Boys Love, Addicted Heroin. It was that drama that opened the door for the Chinese BL we know and love.

P.S. If you like Word of Honor you will also like Killer and Healer, a little known Chinese Bromance/BL drama currently airing without the benefit of promotion, with predictable result (not many viewers). It is a police-gangster-mafia shoot-em-up in the tradition of HIStory3 Trapped, S.C.I., Guardian, and the upcoming Thai gangster thriller, Kinnporsche. Because I watched only 5 episodes, I hesitate to make this recommend because it could disappoint later but Killer and Healer has demonstrated wonderful early appeal so I think recommending it is worth the risk. In my opinion, it is just as good as Word of Honor, and the detective-doctor couple chemistry is second to none. The Eng Subs are lagging but well worth the wait.

Thanks for the correction. I am American but am fascinated by the Chinese economic model. It rejects principles of the free market economy but encourages its businesses to pursue private enterprise. It doesn't like Western lifestyles but eagerly engages with them in international trade agreements. Its economy is increasingly contemporary, practical and utilitarian. It sticks to its communist ideology but is not an isolationist. It knows it must engage with systems of government very different from its own to provide its citizens with a better life.

I get a lot of flack and scolding for it but I can't help loving contemporary Chinese Television and Motion Picture dramas. Word of Honor is just one of many. I will never forget Winter Begonias, The Untamed, Guardian, Nirvana in Fire, and Ten Miles of Peach Blossoms. Except for Hollywood, no one does it better. Yes, I do remember Fan Bingbing and her fake movie contracts and foreign bank accounts. I saw her in one of the X-Men movies here in the states but had no idea who she was or that she was hiding money from the Chinese tax authority. Lol. I thought she was Chinese-American.

I think there are three factors that influenced the Chinese censors' decisions to release Word of Honor as is. 1) The drama did not violate censorship regulations. 2) The Chinese government recognized the huge financial potential of this drama and sees it as an investment. 3) The LGBTQ market in China is #3 in the world with revenue exceeding $300 billion USD, and, the female economic power in China is through the roof with more than $670 billion USD annually. China is the second best economy in the world and is loaded with savvy businessmen and great economic acumen. Of course they will find ways to take advantage of the international appeal of Word of Honor, despite the fact that 61% of the Chinese reject homosexuality.

Censorship: I do not think Word of Honor violated any censorship regulations as administered by the CTPIA, NSA, SARFT, SAPPRFT, NRTF, and CFA. The SARFT is the State Administration for Radio, Television and Film in China. Its name was later changed to State Administration of Press, Publication, Radio, Film and Television (SAPPRFT). It is currently known as National Radio and Television Administration (NRTF) and all three names are used interchangeably. The SARFT/SAPPRFT/NRTF is responsible for censorship of state owned television and radio programming . CTPIA is the China Television Drama Production Industry Association. It is responsible for privately owned television and radio productions. The Chinese Film Administration (CFA) is responsible for censorship of local and international films , not television dramas. Netcasting Services Association (NSA) is responsible for Chinese internet programming only.

This is the censorship regulation that interests us: "No television programs should display abnormal sexual relationships and behaviors, such as incest, homosexuality, sexual perversion, sexual assault, sexual abuse or sexual violence.” This regulation clearly bans homosexuality but it does not explicitly mention any of the same sex flirting, lingering looks and longing, eye sex, mind sex, overt sexual innuendo, clever double entendres and thinly disguised romantic dialogue that euphemize the Boys Love in Word of Honor. There is no doubt Word of Honor violates the spirit of the law but I am not sure it violates the letter of the law. It appears the censors agree.

Aside from the nearly $1 trillion USD economic power of the LGBTQ and Female communities in China, there is also the 25% tax on profit levied on all Chinese businesses. I don't know if it was paid but according to law Tencent owed $25 billion yuan ($4 billion USD) to the Chinese government in taxes; e.g. 25% of the $100 billion yuan ($15.4 billion USD) it earned from The Untamed, and that's just one of its many projects. The hope is that Word of Honor will create similar excitement among female and LGBTQ viewers, and, that Youku, the streaming platform for Word of Honor, will make lots of money and return huge tax revenue to the Chinese government.

In short, perhaps Word of Honor is actually in compliance with censorship rules. Perhaps the Chinese government is not favoring Word of Honor but sees it as an ambassador and/or vehicle that can help it fulfil its international economic aspirations. Perhaps the Chinese government sees Word of Honor as a worthy investment and simply wants to position itself to reap the rewards. All these things can be done within the confines of Chinese laws and regulations. Food for thought.

If not for the soul of Jang Bon-hwan inside her, the romantic union between Kim-So-yong and King Cheoljong would never have happened. Without the scientific and tactical military acumen, one or more of the many insurrection and coups mounted by power hungry family members and court officials would have certainly succeeded. In short, Jang Bon-hwan was an integral part of this drama. He was the source of the queen's new found courage and wisdom. That's why I find it odd that after all his contributions, unflinching loyalty, wit, wisdom, and unburstable heart, he was so casually sent back to the present. "I came for no reason and I am leaving." he wrote. That sums it up succinctly. What happened after the separation of souls was not an injustice or insult but, as written in this drama, he was one of the Saviors of the Joseon Dynasty. For someone with hero status, he deserved a send off with celebration, ceremony and appreciation; e.g., a send off commensurate with his service and contribution to the King, the Queen, and the Kingdom of Joseon.

I love girl disguised as boy tropes because most of them are based on credible rationale. Women have been historically forbidden, excluded, and passed over for important positions of politics, science, and many other professions. Pretending to be male is one of many ways to get round gender injustice. Soul swapping, on the other hand, is clearly a fantasy and has no credible rationale in the real world. Yes, the queen needed a source of courage and she got that from Jang Bon-hwan but his character could have simply been scripted as a mentor (or something similar) to the queen without the sharing of souls. Still, Mr. Queen was one of the best k-dramas I've seen in some time. I loved it.

Several characters got partnered at the end but Kim Hwan and Hong Gam was not one of them. Bromance or romance, I had hoped they would end up together. Kim Hwan's promotion could have been structured so as to keep him in close contact with (as far as I can tell) the only person who actually returned his affection (Hong). No, their relationship was not on the same elevated level of consciousness as King Cheoljong and Kim So-yong (that was beautiful), but the joyful relationship between Kim and Hong still brought a huge smile to my face each time they appeared on screen. No. You are not the only one.

The blood of a dead person that died days ago would congeal and clot ("dry up") as a result of hemoglobin breakdown. If the corpse is only a few hours old, you would see blood on the coroner's gloves but if the corpse is days old, the coroner might not encounter any liquid blood during the autopsy. The blood that remains will be drained out anyway when embalmed.

Thai Boys Love directors have mastered the art of casting. Pod and Mike are authentic semes (husband/tops) and Toptap is a perfect uke (wifey/bottom). But in this series it was Khaotung that stole the show. His portrayal of Tonhon's cute, shy, and pretty little love interest was as good as it gets. Yaoi is a legitimate art form with its own construct and its own terminology. If you dislike the terminology, try to remember that it is not meant to insult or inflict malice on any one.

Tonhon clearly wanted to have a baby; he welcomed the idea of a surrogate. He was not forced or pressured into a one-sided compromise to appease his father. Tons of gay men and women use surrogates. That's one of the few ways that gay couples have babies of their own. Surrogacy is a good thing.

In a yaoi universe, it is natural for Tonhon to fall in love with a boy even though his sexual preference is girls. Some men will like only women. Some only men. But the latter are real world sexual identities that have no place in a yaoi creation. Fantasies allow us to realize those things that are otherwise unattainable in the real world; so in a yaoi fantasy, it is not unusual for young sexually fluid males (even if they identify as straight) to fall in love with and make love to, other males. In short, because he is sexual fluid, there is no contradiction or hypocrisy in Tonhon's explanation. He is a fantasy figure expressing a classic yaoi logic. We should not expect him to be socially aware of real world political agendas, respectful of political correctness, or have a social conscious at all. He is no different than any other fantasy figures in fairy tales, fables or xianxia. If we accept the drama as fantasy, it might alleviate the need to wrestle with real world miseries and injustices like denial, self-loathing, rape, misogyny, or hypocrisy.

The presence of homophobia (the father)? I'm not so sure. If he truly hated homosexuals he would not be receptive to a same sex relationship between his son and Chonlatee, even with surrogacy. The anger directed toward Ai and Ni can also be explained by his wrongful assumption that a same sex relationship would prevent him from ever having a grand son. Once he was enlightened, his frustration disappeared and with it, his hatred of same sex relationships.

It might not be a work of art but I really liked this drama, and I especially like these actors. It's unavoidable and impossible for some viewers to do (and we must respect their moral values) but I try hard to never mix a boys love fantasy with reality. That can cause a lot of misery and block out dialogue and scenes that would otherwise put a smile on our faces. One final thing. Jan, as Miriam, the wannabe prostitute and willing surrogate, was absolutely hilarious. I might be in the minority but I would love a sequel.

Dead people don't normally bleed because their hearts stopped beating. Without the pressure of a heartbeat, blood can no longer circulate. It simply collects in the lowest part of the body (livor mortis), depending on gravity, and then coagulates (clots). Depending on the time lapse between the actual death and the time the autopsy is performed, the corpse may or may not bleed when cut. If the time lapse between the time of death and the start of the autopsy is just a few hours, you might see some blood trickling out (but no bleeding since only living people bleed) when the pathologist cuts open the body. But if the time lapse between the time of death and the autopsy is longer, you won't see any blood leaking out during an autopsy. I am not sure which scene you are referring to in Manner of Death, so I don't know the time lapse between death and the autopsy, but generally the amount of blood observed during an autopsy depends on 1) the cause of death, 2) the time lapse between the time of death and the autopsy. This may explain why you don't see much blood in this episode but, yes, blood leaking and trickling was seen in some of the autopsies performed in earlier episodes of the show.

This is one of the most ambitious, cogent, and layered Boys Love storylines I’ve seen as well. Its unique storyline offers a very different kind of Boys Love, lots of romance and suffering. I don’t know if they accomplished all of their goals but this production team (and this company) is fearless. I pray they can continue to successfully negotiate that very delicate balance between making art and making money.

The beauty of art is that it touches each of us in different ways. There is no right or wrong in art. If it touches the heart, it has fulfilled its purpose. Your interpretation of this drama is a reflection of your own unique artistic temperament and needs no defense. But it can be politely discussed. My interpretation of the seven episode titles is as follows.

Emancipation (Ep1) refers, on the one hand, to Emil leaving home to stay with Benjo to complete their school project in the boys love storyline, and to Emil’s grandfather leaving home to fight Marcos’ martial law on the other hand. There are two parallel storylines separated by two generations. Captivity (Ep2) refers to Emil’s covid-19 lockdown at Benjo’s loft apartment in the boys love story and to his grandfather’s capture by Marcos in the grandfathers’ storyline. Incarceration (Ep3) refers to a tightening of Emil’s lockdown due to Covid-19, and, also to Emil’s grandfather’s imprisonment by Ferdinand Marcos. Duress (Ep4) refers to Emil’s increasing ambivalence as he tries to reconcile his burgeoning feelings for Benjo while blaming Benjo’s father, a Marcos loyalist and tyrant, for torturing his grandfather. It also refers to Emil’s grandfather’s torture at the hands of the murderous Marcos regime, of which Benjo’s father was a member. Status Quo (Ep5) refers to Emil’s continued ambivalence, as he falls deeper and deeper in love with the boy whose father tortured his grandfather. Redemption (Ep6) refers to Emil’s decision to stop blaming Benjo for sins that rightly belonged to his father. In the grandfathers’ storyline, Redemption refers to Emil’s grandfather’s pardon and release from prison. Liberation (Ep7) refers to Emil’s acknowledgement and acceptance of his love for Benjo on his terms; e.g., in ways that minimize their exposure to ridicule and homophobia. In the grandfathers' storyline, Liberation refers to Emil’s grandfather’s pardon and exile by Ferdinand Marcos.

The drama is played out in two separate arcs (boys love and hate). For me, the full meaning is not revealed until the two arcs, like opposite poles of a magnet, combine and the circle is closed.

Benjo and Emil identify as straight. The inference is that, except for their relationship, they are not attracted to other men. In order to believe that we would have to accept an age-old yaoi-based boys love construct that all men are sexual fluid, which is a difficult sell on MDL. Even today, there are people who believe in the strict out-dated heteronormative ideology that men must be straight. This ideology is consistent with nineteenth century Catholic Church, Christian Scriptures, Jewish Teaching and Stoicism; e.g., that procreation is the only normal sex. This belief was also popularized and documented in science by Charles Darwin's procreation-based Survival of the Fittest. Of course we now know that sexual desire can happen without the intent to procreate.

It is incredulous that heterosexuality was originally considered a perversion. It wasn't until 1850 that the term heterosexual gained acceptance. And it wasn't until 1934 that the stigma of heterosexuality was removed and considered normal. Freud's incestuous and murderous psychosexual theory of heterosexuality had a lot to do with its acceptance as normal. But when Alfred Kinsey introduced the Kinsey Scale in 1948, which concluded that most men were neither 100% heterosexual nor 100 % homosexual but something in between, it was obvious that a more expansive system of sexual identity was needed. This led to the introduction of such terms as heterosexual-leaning, bisexuality, and fluidity. By 1980, only 50% of men in the United Kingdom and America identified as 100% heterosexual. Most identified as heterosexual leaning, homosexual, or bisexual. The irony is that another study in England concluded that 67% of women said that they would never marry a man who had sex with another man. This math won't work. Someone might have to go without.

Sexual Fluidity means that men are quite capable of romantic relationships with other men. We see this in prison when heterosexual men transition to male-male relationships. Sexual Fluidity also occurs when a man meets his soul mate (if you believe in romantic predestination) only to find that his soul mate is someone of the same gender. In this case, he must decide whether to follow his heart or societal rules of behavior. I understand why Benjo and Emil refer to their relationship as two straight guys in love with each other because I believe in sexual fluidity. Until the late 1800s there were no sexual identifiers at all and the world didn't fall off its axis. So why do we need these terms today? Do they matter? If we need someone's sexual history in 2021, we can easily find it out or ask.

Why Love Why is an obvious Labor of Love. The storyline was given a lot of tender loving care. It is very well conceived. For example, the titles of the seven episodes: Emancipation, Captivity, Incarceration, Duress, Status Quo, Redemption, and Liberation are meant to represent the stages of a modern day love story that counterbalances the seven stages of Ferdinand Marcos' tortuous treatment of Filipino citizens. The back story of Emil's grandfather, Emilio Buscayno Sr, apparently refers to Bernabe Buscayno Sr. (there is no record of an Emilio Buscayno Sr), a poor Filipino farmer who joined the communist party to fight against Ferdinand Marcos' martial law (military control). Like Emil's grandfather in this drama, the real life Bernabe Buscayno Sr. was indeed chased, captured, jailed, tortured, and ultimately found guilty of subversion, murder and illegal possession of firearms. He was indeed sentenced to death by a firing squad but was saved and then exiled by President Marcos. Benjo's ancestor in this drama, Benito Jose Sr., is said to be a former mayor of Nueva Ecija but I found no record of such a person. I think that Benjo's family, the Vicentes, which are identified in Episode 1 as Marcos loyalists, is likely a reference to Vicente Duerte who was a former major and a known Marcos loyalist. If my theory is correct, the violent back story between the grandfathers is meant to contrast with the forgiveness, redemption, and love between their two descendants.

This storyline is somewhat similar to the beautiful Taiwanese drama, Your Name Engraved Herein, but has more flaws. For example, I think Kelly's storyline is a weak link. The French call it Lagniappe ("something extra"). I call it disconnected. But the boys love story, the grandfathers' back story, and the tragedy of covid19 weave together beautifully. I too hope there is a season 2 and that it focuses more on Benjo and Emil; e.g. two very beautiful, photogenic, and fit young actors who create magical romantic screen chemistry. They have no fear of male intimacy. Like all newbies, they must learn to master their craft but I like them. Those guys are money.

Episode 12, the finale, was better than the previous episodes. Did Xion Lim save his best work for the finale? Exactly what happened during the break between episodes 11 and 12? They’ve never taken themselves too seriously in this drama (for me, it has always played more like a lakorn or a musical than a serious BL drama) but episode 12 was tight, cogent, and easy to follow. It had good flow (the scenes were arranged perfectly); e.g., the result, I assume, of good directing and editing.

I enjoyed the drama until the second half of episode 11 and the first half of episode 12 (too much melodrama, misery, and tears for me). I try to avoid all those things. I agree with other viewers. The best thing about this series, the main reason it is popular, the reason for season 2, and the reason it was not dropped by more viewers is because of the palpable romantic screen chemistry between Aki and Miko. They make it work. I hope the producers appreciate their contribution and dedication to the success of My Day. They were wonderful.

The most surprising thing for me was Shanice Eve Bailon as Moira. As an actress saddled with one of the most unlikable roles in 2020 Filipino boys love, she delivered a fantastic performance in episode 12. From the very first episode of this series, she owned the role of the unforgiving, vengeful and scorned ex girlfriend. Although included in just a few scenes, she milked them dry and stole the show. I don’t know much about acting but in a world of testosterone and pretty boys falling in love and making love, she (as well as Red Mendoza as Ken) stood out. I hope they can find a meaningful and more likeable role for her in season 2; e.g., perhaps as Sky’s best friend and confidant. In my opinion, she’s earned it.