The increasing emphasis for the qabaday (tough man) to defend his honor by protecting a woman's sexuality and repressing her desire has been used by screenwriters to symbolize the vicious cycle of state violence toward its citizens. The more revolutionary trends of Syrian miniseries seek to demonstrate that it is only once man has shed himself of the role of protector of woman's sexuality that a truly egalitarian relationship can exist between them - metaphoric images of citizens attaining their dignity and rights from an authoritarian order. Indeed, for avant-garde contemporary drama creators, the sexual repression of women is symbolic of the political oppression of an entire population. This presentation commences with an examination of miniseries produced prior to 2011 and is followed by an analysis of several miniseries produced at the outset of the uprising. While they do not refer directly to the uprising, these miniseries are coded messages of equality, dignity, and freedom attained when relationships are based on sexual equality. In all the miniseries, however, we witness a problem that exists when a woman has engaged in sexual relations prior to the new relationship. In other words, none of these miniseries explored a current, openly sexual relationship prior to marriage. They were all a question of what was perceived as a woman's past "mistakes." Ramadan 2014 marked a turning point. In this presentation, based on fieldwork in Beirut, I provide in-depth analysis of two Ramadan 2014 miniseries, which manifest new directions as they analyze the politics of love and seduction against the background of ravaging war and destruction. The philosophy of each with respect to love and sexuality is related to political stances taken during the current Syrian war.