I find it soo endearing how awkward Faifa gets in this scene when Wine casually lays on his lap! But the thing is, this is not a one off. It happens whenever Wine has been the first to initiate contact.
He is shocked every time. He takes a moment to regroup before he hugs Wine back. He almost seems flustered. Like he's not used to being hugged. Like he's not used to receiving this kind of affection at all (or probably doesn't expect it directed to him).
Which is so weird when you think about it, because Wine is not the first to do anything very easily, especially show his admiration (and towards a guy! my sweet, previously closeted, gay baby 🥲). Fa is the one who eased him into this kind of comfort from day 1!
He casually pats his hair, touches him, hugs him, kisses him and just showers him with love. He's the one who broke Wine's barriers. He made Wine comfortable with accepting physical touch (at least from Faifa).
So, of course Wine thinks it's okay to do it back! And yet, when it's reciprocated...
When I was a child, I was hurt: on terminology creep and the use of the terms pedo/pedophilia in fandom
When I was a child, pedophile used to mean someone who was sexually attracted to specifically pre-pubescent children. My uncle is and was a pedophile who hurt a lot of kids, not just me.
I didn't remember my abuse because I was too young, but a lot of my cousins remember theirs. Talking about that abuse with people has always been hard for us, because it often triggers other people just to hear about the experiences that we went through. People, from doctors to anyone who has known a child, understand that surviving that sort of thing at ten or younger is very different than surviving that sort of thing at sixteen, which is why the term pedophilia is important. It's an ugly thing, yes, but it's necessary for survivors to be able to talk about what happened to us.
"Pedophilia" describes a very specific type of abuse.
Or it used to.
At some point it started to slowly mean "anyone who has sex with someone under 18"--that was the first change. It was so slow and gradual even I could not even tell you when it happened.
But now? The last ten years or so? Oh, buddy. Forget pedophilia having a certain meaning, it can now be levied even at two adults in a relationship with as little as a five-year age gap. Or, worse (for me), the idea of minor-coding.
Y'all do realize that adult-coding is the transverse of that, right? Minor-coding cannot be allowed to exist for this reason; men already talk about adult-coding with even 11 year olds girls looking 'old enough' once their body develops and children of color are already being treated older just because of the color of their skin.
There are real consequences to the idea of someone being minor-coded, so far beyond the harm being done to them by being infantilized. "Minor-coding" exists by propping up ideas that are exclusively and explicitly harmful.
So maybe... maybe we need to let pedophilia actually be about kids again?
That is, if kids are people you care about and want to be safe. Because right now? It's not about survivors. Right now the omnipresence and watering down of pedophile is making it harder for survivors because the thing in the spotlight is the fears of people who've haven't suffered this particular harm.
The spotlight needs to be on survivors, not spectators. Please, I am begging y'all. Survivors need this.
Love the continued commentary on an unseen other recording people and that recording becoming public with the intent of causing harm coming into Only Friends Dream On.
In the original, we had Boston surreptitiously recording a kiss between Ray and Mew and then saving it for two years to just use the kiss part to fuck with both Mew and Ray as they tried to move into relationships with Top and Sand, especially to get Top to sleep with him.
We also in the OG, had Nick recording Top and Boston fucking in the car, which he and Sand used to hurt Boston and Top for their own revenge.
And then in the continuation of this universe, Raffy gets his hands on a recording of Dean in his work as a host to share with the drama faculty to hurt Dean and to get closer to Jack.
And I just…
Considering how often these men are recorded by a third party, sometimes without their knowledge, and then that is put online.
The continued commentary on performance and what is acceptable and what isn’t and how we shame people for their choices continues to delight as we move from business management to drama.
As well as the ways the groups react to them. No one in season one seemed to have a major issue with someone leaking recordings unless it was a recording of them. The swift rebuke of Raffy in season 2 by Rome and the way Jack, Tua and Timmy rally around Dean — to the point that Raffy’s scheme backfires (whereas arguably Boston, Nick and Sand got what they wanted from their leaks)…
But also, the first friend group from Only Friends OG was heading into that rupture for a long time whereas we are picking up with the Dream On friend group trying to piece themselves back together after several major ruptures, what with the break up between Jack and Dean as well as Jack and Rome’s disdain for each other and Rome and Dean’s connection as well as Tua’s Boston hook up. It’s narratively continuous while being entirely distinct.
We are getting an idea of what repair could look like, just with a very different group of people. Whereas the majority of characters of season one were self righteous in their anger and feelings being wounded, the characters of Dream On are very aware of their flaws and pitfalls.
I apologize if this is a complicated question or if it kind of scatters everywhere and doesn’t have a coherent point.
I’m new to BL, but one thing I’ve noticed from people both within and outside the community is that a lot of people say BL as a demographic is generally catered toward romantic stories.
Obviously there are exceptions, but non-BL queer stories seem to cater more toward identity-based narratives, if that makes sense. I’ve also seen people criticize the fact that some BL uses internalized homophobia more as a plot device rather than really treating it as a narrative that gets deeply explored.
And also I’ve seen people critique BL for when it delves into a guy having a girlfriend and then suddenly liking a guy, and it doesn’t really explore the complicated feelings of discovering that for the first time.
That then leads to the whole “I’m not gay, I only like you” trope. But even that trope itself, I feel like, isn’t really delved into from a nuanced perspective. I feel like it could make sense and be written in depth, but a lot of the time it isn’t.
And this leads to people kind of using this as a way to discard the whole demographic as not really being queer, even though it involves two men, because it doesn’t seem to want to get involved with the actual queerness of the characters — like the in-depth, complicated feelings someone might experience.
I’m not trying to dismiss BL or attack it. I just want a nuanced perspective on this from someone who doesn’t completely dislike or discard BL as a demographic.
I apologize again if this is complicated or scattered.
Hello! Thank you for reaching out to me, and your message wasn't incoherent at all. As is always the case with online social media discussions, a lot gets lost between people trying to best one another and snappy one-liner gotchas. I also think there are certain aspects that people don't take into consideration when talking about BL/LGBTQ+ comics, their tropes, and structure. You asked for a nuanced perspective, so you're getting a lengthy post haha. I'll try to break them down and hopefully, there'll be a useful takeaway here somewhere.
You're right in noting the distinction, and that's also my very broad rule of thumb. I often say that BL focuses more on romance, while LGBTQ+ comics tend to focus more on identity. However, it's important to notice that this is a spectrum. On one hand of the spectrum, we have wish-fulfillment, on the other, interpersonal drama and identity politics. Works in both genres fall somewhere on this line. As the IRL LGBTQ+ movement pushes forward and the identity politics/allyship discussions gradually become a topic of everyday conversation, you will see its effects on the genre without a doubt. Just like how climate change and discussions around scarcity are topics that are increasingly delved into, like in Fool Night, or discussions around neurodivergency give way to works like Spacewalking With You, BL changes and evolves too.
We also have to take into consideration that sexuality, gender, and how they are performed IRL are contextual and cultural. What we see in works from East Asia may not fit into what we want to see from a Western perspective. It's also possible that certain cultural codes that signal queerness elude us simply because we're not accustomed to them.
For example, the "only gay for you" trope you mentioned is still being tossed around, but it's been quite a long time since I've read a BL work that explicitly incorporates it. Now, one of the leads identifies as heterosexual until he meets the other lead, and after certain tribulations, they reach their hard-earned happy ending, but it isn't portrayed in a "I will never be with another man if we break up" kind of way, as certain older works have explicitly put those words onto the page to portray a very narrow, singular devotion. The characters cease to exist the moment a story ends, and unless the creator openly explores what happens after the breakup, we can't really speculate whether that ex-hetero character is now open to dating men or not.
To be honest, I'm reluctant to approach fiction simply through the lens of "How much of it exists in real life," but even if you wanted IRL correlation, there are people out there who, despite identifying as heterosexual, seek out gay sex for reasons of their own. Some BL explicitly mention discovering bisexuality and there are more and more openly queer characters in the genre. As I've talked about in a previous post of mine, people read very little BL and the ones that they read are the handful of extremely popular series, then they go around and base their whole opinion on a genre on these titles. They are loud, and the algorithm amplifies divisive takes. Then it looks as if everyone thinks that way.
Imagine believing every shonen series is like Naruto... It is no doubt an influential work, and you can trace the shonen staples in many works that come before or after it, but can you really say Gintama and Naruto are the same? Chainsaw Man? Promised Neverland? Or Marriagetoxin?
It is, again, important to keep in mind that BL in Japan is a genre that stemmed from shojo manga. You can, again, trace artistic sensibilities that are adopted — paneling, screentones, structure, tropes, you name it. BL's approach to love is also reminiscent of the shojo series that focus on romance. There is, and always will be, a wish-fulfillment side to BL, just like how there will be one to romantic shojo manga.
This fulfillment can be about a happy ending after hardship or about a world where two men can experience simple misunderstandings or run-of-the-mill interpersonal problems when getting together, instead of the crushing weight of heteronormativity and phobia. Or, it could be about extremely good-looking, kind, sweet, smart (or extremely evil, toxic, vile but hot) men that are either too good to be true, or you'd change countries if you were to come across one. Throw robots, beasts, and supernatural beings in the pot, and you have yourself a feast. The levels of this fulfillment vary as well. Some works are more grounded, while others are unrealistically sweet or unbearably kinky. Either way, it's so engaging, fun, and compelling to read all kinds of characters to find each other and fall in love and rearrange each other's guts in all kinds of ways!
I personally consider BL to be queer, not only because it focuses on two men, but also because we don't need fiction to spell things out for us. Simply engaging with fictional works creates the possibility of change, and it's no coincidence that countless people rethink/discover their own sexuality and/or gender through BL. I also suggest you check out Cathy's answer to an anon on subtext/canon BL. I'm not touching upon its transformative power for cishet women and their relationship with patriarchy since your message was about queerness.
Now that these are out of the way, I'll mention other key points that I don't often see taken into consideration.
Industry
Commercial BL, and comics in general, are an art form that is strongly tied to the publishing industry. What that means is that what gets published (both in and outside of Japan) is heavily shaped by the companies and, as an extension, fans. Each company, platform, and manga magazine has its own identity and style, and has a say in which series gets a bigger cut from the marketing budget. Fans are getting more and more reactionary, and with the purity culture that's infested the English-speaking fandom (can only speak for this fandom, as idk what the situation is like in others), the works that publishers dare to license are gradually getting sanitized. The overall far-right tendency around the world we've been experiencing over the past couple of years has been detrimental. Barely anyone takes any risks anymore, and that includes not taking risks in terms of art style or diverse works as well.
I highly suggest you check out Cream's blog post on Tsuki to Pieta. It's not like diverse works don't exist, or there aren't any artists who are interested in delving deeper. Sometimes, publishers don't take the risk or can't figure out how to frame a work in a neatly packaged, appealing way, and eventually, they reject said work. Other times, they don't promote certain works as much and they fly under the radar. I know I'm pretty biased about Dal Hyeonji's Love for Sale, to give you an example, but even disregarding the love I have for it, it's an excellent character study! Or you tell me why people aren't going crazy over Takahashi Hidebu's Stigmata! I'm not approving publishers' behavior, but that's how commercial publishing works and a lot depends on where they will allocate their resources and time. What is being read, what is popular, and what gets published is like a cycle that feeds each other. I also want to finish this by mentioning Breeze's blog as a BL artist. There are lots of interesting bits and experiences that we readers may not know much about on the creation side, but they break it down in a fun-to-read manner!
Form and style
This is obviously tied to the industry side as well, but when we are talking about commercial BL, almost all series (unless you're a big name or you're serializing your work in a digital magazine and accept that your work may not get printed physically) are single-volume stories. Saying that it doesn't allow much space for exploration or delving deeper would be a misleading remark, but it does play a role.
Just like in literature, different forms require different stylistic approaches. You can't approach writing a short story in the same way as you would a novel. So obviously, you'd have to find a way to tell the story you want, according to the space you're given. A one-shot has to be structurally and tonally different from a single-volume or a several-volume work. It's true that not many are great at short-form storytelling and instead opt for incorporating the standard beats within a volume, at times disregarding how cramped it reads or how superficial the themes can become.
It is also true that not everything has to be about identity and one's struggle with normativity. This doesn't make a work objectively "less valuable" or "less queer". It is, I guess, a balancing act. You can't drown in your pain and struggle day in and day out, but you can't completely turn away from it either. And I wholeheartedly think BL, GL, and LGBTQ+ comics together cover everything I might want and more from a genre! These three don't work against each other, but complement one another. And together, they paint a fuller picture.
Artist preference
Since we can't form an argument over speculation, we don't really take this into consideration but... sometimes you just want to create something simple and sweet, no matter how overdone it is, and regardless of readers' expectations! One fic I've written that's super dear to me came out of me wanting to write something extremely cringy and melodramatic, like the daytime soap operas you see on TV. Of course, since I'm the creator, the fic ends up being "my version" of a cringy soap opera, but from a reader's point of view, it might be just another random, sappy, "mid" fic.
The same goes for any creator. Not every work has to leave a mark or aim to be exceptional or deep. Not every artist's body of work is diverse, either. Sally Rooney has an interesting take on this (she was so patient with this awful interviewer, stronger than I could ever be tbh). From the BL perspective, look at Furuya Nagisa's works; they keep returning to the very same themes and characteristics, to the point that it's sometimes hard to tell one work from the other. Are they doing it because they know it will sell? Or because, as an artist, they find themselves wanting to keep circling the same spot? Who knows! But it is an important parameter in the equation.
Reader/fan assumptions
I will talk about two assumptions here that I notice are being made both by the fans and the antis.
First is the assumption that the type of work one wants to read has to dominate the market and just magically fall into one's lap. No. You have to dig and swim neck deep into the sea, acquire your own taste, find your own favorites, and make friends who can introduce you to what you might be missing out on. You have to jump headfirst into series you have no idea about and get a taste for yourself. That is the only way to survive and get past the surface-level popular stuff that may or may not be okay at best. The worst that can happen is you'll stumble into something that's not for you, and you'll swim away. Easy as that.
I came across a dead dove fic the other way and started reading it out of curiosity. I don't seek out dead dove. I'm a pretty mild reader compared to some, but I consider myself to be immune to pretty much everything. The fic turned out to be much... more than I could ever imagine it to be, for lack of a better word. And I was just like, 3 paragraphs into it, mind you. I closed the tab and went on with my life. The mental image persisted for a while, but you know what? I survived. And discovered a boundary that I didn't know was there. Only through encounters like this one can one discover what's good or right for them, and this is why fiction is irreplaceable for me. It allows me to approach the world from a safe distance and helps me discover ideas, circumstances, or sides of me that I didn't know about before. You just have to keep in mind that your boundary or taste is not, cannot be the norm, and reading is not activism.
The second assumption is that BL is a silly genre. It is silly and whimsical at times, sure. That's the spirit of BL. But anything that focuses on romance is immediately put into the "not worth pondering on" box. Emotions are silly! Interpersonal relationships are silly! It's simply about, for example, two university students in the same club, and they fall in love. What kind of "deep thought" can you extract from that?
That's where people are wrong again. I have so many mutuals who write extensively on BL, both specifically on works themselves, BL as a genre, and discourse similar to the questions you asked me. Let me tell you, there aren't enough people who do this!! Some of them I linked above, but you can visit the directory Cream kindly put together, and discover long and short-form writing that people are consistently putting out. I argue it's much better than reading simplified, snappy takes on Twitter!
I apologize that the answer got lengthy, but I can't give you a simple yes or no answer because it depends on so many parameters! And sometimes the same parameter can be regarded as good or bad depending on the context. But the tl;dr of it is industry, trends and real-life politics heavily affect the works created and licensed, and BL is a very diverse and fulfilling genre. However, it's up to the reader to put in the effort and discover not-so-hidden gems, while meeting other fans who read as diversly and engage with the genre critically AND whimsically!
Why Shine Feels "Incomplete" to Some Fans and Why That’s the Point
Soon after the last episode of Shine ended, the fandom space on X erupted in dissatisfaction that quickly turned into anger, especially with respect to Trin's character arc and the Tanwa/Trin romance arc.
Although the showrunners consistently described Shine as a gay series, many fans accused BOC of exploiting MileApo’s BL fame and using familiar marketing tactics to lure BL audiences, only to deliver something that refused to play by BL rules. That tension between promise and expectation sits at the heart of this entire backlash.
A translator’s thoughtful thread about Shine’s artistic choices was met with anger and mockery, and soon the show’s writers, translators, and even production staff became targets of harassment. What began as a conversation about interpretation turned into a campaign of bullying. Watching that unfold has been disheartening, especially because the translator’s words revealed something vital about Shine’s artistic intent that many people refused to hear.
I’ve been thinking a lot about why that reaction feels so strong and why it also completely misses what makes this series so special.
To me, the backlash around Shine isn’t just about one ending. It’s about two different ways of understanding queer storytelling.
Heteronormative storytelling norms, especially in romance and BL genres, are the kind we’ve all been trained to expect. It demands that characters grow, fall in love, overcome obstacles, and end with closure in a very specific way. Even when the story is queer, we’re often measuring it by straight narrative rules: does it give us a happy ending? Is the arc complete?
But queer storytelling doesn’t always work that way. Sometimes it resists neat arcs. It lingers in tension, ambiguity, and longing. It values imagery, atmosphere, and emotional truth more than tidy resolution.
That’s what Shine does. It refuses to flatten itself into a BL fantasy. Trin’s story isn’t unfinished. His journey doesn’t follow a straight (literally and narratively) line from problem to solution. He embodies what the translator called queer aesthetics, which means he exists outside the usual rules of narrative progress. It is ambiguous, and so much of it takes place away from the eyes of viewers.
A lot of people are angry because they expected a BL ending: clear closure, emotional payoff, and fan-service catharsis. When they didn’t get that, they called it bad writing. But it’s not bad writing; it's a different kind of art that lives and breathes outside of heteronormative rules.
Shine was never a fan-service series. It’s political, layered, and deliberately queer. Its creators valued message and vision over meeting fandom demands. That’s not arrogance. That’s courage.
When audiences call that refusal flawed, what they’re really saying is, “I only recognize queerness when it behaves like heterosexual romance.” That’s the tragedy of the backlash; it turns queer resistance into an error.
The truth is that queer art often ends in deferral. Closure sometimes happens outside the frame, in the moments the story leaves us to imagine; in this case, between a kiss on the Pont Neuf and a long life of committed love. The ambiguity is in the story; the discomfort is in us. Shine refuses to explain itself, and that refusal unsettles audiences who have learned to measure queer stories by how neatly they resemble straight ones.
Smokey Blue Episode 3: The Mostly Good and Some Bad
(i cant take any screenshots yet because i have to watch on a different browser, so pardon the lack of visuals) this is long but worth it i think lmao
The Good:
first and foremost: the way you can see, in real time, kuji sympathizing with azuma coming to the realization his mother will eventually die of old age. they both lost one parent to a different cause, but this is something kuji had experienced firsthand; the slow decline and eventual loss of his father. and he can see azuma mentally reckoning with that inevitability with his mother, and then decides to insert himself into the situation, explaining what needs to be done to make life easier for her and helping right away. all of this without either character ever making a point of "Oh, Kuji can relate to this, huh?/I can relate to him." We don't need it. His actions and expressions tell us everything we need to know. its subtle and delicious and meaningful, i loved it
and then we have kuji confessing without confessing multiple times? mwah amazing chef's kiss. you can see how much he loves azuma yet refuses to Say it. also the way he turned down the request for a kiss from azuma when it seemed like azumas usually kind of teasing/just physical, but instead waiting until they were out of the car for a more romantic, intimate moment. and then of course he fucks him (even if we dont get to see it :/) to distract him later anyway because when it comes to azuma he has no spine
and AND the parallels to their fathers both being translators in a sense, kuji's father as a profession and azuma's dad as a way to interact with his son (this was present in the manga but the live action depiction of it brings it home). something im mixed but mostly positive on was the choice to never show us azuma's father as well; in the manga he's at first depicted with an obscured face/no eyes to indicate azuma views him in a more hazy, romanticized way than his sister and mother. the show adapts this by only giving us azumas words to judge him by and nothing else, and i overall think that worked
this was in the first two episodes as well but i must reiterate the performances are also once again totally stellar (theyre actually so good that they kind of made the newbie actor playing tamaki kind of look bad lol). so much depth and things unsaid that you can clearly understand anyway. kuji's indescribable fondness for azuma, his quiet desire to help him. azuma burying his pain under a a lackadaisical attitude, but sloooowly opening up to kuji and letting him in. all just masterful
The Bad:
i think in general this episode needed to be spread out over two instead of all crammed into one. i understand they probably had limitations around that, but there were a lot of abrupt, unexplained skips forward in time, little moments from the manga that REALLY added more depth to this mini arc, and i dont mean to be a pervert but unless they immediately start episode 4 with the sex scene, we kind of needed to see at least the foreplay for that. its an instance where the sex is kind of important for the characters getting closer. i like how sex was used in episodes 1 and 2, but they Need to have more because that IS one of the primary ways these two characters communicate; they feel more comfortable communicating feelings with their bodies than their words, and if its cut off so quickly every time its going to become a compounding problem
also, they obviously have to move things around to make the story flow better for TV, but this chapter happens a bit later in the manga, and kuji's actions at the end make more sense, because he might be feeling a Little bit more "just being used for sex" by azuma, where in the show theyve only smashed twice by then. it still WORKS, we know kuji, professional yearner who is thinking of their one night stand after 8 years, wants more from azuma than to be a distraction fling, but still. an inevitable byproduct of adapation
The amount of storytelling she achieved in the juxtaposition of Dohoe and Juyeong’s two nights together cannot be overstated. It so clearly shows how different their relationship is. The first scene is sweet and awkward and so full of longing. Most of all at the end they’re cuddled close together.
But in the present it feels so different. It’s more erotic because they’re older and perhaps have more experience. It also that the emotions portrayed are different. Sex is what you can use to get closer; it’s like Dohoe is trying to use this as a shortcut to avoid all the talking and revealing. In the end, they’re no closer and perhaps have driven new wedges between themselves.
They both look to each other, but not at the same time, like gears out of sync. She really uses this moment to show that while they both want and long for each other, they’re not sure how to bridge that 12 year gap. Whatever Dohoe thinks, this isn’t about just unpausing a moment in time.
i need at least four business days worth of time to recover from kiyoi saying "so you prefer unrequited love, right?"
@bengiyo
Utsukushii Kare 2 Ep 3 Stray Thoughts
My Beautiful Man 2 Ep 4 (Finale) Stray Thoughts
@chaos-thea
The symbolism in this scene fucking broke me.
@coconuts-mafia
My Beautiful Man Master List
@dreamingsnowflake2013
Hira's altar to Kiyoi's awesomeness may seem like the typical work of an obsessive fan, but, in reality, it's much more intimate and deeply personal.
It makes so much sense that Koyama immediately figures Kiyoi out and sees right through him because anyone who truly bothered to look at him and could put two and tow together would notice how emotionally invested he is in Hira.
@emotionallychargedtowel
Utsukushii Kare master post
@goldenmorningglory
okay ranted to irl about this but.
@heretherebedork
It's hard to fully imagine how long Kiyoi had felt unloved, how long he'd felt like there was no one close to him, no one the understood him, no one that cared about him, no one that could truly see him
@jemmo
so i finally watched the utsukushii kare eternal movie properly.
@my-usernames-posts
The power of emotional attachment - My Beautiful Man
@lurkingshan
The brief spark of hope on Kiyoi’s face - when Hira said he didn’t like telling his cousin they were friends - makes this all so much more painful.
My favorite thing about Utsukushii Kare: Eternal is Kiyoi’s growth
@mikuni14 @lurkingshan
Utsukushii Kare Ep 4
@respectthepetty
MY IDOL AND HIS STALKER ARE BACK!!!!
I've mentioned how Hira constantly lowers himself around Kiyoi because he has never seen himself as an equal.
Did you see it?
Dear My Beautiful Man's second season.
@sexyglances
The evolution of "gross" from a crude epithet to a term of endearment in Utsukushii Kare is so compelling because the evolution essentially tells the story of the development of Kiyoi and Hira's love
@sotterramii
The fight at the end of episode 3 is a necessary evil that I really hope will serve as a wakeup call for Hira.
@space-boy-who-lives-next-door
I've gotten back into re-watching shows and ended up re-watching my beautiful man.
@sublimepoliticsmusicbiscuit-blog
Another reason I'm obsessed with My Beautiful Man, they completely deconstruct the whole Tsundere trope and make it better.
@vegasthehedgehog
Kiyoi
@waitmyturtles
Turtles Catches Up with the Essential BLs: Utsukushii Kare Edition
I’ll definitely have more thoughts tomorrow, but on the first episode of the second season of My Beautiful Man/Utsukushii Kare, really quickly: 1) Goddamn, my heart, THESE TWO
I definitely have a big Bad Buddy meta hangover (I’m so. wiped. out. from writing.), but I HAVE to write something about Utsukushii Kare S2E3, because: IT WAS GREAT.
I feel like I haven’t given Utsukushii Kare/My Beautiful Man season 2the kind of love and attention that it either deserves, or that I expected to give to it, simply because my brain is all in Thailand with Moonlight Chicken at the moment
@wei-ying-kexing-apologist
Sorry to any of my friends on here who have heard me say this for the third time now but I cannot get over the way Utsukushii Kare shows us the ways in which negative self-perception can impact EVERYONE.
Please let me know if there is any other meta I should add!
