#i love pran and pat so much

[thegayneurodivergentagenda]

ceasefire (by Only The Poets) × Bad Buddy The Series

Here they roll in like a storm on the waves

Shots fired and nobody's safe

We're in trouble

No, no, no, not yet

Gripping the seams but the dreams slip away

On-board by them warm in their graves under rubble

Baby, we can't win this war, no

-

You had a vision of life in your mind

But this is a mess and the words never rhymed like a poem

No, no, no, not yet

You're taking the questions and toeing the line

Are you coming or going, you're wasting your time

You should love it

-

Maybe we won't win this war

But from here

until the door

ceasefire

I call a ceasefire

My love, your long day is over now,

over now

You've been that lost voice in the choir too long,

I call a ceasefire

Ceasefire

this is for @honeysachet and them only.

ceasefire (by Only The Poets) × Bad Buddy The Series

BadBuddy× my Playlist 4/n

[thegayneurodivergentagenda]

There's also a deeper more insane version of this in my head where Pran sneaks into the apartment because of the spare key he has to surprise Pat. And when Pat returns he smells Pran first in the doorway, and the kitchen, and the living room to the point that he feels like his mind has finally descended into the sixth stage of grief: delusion. (And maybe he breaks down in the living room because he just misses Pran so much and he avoids the bedroom just a little longer)

Until, Jazz-Hands Pran walks in to find Pat on his knees crying and looking blindly at the door of the bedroom and he understands and they both cry.

thinking about singapore-era pran just walking through the front door of pat's apartment one evening for an unexpected visit, and after pat has gotten over his shock and hug-tackled and kissed the hell out of him, he goes, "baby why didn't you tell me before?" and pran just shrugs a little and says, "you said if i missed you i should just come in"

[homechashikjin]

People say it’s rushed, I choose to think that the minute Colin kissed Penelope, he realized he cannot live without her in his life. And not as a friend, but as a partner. As a lover. As his forever. The minute he realized his feelings for Penelope, he couldn’t let her go. I honestly think if he was to yearn for any more eps, he would die. I mean literally. His heart wouldn’t be able to take someone who wasn’t him courting Penelope. You call it rush, I call it being all consumed by your best friend and being stupid to realize it too late

[jimmysea]

OUR SKYY X ATOTS X BAD BUDDY Episode 3

[bevioletskies]

bad buddy’s one-year anniversary | one scene per episode ↳ episode eleven (original air date: january 14th, 2022)

“I can be anywhere as long as I have you.”

[inventedfangirling]

bad buddy textposts part 9 🥹❤️

[greenteadumplings]

Can't stop thinking about @sinistergooseberries tags on this post pointing out that since Prans name origins from the Sanskrit word Prana, which means 'life' or 'life source' in Telugu, Hindi and Sanskrit. So everytime Pat calls to Pran as "My Pran" he is pretty much referring Pran as "his life".

My heart can't handle it when Pat calls Pran "My Pran" whenever I read it in fics. Now I'm sure I'll never recover after this.

[ohmnnnezz]

i think they kissed too

[sailorbryant]

PatPran may have invented love, but damn if TinnGun didn't come out with Love 2.0

[faillen]

realized moments ago that i'm almost out of my fragrance of choice (the pran fragrance!) and truly like. idk, adulthood is a series of letting yourself use up the things that make you feel good, huh?

[neonsbian]

rewatched bad buddy ep 3, the engineering hot girl scene was crazy

[thegayneurodivergentagenda]

Snippets (by Multiple Artists) × Bad Buddy The Series

1. Home (by Catie Turner) × Bad Buddy The Series

I don't take spoonfuls of romanticism in my tea

But this is not a love song

It's my truth I have to speak

Oh, you are so important to me

And I won't let you go

I won't let you go

'Cause wherever you are is home

So won't you please come home?

2. Mastermind (by Taylor Swift) × Bad Buddy The Series

No one wanted to play with me as a little kid

So I've been scheming like a criminal ever since

To make them love me and make it seem effortless

This this the first time I've felt the need to confess

And I swear, I'm only cryptic and Machiavellian 'cause I care

I laid the groundwork

and then saw a wide smirk on your face,

you knew the entire time

You knew that I'm a mastermind

And now you're mine

3. For @desi-yearning , Maaeri (by Euphoria) × Bad Buddy The Series

[Translated from Punjabi to English ]

[teriya meriya, bhull gaya

bhull gaya, haar te jeet]

I've forgotten what's his or mine,

Forgotten who lost or won,

[hey mae, ki karna mein jeet nu

hove naa je meet, hove naje meet]

Mom, what good is this victory?

if there are no friends, if there is no friend.

4. Something Great (by One Direction) × Bad Buddy The Series

(PRAN)

You're all I want, So much it's hurting.

(PAT)

You're all I want, So much it's hurting.

Snippets Episode of BadBuddy× my Playlist because sometimes not all of the song fits, but some of it does, phenomenally, and I need it to be acknowledged.

BadBuddy× my Playlist 7/n

Crack!edit

You're all I want, So much, it's hurting.

[bevioletskies]

pat & pran + every kiss scene ever | episode one (our skyy 2)

“Damn. We’ve been fighting for three years. How could we screw up?”

[inventedfangirling]

Episode 7 Pat : To lose or not to win that is the question

Okay I saw a post talking about how episode 7 pat "loses the bet everyday" and how in this rooftop scene...

Pat raises the stakes (asking pran to confess in public) to keep Pran from saying the words just then (knowing he won't take that option) is making me feel and think a lot of things and now my brain is all over the place and i might as well just all note it down here or i won't have peace of mind.

At the outset i want to confess that eventhough i know that the bet has been for pran's sake i still viewed at as a legitimate competition that both pat and pran were trying to win, but i'm realising more and more how (for a large part of the bet) that just wasn't the case at all.

Pat came all the way from Bangkok to the hostile architecture trip alone only and only for Pran. Pat wants to be with him. Pran knows that and Pat knows that Pran knows that. He hasn't tried to hide it at all.

Pat knows that Pran has feelings for him, Pran knows that Pat knows that. But he also isn't ready to admit what it would entail and the familiarity of competition between them allows him to explore that.

"Whoever falls in love first loses" - when both of them know that they have feelings for each other, is hilaaaarious on first watch, but once you've rewatched it countless times and reached a whole new level of brain rot where your blood cells have p cells embedded within p cells in them then it isn't funny, it isn't funny at all * screams into a pillow *

Coming back to the bet, and what it actually means which is that whoever admits it(their feelings) first, loses. And all of us including pat and pran know that pat has already lost. Him coming to the trip just to get Pran to talk and his confession that he actually didn't like Ink 'like that' is all pointing to just one very obvious thing.

So Pat has already lost and yet they're both entering into the bet as if on equal ground. Pat could (and is very much willing to) keep losing over and over again, he very clearly wants to be with Pran but he would keep the charade of the bet up if it meant Pran wasn't ready.

Which means that the entire time that they were teasing and flirting with each other, all throughout episode 7, pat keeps on losing just for Pran's sake.

Do you realise how absolutely insanely madly crazy (mature) in love Pat is???? This might be a childish bet to YEW but to him its a space for Pran (and him) to explore their feelings without the responsibility of a relationship on them, it's actually revolutionary.

Kinda like killing with kindness, which basically sums up the kinda guy Pat is when he's with Pran.

"Don't force me to" he says in response to Pran's "You're just not brave to" (confess) when all of us know Pat is very well brave enough to do that and that is exactly what Pat is reiterating here. He's saying "you very well know why i'm partaking in this charade don't act like you don't i could kiss your competitive ass right now but im not doing it cos i want you to (admit that you) want it".

The man is basically losing (coming over to play and then offering to clean pran's face cos he looked upset screams somebody who wants to win real bad right hahahah NOT *argh pat can you not be so unreally sweet people have to go back to their real lives with real men to be disappointed by*) over and over again asking Pran to "just let me love you, you dork".

Here Pat is literally doing the confession, the very thing they started the bet stating, "i'll make you beg on your knees for me", well he's almost doing the next best thing, and he's doing it willingly, in front of people, with the most genuine smile on his face.

And when he raises the stakes on the rooftop and he does it entirely for Pran again. As much as he wants to be with Pran he equally wants it to be when Pran is ready for it. Not for it to be a decision he is forced or boxed into. He doesn't want to beat Pran he wants Pran to walk into the loss like he himself did, over and over again, because that's just the kinda guy he is.

Boy basically said if me winning the bet means you losing your chance to make that choice for yourself then i don't want that kinda win.

Which is why he's been willingly giving up all the chances to win throughout the episode, but continuing to put up the charade of the bet cos 1. yeah ofc its loads of fun teasing pran and he is so grateful he gets to be close to him again but more importantly 2. he can't (but he is fully willing to) wait for Pran to mentally be ready to get into a relationship.

"As for me, when i have a lover, I always let my lover win" - And truer truths haven't been told. Man has been losing since the very beginning. And that too happily. He is only doing it to give Pran the time that he deserves to process the whole thing and accept his love.

See even here he isn't expecting Pran to confess his love and sweep the whole bet thing away.

Look at Pat pausing trying to figure out what Pran is doing here. I can almost hear the cogs in his brain turn, until the very moment that Pran extends his hand to wipe the stray piece of rice away and then gives him that look. The look that says, "I love you, i'm done making you wait, thankyou, i love you".

So to conclude, Pat like the simp he is entered the bet (and kept willfully losing) only to make Pran comfortable. And literally the first moment that he completely feels comfortable, Pran gives in.

This whole post is borne out of my thoughts after i read what was said in here.

For more of my bet era patpran brainrot :

[inventedfangirling]

bonus :

when pran made that elaborate breakfast complete with sausage and a fried egg AND veggies! for pat (cos we know from ep2 that pran usually eats just toast for breakfast) and then proceeded to be mad when pat stole his toast not cos he didnt wanna share food but because he put so much effort into making the actual breakfast for him and this brat just snatched his own breakfast.

Smirk all you want pran but we SEE right through YOU. And we love you, i love you! Does he know that!? I need him to know. Do i cook and send him food across the multiverse? But idk abcs of cooking this is so embarassing goodbye😭

cant stop thinking about how love is stored in the kitchen. when somebody cooks for you or you make food for somebody that’s the purest corner of the heart that gets on the plate

[maybe-boys-do-love]

Because I've really enjoyed Peaceful Property and contributed to the discourse on here around it, I want to spend some time exploring the thoughtful critiques of the show by @bengiyo, @lurkingshan, @twig-tea, @respectthepetty, @my-rose-tinted-glasses, and @one-of-tankhuns-neurons. I started writing this out but then it got all annoying and academic so imma just list rant with the utmost respect for everyone's thoughts for making me think so much about this show.

1.I wondered about what shows might be examples of class division themes done with an orientation toward the lived experiences of the working class in BL, cuz honestly it's just not super prominent and well-done in much of media anywhere. The Aof series where he takes screenwriting credit seem to be the best representatives: ATOTS and Moonlight Chicken, especially, but he touches on macro and micro economic issues in all his works. Aof's really willing to depict the hardships and compromises required when living with less financial security, and I can def agree that Peaceful Property is not offering that. I just personally feel okay with that, because I see the latter show as doing a more theoretical and symbolic narrative about economics, and overt symbolism seems pretty in-line with the ghost story horror genre its using.

2. To me, I see Peaceful Property's main critique of class issues as being about Marxist alienation. So we've got our first two ghosts being really literal with this, where they have a labor they do and a final product that they don't get to partake in. Builder wants to have a meal in the house he built. Wig maker wants to wear the luxury wig she sewed. Then, with rider, we get a lil more abstract with him wanting him and his delivery to be recognized and build a meaningful relationship with someone. And since then we've been getting more and more abstract about people finding personal meaning and supporting others through their labor. But all of it still connects back to this idea of alienation from their labor, the magician, Chef Hong, and Peach are all prevented from performing the labor that brings them fulfillment by different circumstances.

3. For my reading, the queerness is very much part and parcel of its capitalism critique. Agree with it or not, but man x man loving stories have been used historically to run counter to the competition between men fighting for the top spot encouraged by capitalism. Maurice is a pretty prime example of this, where Maurice, instead of pining upward for Clive, ends up choosing the lower-class Alex and running away to be happy together. Pat and Pran's love in the face of their family's business related feud in Bud Buddy is an even closer example to how I think Peaceful Property is contrasting queer love and capitalistic competition. There's a few signals for me that Peaceful Property plans to explore this a bit more. The Cok Long sign reminds me way too much of the slang of "dick measuring competitions" and I don't think they gave us a character named 'Best,' who has reappeared a couple of times for no reason. With the magician, Pang, and Chef Hong, we also have a repeating motif of lost assistants who made the work meaningful and possible, a socialist emphasis on the value of all workers and the need to connect with others to produce their labors of love, which we see thwarted for the queer story line. The fact that the Thai dancing was two men working together to create the art offers an alternative to a competition between men. And I want to say that I'm just talking about narrative devices here, not the reality of how capitalism works. We're very much in symbolist land, with this take. I'm just a sucker for symbolist land, and it's hard for me to watch horror especially without taking my brain there.

4. And then there's the way queerness alienates one from the accepted 'normal,' which has emerged as a dominant theme in the last few episodes. But if we take this theme and apply it back on previous episodes, we can see traces of it throughout the characters. Home's statements have been the most explicit in illustrating an internalized homophobia with his desire to be part of a 'normal family.' And the tensions with his family about whether he deserved to inherit the properties has queer connotations about queer people's inclusion in their families and the legal and financial repercussions of that (What Did You Eat Yesterday is the top tier of detailed impacts of queer rights in that vein). Peach's social anxieties and depressive behaviors, ostensibly related to his close call with death and ability to see ghosts, parallels queer experiences, too, and we see how it shapes his and his sister's financial predicaments. (Aside: I wonder, regarding some of the complaints about their behavior in the context of poverty, if we might better read the two of them as broke middle class characters. We don't have much context about their childhoods, but their behavior has never really presented as people familiar with getting by on a dime.) Queerness and the threats of financial insecurity have been articulated as interrelated by the series.

5. Home's redemption? We'll know more as things get revealed, but it seems that we're meant to see Home's biggest failing as the negligence that allowed him to hit Peace and his cowardice in not standing up to his family and taking responsibility for the harm he caused. If that is his chief issue, in my view of a restorative process (and thank you so much @respectthepetty for naming this aspect of the show!), the necessary amends are...

facing up to his family (partial check)

admitting his mistakes and seeking forgiveness from Peach (he was in the process of doing so in the latest ep)

addressing the distraction that led to his negligence so that he can attend to Peach and people like Peach so it does not occur again (hmmm...)

That last point is key because we still don't know why it was significant that he was on his busy ignoring the call of girlfriend number 32 or whatever. But I'm suspecting it will connect to Home's internalized homophobia (and @heretherebedork has done some great writing about that subtext). That would give the accident a significance regarding horizontal violence between gay men that the privileged can then run away from while others who can't escape have to suffer the consequences. There's lots of ways queer men can and have done this to one another in everyday life and hook-ups but at the most extreme historically we have the the AIDS crisis, where someone's negligence regarding sexual health inspired by the psychological fear induced by being in the closet could truly be a life-or-death matter with major financial ramifications. For Home to truly own his mistake he is going to have to risk his own financial security in standing up to his family, and he's going to have to stop hiding from himself so he can develop compassion for others in the world. And the last scene in which we see him in the same predicament as Home I saw less as a cop out so Peach and the audience would feel bad for him and forgive him and more as a representation of his ability now to truly understand what Peach has gone through.

6. Do I think this series is going to solve capitalism? This show is about the spiritual dimensions capitalism robs from people, and I think it has real answers about disrupting capitalism through reconnection with our relationships to our work and to other human beings. I'm not religious, but I respect religion's ability to help people find and emphasize a deeper meaning in life, and I think that that doesn't necessarily but can challenge capitalist practices. Peaceful Property is working to show how caring about spiritual well-being breaks up the automaticity of capitalism and has never let go of that thread. To discuss Peaceful Property's takes on class division without speaking about its religious elements seems disingenuous to its greater purpose and a bit disrespectful to the Thai culture the series is so infused with. I'm intrigued about how Kan's plot will play out with the Vimarnsukmun family and it's impact on their finances. What would actually disappoint me and run counter to the show's themes is if the gang somehow inherited the family's wealth or properties other than the ramshackle Cok Long Cocktail Lounge. In Aof's work and in Maurice, the endings involve a disinheritance to represent that life is about connection not financial gain, which contrasts philosophically with the upward fantasies of capitalism. So in ATOTS, Tian moves to the village, in Moonlight Chicken, Jim trades out his diner for a smaller food truck, etc. To find the true meaning of home, Home will need to release himself from his attachment to his inheritance of financial privilege. Of course, being dead might be an option for that lol, but we'll see how the rest of the series plays out.