"HML" doesn't always imply miserable straits. Under the wright pretenses, it conveys a completely different line of thought, akin to a submissive person presenting a desirous olive branch. In her duet performance with A Boogie Wit Da Hoodie, the acronym is put to good use. A Boogie, hell-bent on displaying his singer-rapper verisimilitude, adds an echoing refrain to Melii's submissive call.
Somewhere off in the gallows, Melii and A Boogie are fictional lovers. That's the mastery of pop-rap coupling; every account is rendered believable by musical cohesion, and in the case of his A-Boogie's last duet, a little contextual info. The last time A Boogie Wit Da Hoodie was cast in the fictional realm of a hip-hop showmance, he and Remy Ma seemed for all intents and purposes, not well suited (romantically).
Remy is viewed primarily as the archetypal "bossy boots femme" with an oh-so-public marriage to Papoose, rendering her incompatible with a soft-spoken A Boogie, several years her junior. On the surface level, A Boogie wants nothing more than to vex about the past, but a winsome Melii has other things in mind. Her feigned reproach to getting frisky, signals a new day for A Boogie Wit Da Hoodie and a momentary end to his self-inflicted songwriting ego.
I love how you look at me when your mouth on the dick
Baby you know how I like all that Thotty sh*t.
- A Boogie Wit Da Hoodie