GayinYourArea

A promising yet unfulfilled journey

Prior to touching on any unfavorable points in the adaptation, I would be remiss not to praise the decision made by Ahn Ji Ho and Lee Sang Jun to take on roles that break the conventional heteronormative mold. Special recognition goes to Ji Ho, who, having starred in a popular mainstream Zombie drama "All of Us Are Dead," shows immense courage in embracing a non-straight role and sets an example for other mainstream actors. The interaction between these men is endearing. Sang Jun (Seung Won in the drama) is a timid/shy, lovesick admirer, striving to capture Ji Ho (Hee Su in the drama)'s attention. Much like the source material, drama Seung Won's motive for approaching, reaching out to, and confiding in drama Hee Su is to spend more time in his company and reveal his feelings for him

Seung Won: "I don't like Ji Yu"
Hee Su: "Why did you lie?"
Seung Won: "Because I wanted to keep hanging out with you" (chapters 42-43)
A screenshot: https://imgur.com/a/7ElUfSX

Drama Seung Won, too, gently nudges drama Hee Su to confront his true feelings and discover the solace and true love that await him in Sang Jun (Seung Won)'s arms

Apart from Ji Ho (Hee Su) and Sang Jun (Seung Won)'s chemistry, a praiseworthy part is drama Hee Su's compassion. In the first episode (5:10-7:04), he listens without prejudice to a woman struggling with her feelings for another woman. There's something extraordinary about the scene. It's become one of my favorites!

Now, this might be a contentious point. I find that the actors’ and actresses' appearances don’t match the youthful roles they’re playing. Without a doubt, they're good-looking, but they give off the impression of being older and in their mid/late twenties or early thirties. Their seasoned, mature appearances prove challenging to reconcile with their student status. And watching them cosplay as high school students sometimes stretches my ability to suspend disbelief to its limits. An effective approach could've been to set the story in a workplace or university

I can be lenient with these matters, most high school dramas/movies have the same problems. What troubles me is the pacing and the straightwashing or forced feeding of "straightness" to cater to the squeamishness of homophobic mainstream audiences wary of encountering too many rainbows on their screens. The pacing of the gay storyline is sluggish compared to its "straight" counterpart, suggesting an uneven distribution of resources and dedication from the producers. It's not until the seventh or eighth episode that the emotional bond between the gay couple undergoes transformation. The adaptation struggles with maintaining the integrity of the source material, a problem worsened by the presence of a "straight" storyline

The source material doesn’t even feature a "straight" storyline between Chan Yeong and Ji Yu. I find the insistence on shoehorning one into the narrative, and replacing Sun Woo and Yoo Dahm’s (the second gay couple's) storyline, unforgivable. A screenshot of Sun Woo and Yoo Dahm from chapter 56: https://imgur.com/a/OInfwbQ

How mind-boggling it is that we're accused of "destroying" friendships for shipping characters of the same sex who are "just friends" in their source materials when society destroys or hints at destroying man-woman friendships in favor of non-platonic storylines with nary a consequence. Friendships between men and women, boys and girls, are meaningful and don't require a non-platonic downgrade. Chan Yeong and Ji Yu serve Hee Su best as supportive friends. Inserting a "straight" angle between them detracts from Hee Su's journey. This story, "Heesu in Class 2," belongs to Hee Su and his love interest, Seung Won, and shouldn't be hijacked or distorted by a superfluous "straight" storyline

Some might defend the erasure of the second gay couple from the adaptation, citing that their storyline occurs in the second season of the source material. It's a dubious, flimsy excuse at best. The screenwriters were capable of fabricating a "straight" storyline involving Chan Yeong and Ji Yu. It would've been prudent to use the creativity and merge key elements of the two seasons into the 10-episode adaptation. The creative process of converting the Manhwa into a drama enables the combination of two seasons' worth of content into a condensed format. The screenwriters could've reorganized and improved on the timelines, events, dialogue, and character development of the source material. The erasure of the second gay couple is an oversight, considering the wealth of solutions available to incorporate their storyline

Being classmates and friends, Hee Su's acquainted with the second gay couple. Their early introduction in the adaptation could've provided Hee Su with close tangible evidence that happiness in a gay relationship is possible, instilling him with the confidence to pursue his own male love interest(s). Their presence could've contributed to Hee Su's personal growth. They didn't have to be "useless" or "irrelevant"

Those reading might ask themselves, "are you a hater? Do you hold a grudge against the adaptation?" I'm not, and I don't, or I wouldn't have assigned it an 8/10 rating. I believe the adaptation should've gone beyond the bare minimum of keeping one of the gay couples. And I believe everyone has a right to be uneasy about certain deviations from source materials. The sentiment was witnessed in the public's response to "The Little Mermaid" (2023) and "Snow White" (2025), where a simple change in skin color caused widespread disapproval. It's reasonable to also disapprove of changes to gay source materials

Expressing a preference for gay narratives over "straight" ones or questioning the producers' call to accommodate societal prejudices against gay-centered narratives doesn't amount to prejudice or -phobia. Releasing a work into the public domain opens it up to positive and negative feedback. Both are opportunities for the producers to understand their audience better, identify their shortcomings, and grow

That said, I appreciate the effort put into this part-BL/part-gay adaptation. Going forward, I'd like to see BLs exclusively centering gay experiences and relationships

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Fake news, questionable morality, and troublesome technology

"The Escape of the Seven" was an organized mess. It had all the "charm" of a sinking ship. There were plenty of moments that threatened to send me scrambling for the nearest escape route (the poor character development, repetitive conflict, pseudo-romantic encounters, rushed redemption arc), and plenty of others that managed to serve up food for thought on the human condition

One moment of revelation was the ill-fated character "K," who was swapped at birth and brought up in a wealthy household. After discovering his origins, he was discarded by his once-doting family. K's words, "noone can be family unless you're related by blood" (episode 12, 32:34) and "since I was young, I was the one to entertain and serve Father, why am I the fake son?" (episode 12, 39:25), invite us to question society's obsession with "biological lineage." Far too often, adoptive families or children are seen as "less worthy." The pursuit of a biological "mini-me" takes precedence, as if blood were the determinant of familial bonds. This skewed perception belittles the love, commitment, and joy found in adoptive families

Another moment was the dichotomy between "the real and the fake" (episode 12, 39:00). The drama reminds us that no matter how convincingly something mimics reality, there will always be a distinction. Even if it looks like a duck, swims like a duck, and quacks like a duck, it might not be a duck

Finally, the dangers of technology wielded by those ignorant of its potential. "The Escape of the Seven" considers our unhealthy relationship with technology and the ramifications of unchecked technological advancements. It draws attention to humanity's "vulnerability" to the influence of fake news (episode 12, 15:16), a significant issue in the modern, tech-driven society

In conclusion, "The Escape of the Seven" was a blend of misguided, cringe-worthy storytelling and surprising insight. It had both irredeemable and redeeming qualities

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A bittersweet saga of lies, secrets, and acceptance

A family is plunged into a thrilling game of cat and mouse as a mysterious blackmailer threatens to expose their secrets. They race against the clock to uncover the truth, confronting the lies and secrets that have festered in their family along the way. Frustrated, they rally together against a common enemy to protect their own

The drama takes an unexpected turn when one of the family members (Jae Chan/Do Hyun) comes out. Initially met with doubt and confusion, the family soon realizes that being gay isn't a phase, and that acceptance is more powerful than societal norms. They vow to protect the son/grandson and his truth, no matter the cost. The family emerges from the bitter darkness of their lies, secrets, and betrayals, stronger and more united than before. This act of bravery and acceptance elevates the drama from a typical thriller to a thought-provoking examination of family dynamics

The ending was bittersweet. Jae Chan/Do Hyun was happy with the boy he loved (sweet), the family members "practiced being strangers" (bitter). Family should be a source of unity and strength, not estrangement, and I wished to see them reconcile, walking hand in hand once more

My rating was going to be a 7/10, but the sensitive handling of coming out and support for the gay community deserve an additional 0.5 points. They bumped the final rating to a 7.5/10

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An okay drama that could've been better

Despite its commendable attempt at pushing the boundaries of "queer" storytelling, "Love in the Big City" falls short of greatness. Among its flaws, none are as detestable as the violation of a gay male space (a gay club) by a "straight" identifying woman (31:59 of episode 1). The sanctity of a gay male space is not to be disturbed, it's a space for men of like mind and heart to be unabashed in their same-sex desires, away from the harsh gaze of the heteronormative society. Entering a single-sex space with the intention of pursuing someone of the opposite sex to carry back to one’s bed reveals a lack of understanding of, and respect for, the space's true purpose

What was that sudden, unceremonious reference to HIV? HIV isn't a gay disease and a character's sexuality doesn't warrant the inclusion of HIV in a storyline

The doctor's assumption that the main character's HIV was sexually transmitted is inconsistent with his assertion that the chances of transmitting HIV through sex are low (39:50 of episode 5). The main character's life was unaffected by the disease, and there was no reason why he should be among the rare cases of sexual transmission. HIV is being used for dramatic effect

The narrative device of "straight" identifying female characters befriending gay male characters and becoming the medium through which gay stories are told is tiresome and troubling. Why a "straight" identifying woman, and not a gay woman, a fellow member of the community who shares the same struggles and experiences of discrimination? Can't a gay woman and a gay man get along and be depicted as friends for once?

The conclusion isn't a happily ever after. It's more of an anticlimactic question mark, tinged with the bitterness of an uncertain future. Sad or open endings are a trademark of most "queer" stories, and their writers seem to have a vendetta against gay happiness

I find greater comfort and warmth in BLs/gay stories that celebrate the joy of the romantic fulfillment and validation denied to gay couples. They surpass their sad or open-ended "queer" counterparts

The depiction of a gay person's life prevents me from rating "Love in the Big City" too low. I've decided on a score of 8 that acknowledges the value and the flaws of the story

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The Uncanny Counter returned with a charming and stunning 2nd season

Season 2 is an underrated gem. It's a new story with new conflicts and dynamics to watch on its own. The counters navigate a falling out with their firefighter friend. So Moon moves forward and grows stronger for his uncanny family. Jeok Bong's funny clumsiness carries the counters through the darkest times. And So Moon and Ha Na shine bright with their younger brother/older sister dynamic

I would have loved to see Gelly, Wong Yeok and Pil Kwang join the counters or the Yung territory flow through So Moon's body. Season 2 could have adapted the part of the webtoon where So Moon, the Yung territory that he is, casts out spirits without having to summon them. But I'm satisfied with the Yung tears So Moon sheds for Ju Seok. They are a sign of his pure heart and strength

The humor, action and level-headed storytelling mesh well together and have plenty of room to breathe. I'm not overwhelmed or frustrated

Retaining the jovial charm of season 1, the 2nd season is a seamless, breezy watch

The uncanny family, thank you for your hard work. I will miss you ☺️

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Gay subtext meets historical drama

"She already knows how to make women fall for her without consciously thinking about it ..." (episode 6, 17:43)
"I never knew those two [girls] could have such chemistry, they're bringing out the best in each other" (episode 6, 51:47)

"Jeong Nyeon" is more than a glimpse into a woman-centric world of acting. The setting of a woman-only theater that positions women as both the objects and subjects of romantic desire naturally lends itself to a subtextual exploration of same-sex attraction. It's a glimpse into the potential for better gay representation in Korean media

Though the production team’s decision to remove Jeong Nyeon’s female love interest (Kwon Bu Yong) and the explicit same-sex romance is a regrettable concession to society's homophobic expectations (they should've done better), the drama remains commendable for its efforts to integrate elements of gayness throughout the narrative. I was impressed by everyone's performances

"The stars that graced the gukgeuk stage went on to continue their paths as artists, pansori singers, outdoor theatre performers, or even film actors. They have merely dispersed, not disappeared"

That the curtain has fallen on Maeran's story need not spell the end for female gukgeuk. The genre deserves to rise from the ashes, and girls/women should have the chance to soar on its stage again

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