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Episode 9 starts off with Oh Ae-sun and Yang Gwan -sik relocating into an apartment to match their financial means, after having sent their daughter to study away from her comfort zone, viewers get to see a mother’s possession – in this case, the precious Mother of Pearl – which isn’t exactly practical – given its weight and the space they have in their new home. Moving at an even slower pace than before, we see more of a mother’s instincts in this particular batch of episodes. Despite Ae-sun’s daughter telling her over the phone repeatedly not to worry and with Geum-myeong wanting more space and independence, a dream of Ae-sun’s late son propelled her to look for Geum-myeong. Like any parent, finding out your daughter is in danger means that he/she will do her/his best to protect her.

I don’t know about you, but I do find the going back and forth between different years/timelines in this particular volume especially annoying. In fact, due to this transitioning method, it is subtly revealed in one of the episodes that Ae-sun ultimately gives up her share in the store that she was supposed to be operating with the other ladies who all had a role in keeping an eye on Geum-myeong when she was much, much younger – something that Geum-myeong realises is due to her own desire to study in Japan for a better future.

Once Geum-myeong is back in Seoul, she finds herself a job at a theatre where she meets a struggling artist, also having his own issues with his boss, love life and mum… While he does play a role in carrying Geum-myeong to undergo the necessary hospital checks and procedures, it is really Ae-sun who cares for her.

However, this struggling artist happens to have some kind of contact with Geum-myeong’s best friend-turned boyfriend (although it is pretty much an on-and-off relationship) at the hospital Geum-myeong is in.

While it is evident that this boyfriend’s mum is an arrogant, cruel, domineering and thinks highly of herself (her acting is spot-on, though), this certain boyfriend is not always kind and loving, belittling Geum-myeong for living in a horrid place that’s Seoul. To Geum-myeong though, this is a step above her life back on Jeju Island, living as the daughter of a fisherman and a street vendor. So, in spite of the many attempts to express their love and affection for each other (no matter how intense), the relationship comes to an end – with Geum-myeong calling off the supposedly grandiose engagement and wedding ceremonies/events. From this point onwards, Geum-myeong is determined to carve her own path and not repeat history.

Time and time again, there’s a certain loss of a loved one – in this case, Ae-sun’s paternal grandmother – who had been suffering from dementia – at the time Ae-sun goes back to see her again – after having moved out following her marriage to Gwan-sik. So, here we go again – pondering on what life really means – after experiencing loss – grieving all they need to. If you were to make-believe that it’s Ae-sun’s maternal grandmother, I guess it’d be even more symbolic – because of a woman’s status in those years. After all, the women have all toiled their way to help their children and husbands (some of whom still act childishly).

On the other hand, the remaining son of Oh Ae-sun and Yang Gwan-sik comes home, giving the impression that he has served the military well. In actual fact, he has brought an extra person and belongings. He gradually makes the announcement that both Ae-sun and Gwan-sik struggle to come to terms with. The next scene where Gwan-sik reacts by hitting his son and Ae-sun being in denial is very telling and typical of what a disappointed Asian parent would do.

Yet another significant scene in Volume 3 is: years go by and the struggling artist is now back from military. He catches Geum-myeong at the bus stop. Once the bus arrives, Geum-myeong boards the bus, prompting the bus to leave and proceed further. He refuses to give up, running after the bus, hoping to catch the attention of Geum-myeong, as if it’s the last time he will see her. See the parallels between the earlier part of the show?

Perhaps there’s some connection to the cliffhanger part where Geum-myeong is seen achieving yet another milestone. This I believe will be expanded on in Volume 4.

The idea of arranged marriage is clearly explored in this series as well, with Geum-myeong’s ex-boyfriend now living with someone he doesn’t entirely like – it is only to fulfill his mother’s wishes – to marry one of a certain social standing. This leads him to turn to drinking habitually, despite seemingly having a secure and stable job, from how he dresses for an office setting.

I’m not sure I’ll be able to stomach Volume 4, but if anything, I’ll listen to the opening theme repeatedly without getting bored.

Volume 4 will be streaming 28 March 2025.