#pat jindapat

[alexshenry]

#only friends (bad buddy x atots version)

[do-you-know-this-queer-character]

Do you know this queer character?

Pat is Bi-spec and uses he/him pronouns!

[firstkhao]

pat + purple | bad buddy, episode one

[badass-queer-couples-battle]

Simple question- who's your favorite badass couple?

Propaganda for Patpran: "They're THE couple of communicating, they're always on each other's side and they're an absolutely brilliant team"

Propaganda for Janaya: "Super cool enemies to allies due to circumstance to lovers with political intrigue due to differing cultures (also Amaya is deaf and that’s pretty cool - she called Janai cute in sign language in the third season in the show and they weren’t even dating yet)."

"They're both super badass and Amaya is amazing deaf representation"

[chalkrevelations]

Called it.

I think they did multiple things right with the bullying storyline in this week's ep of Dangerous Romance - to start with:

having Sailom be perceptive enough and emotionally capable enough to know that his friends would need some open, honest discussion with and apologies from the people who bullied them, in order to move forward.

having Sailom demonstrate - for both his friends and the audience - the value he places on his friendships by insisting that Kanghan at least make an effort before Sailom was willing to actually pursue a relationship with him.

having Sailom set this not just as a condition, but as a test for Kanghan - is Kanghan the kind of person willing to work to repair injuries he caused, or will he balk? And if he's not willing, is he the kind of guy you're going to feel safe trusting your heart to? We already know Sailom is smart enough to listen to his instincts and do the mental calculus when it comes to whether he feels safe with Kanghan, and this is important additional data for him.

I'm not ... necessarily ... faulting the writers on all of this when I compare Pran's actions in Bad Buddy to Sailom's actions here in Ep 7, because I feel like Pran's almost complete lack of processing re: Pat's bullying behavior and what happened between Pat/Engineering and Wai/Architecture is kind of consistent with Pran's overall characterization. Pran hides what's going on and desperately tries to maintain his secrets, behavior that he's learned from dealing with his mom; he's known Pat longer than he's known any of his friends at college - even Wai; and he also just flat-out doesn't have the kind of high emotional quotient that Sailom does. I love Pran a lot - a lot of my intermittent drive to commit violence on Pat is kicked up by the fact that there are several times when he makes Pran sad, so I threaten to remove his lungs with a spoon - but I also notice there are times, particularly in the beginning of BB, when Wai has to walk Pran through not only typical social interaction but through processing and understanding and accepting his own emotions. Wai and Pran are primed for the kind of complete breakdown of their relationship that influences Wai's (very bad) decision to drop that curtain at least partially because when Pran lies to Wai about what's actually going on and pushes him away in order to keep his secrets, Pran loses the very person who we've seen help him navigate sticky interpersonal situations (a role that, on the other side, Pa fills for Pat). It's a cycle of breakdown that feeds on itself.

ANYWAY, what I do fault the writers on in BB is that the narrative, itself, does a miserable job of recognizing that any of these apologies and reconciliation work are necessary - at no point does the narrative come up with any other way to point out to Pran, "You know, maybe your friends are mad because you're surprise!dating a guy who spent a lot of time getting together with his friends in order to kick the shit out of them and make their lives miserable in various ways? Oh, and, who skived off to go to a concert instead of working on the mutual project they were supposed to be participating in." Not even Wai, once they're speaking again, has this particular conversation with Pran. Or, I don't know, make it a conversation with Pa and Pat, where she explains why of course Wai doesn't like him. Instead, down the memory hole it goes.

From discussion I've seen around and about, I feel like a lot of people expected the same thing to happen in Dangerous Romance. But the fact we've circled back around to it gives me hope that I don't just have my clown shoes on and we're also going to circle back around to some of the other issues that are explicitly simmering in the background, like Kanghan just hauling Sailom around by the wrist to wherever he wants him every time he gets jealous. Or the fact that even though Sailom keeps trying to insist that money can't buy everything, he's getting undercut not just by Auto wanting drinks and air conditioning and whatever else Kanghan's money can buy them, but also by the fact that Kanghan's money not only very much has bought Sailom - who's sold himself into a kind of indentured servitude to pay off his family's debts - but also has installed him in the bedroom right next door to Kanghan's.

Or like Kanghan's behavior pattern of just opening Sailom's door whenever he wants and walking in like he owns the place and can go anywhere he wants - a pattern we've already seen changing in this ep, when, sure, he acts like he's going to open the bedroom door in order to get Sailom to respond to him, but he then not only waits to be invited in but makes it explicit that him coming in is contingent on receiving an invitation.

Meanwhile, another thing I felt like the show did well with the bullying storyline this ep was the fact that Auto and Guy had different, individual responses to the apologies and overtures from Kanghan and his crew, and Guy was allowed to take longer to process his feelings and decide whether to have any kind of relationship at all with Kanghan. I had a bad moment at the beginning of the soccer game when I worried that he was going to be painted as unreasonably obstinate by the narrative, when no, he actually doesn't owe Kanghan any kind of forgiveness or interaction just because Kanghan apologized. Fortunately, they were just giving him the time and space that character needed to process and make decisions, and I really liked that.

It wasn't particularly surprising to me that the final barriers broke down in the face of a common enemy. Both of them wanted blood from Team Yellow, the enemy of my enemy, and all. That's one of the places that I felt like BB at least managed to shorthand some of the interpersonal work that would have needed to be done - by giving them a common project. Nobody on that show was able to use their gd words, but at least they could work at building bridges through actions like mutual projects.

Anyway, I've already seen at least one person comment "Wai wishes he could" on a gif of Guy finally telling Sailom to go get his man, after the soccer game, and yeah. I bet Wai did wish he could have gotten 1) an apology and some upfront reconciliation attempts from the guys who physically assaulted him and his friends as well as harassing him at and potentially endangering his job, 2) a best friend who understood that apologies and bridge-building were both deserved and needed, and 3) the necessary time to process those actions and his feelings about them.

I'm glad to see the improvement, Dangerous Romance.

[letgomaggie]

We know P’Aof is a creative genius and his use of literary references are very purposeful and never in vain. I was struggling to see the point of using something like Snow White -- a very happy fairytale -- as a play reference, especially against ATOTS, which is intertextual and meta and lines up so well. Of course, of course it wouldn’t be that easy right? So, I have a few thoughts on how the Snow White allusion will play out. 

1. The first and most obvious one to me was about, again, perspective. (It’s always perspective with P’Aof I swear). We have with us yet again, two tales, and two perspectives. One is a classic Western tale that’s always been up for revision. The other is a native text, that ponders the act of revision and retelling itself. 

I think a lot of this is referential to their futures and their present. @chickenstrangers talks about queer temporality and queer futurity here. Let’s remember that the events of BBS EP 12 are still in the future - yet to happen - for OS2 PatPran. We know the destination - and this is what makes this version very obviously a happy story. But Pat and Pran are still walking the path to this destination. I think we’re seeing them at a point in their relationship where they are not in complete sync with each other. They’re still walking the same road, they’re just not in step with each other. And that’s okay! 

It’s also important to look at who is bringing forth what to the table. The engineering faculty is the one which has chosen Snow White. Architecture is choosing ATOTS. One is Western, far removed from Pat and Pran’s lived realities -- it is instead a dream, a fairytale. It’s also bold about love, where differences exist but love exists alongside it. The Prince and the Princess didn’t have to fight with the world to love each other, they only had to find their way to each other. (I’m recalling Pat’s realisations about his feelings for Pran, the blind optimism he brought to the table, the way he kissed Pran and felt good vs the way Pran approached the kiss -- with despair, sadness, guilt, fear. Please look at this wonderful exploration of the kiss here.) Pat was in a romcom! His optimism bleeds through -- he still wants to be able to love Pran openly, he’s got a charade going -- the charade of death! Snow White! -- but he’s hopeful of living without the charade in the future. (look here as well!) For Pran, he’s very much living in the present. ATOTS is a real, lived story of queer love and struggle. He too wants to live without the charade, but for him, the nuances of the struggle are much more pronounced. 

One is an old story, and its simply a story. One is a new tale and its a lived reality at that. We’re exploring hopes and dreams in the face of reality and imagination baby! Pat and Pran want to chart their own course, and they need to find a way to blend these two outlooks together. 

They’re both trying to explore the question of “If they can, why can’t we?” but they’re looking for hope in different places. Considering the open ending of the BBS storyline, and the fact that one of them goes abroad while the other stays with his family business -- the future they end up choosing is the one their partner looked at first. They’re still learning from each other, and they continue to grow together. 

P’Aof, let me kiss your forehead PLEASE. 

2. We’re addressing underlying themes of patriarchy! We know that P’Aof’s shows are genre aware as well as time aware. We also know that retellings for him are heavily about subversion, among other things. I’m focusing on the subversion right now because it’s not just any story -- Its Snow White, a classic Western fairy tale, that is well known for its revisionist retellings! Retellings and fairytales (especially the Grimm’s) go hand in hand. Retellings are, in the postmodern context, about unmasking the ideologies inherent in the story and then flipping it. 

Early on, we establish that Pat is the so called prince and Pran is the so called princess in need of rescue. Or is it? Pran has been the one leading Pat this time on divergent and creative thinking. It’s Pran who is taking risks, doing things on his, going after what he wants. It’s also Pran who gets lost (with Tian) and needs rescuing. Pat is part of the rescue effort. But who ends up rescuing whom? 

A sidenote to this point: Pran is also hurt and exploring his independence from Pat while being in a relationship. The fight they have seems petty on the outside and they are certainly mature enough to try and find a way of communication that best fits them i.e. the bet but Pat is the one who needs to apologize and relearn this time. It is clear that there is a modicum of hurt on both ends. They are trying to solve their concerns on their own, as well as together, as well as with the help of others. So, who is rescuing whom and where? Is it Pat rescuing Pran? Is it Pran rescuing Pat? Is it Pran rescuing Tian? Or is it Phupha rescuing Pat? Or is it any other way around? We don’t know yet, but the whole tiger thing makes me think this will definitely be alluded to, if not addressed. 

3. Mirrors! Mirrors in older gays! Mirroring each other stories! 

The first mirror is again, related to perspective. Pran is the one showing Pat how to look at the wooden bench as a mirror for the Snow White adaptation. I also read it as Pran holding up the mirror of reality for Pat -- atleast, a foreshadowing of this, because Pat wants to be open and Pran is more focused on the reality of it all. That they address this in a fantasy situation where anything can veritably happen is so interesting because I think it hints at how BBS EP 12 ended: the future they live there is still happy, and its all a lot of careful planning. Planning, I think, that took place in the time period we see in OS2. They’re figuring it out, laying all the what ifs out and seeing how it goes. 

But they’re still young, and they’re still kids, so Pran gives into a little pettiness and leaves Pat at the bus stop. Pat follows anyways. 

Onto Phupha and Tian: they’re messy y’all. They’re able to see each other in Pat and Pran, and this has been discussed elsewhere. 

Here’s a few posts that examine mirroring/elements of it in the OS2 episodes: here, here, here. (These are the three that stood out to me the most but there’s a few more out there.) 

 Overall, we have been able to see these two episodes address crossovers, the metatextuality of ATOTS, and parallelism across the two shows - of each other AND of themselves. 

 Phupha - Pat and Tian - Pran is genius mirroring in my opinion, and the fact that they examine peril in these pairings is going to be interesting. 

The most important thing jumping out to me is the whole: I see him in you but I also see myself in you. I’ve been here before. I want to be where you are. Literally, pick one of the four and they fit all of these simultaneously. It’s so potent, I cannot shake the fact that this is really going to be super important soon.

I’m not expounding too much on mirroring right now because we have two episodes more to go, and I have also linked all the places this has already been touched upon. We must wait for further insights.

4. The setting. We move from the city to the forest. The city is where ATOTS wants to be. The forest is where BBS wants to be. One show desperately wants to address reality and move out of the liminal space it exists in (ATOTS). The other has been grappling with reality for so long that it seeks the safety of the forest, where reality cannot touch them if they don’t want it to (BBS). BOTH shows have couples that are seeking to strike a balance in their relationships. 

Although we are yet to see Phupha and Tian come down from the mountain, the trailer for OS2 seemed to imply they will. With BBS, we have seen them move already. Even though they are seeking the independence the setting provides them with, let’s also remember that Pran is trying to put on a show based in lived reality. And so, they continue to call each other buddy here -- they can’t shake it off. Even in front of an older queer couple -- who they know have seen their fair share of trials and tribulations and will be safe around -- they keep to their reality. I think an echo (mirroring!) may happen with Phupha and Tian when they descend the mountain. 

Other implications of the forest include: isolation, independence, freedom and fear. The City vs The Forest in OS2 is simply about finding your place in the world. Snow White moves from her life of luxury to a life of daily toil that she does not resent. She moves back to royalty at the end of her story, but her stay with the dwarfs was formative for her. BBS x ATOTS x OS2 is investigating movement and change.  

Tian has made the choice to move from his life of luxury to the forest with Phupha and its not a choice he regrets. That’s been made clear for us. He however, does wish to strike a balance. He is okay with new things in a way Phupha is not. Phupha finds the city a place he does not know his place in. He’s afraid of what it means to not have his duty define him first and so he sticks to what is familiar to him. (hmm who else do we see this in, I wonder.) Pran and Pat are living in a glass closet and its stifling. Each time they try to ‘escape’, its to places that are very far removed from their reality, and where they can only be guests. They yearn for the freedom these places -- Zero Waste Village, Chiang Mai -- provide. Pat immediately wants to recreate the honeymoon, and he goes so far as to pitch a tent in their house to bring in a sense of that freedom. He’s thinking about their time in the Zero Waste Village as an ideal he would like to have for them permanently. Pran is not comfortable evading reality. He’s scared of what the relationship might do to everything else that he is and has. (Ahem, this is such a clean mirror guys, what did they use to get this shine?) I can continue to ramble about fear of loss of control, what does freedom really mean, change and adjustment in relationships, growth etc. etc. but I want to see what P’Aof and co have in store for us. 

5. Someone gets injured. They have to, its implied heavily and also -- Snow White. It could be literally any of the four or it could be the kid. The whole rescue thing is also about returning from the point of no return. (Death in Snow White, I don’t know what in OS2?) A little bit more on the death motif here by @chickenstrangers .This is also in conjunction to my point on who saves whom (point 2). This is one I really think the next two episodes will shed better light on, so I’m simply jotting it down here and hoping for the best.

Anyways, this was me holding a sermon in the town square, thank you for listening. Come Wednesday, P’Aof and co will come strolling in to the square, drinks in hand, and say “see you looking, catch it, here’s your cola” and dump all their soda all over me. And you know what? I will welcome it. 

A small biblio of bad buddy meta and other posts I have been reading and thinking about, and posts I think in some way or another talk about the things I have mentioned here: 

Growth and Aging of Queer Relationships by @moonlitfantasyblr and @waitmyturtles 

They Love Each Other! by @gracefulnosplinters​

Nong Nao Mask by @lurkingshan​

A Full Circle by @jemmo

[panpercyjackson]

Thinking about him* again, like always

*napat jindapat

[loveable-sea-lemon]

shoutout to my adhd besties 🫶🏻

[blorbingqls]

Pat Jindapat, meet your cousin Kanghan pls.

also the fact that Ohm and Perth have played brothers in another series altogether is sort of just sending me lol

[yinwaryuri]

Patpran be like

🧒🏽🥫 🥫🧒🏽

[livsoulsecrets]

✨ Quotes as families/friends/siblings ✨

jesper and kaz, six of crows

pat and pa, bad buddy

todd and black, not me

kim, khun and kinn, kinnporsche

vegas and gun, kinnporsche

[alexshenry]

pat: 🐇 pran: 🥰🥰

[randomjreader]

Bad buddy truly has me in a fucking chokehold rn, like how am I supposed to recover from this show? How is any asian BL supposed to top this one? My expectations for any new BL that gmmtv releases now is gonna be through the roof bcs clearly, as we have seen, IT CAN BE DONE

[inventedfangirling]

THIS. YES TO EVERYTHING.

I remember finding it very difficult to initially understand what exactly is going on here, but on my second watch everything just click click clicked and the above post details it all so beautifully.

The characters, their intentions, the through the roof edge of the seat type intensity of the scene so palpable my heart was in my throat, such a brilliant display of the depth of these characters, their dynamic and also of just how great both nanon and ohm are at their job.

I just wanted to highlight something that struck me from what you said about pat's hands not being fisted in pran's shirt but held open like that not fighting and like mentioned ready to come clean. I remember LOVING that detail (brilliant acting choice/direction and execution) and the piercing gaze of pat and it is only now striking me why that gesture impacted me so much, because all this while i took that as a sign that pat wont fight, wont lay a finger on pran that he just wants to be talk.

But now i notice that that gesture closely resembles how law officers/cops ask the culprits to "stop and put your hands up where i can see it".

The gesture here is signifying that pat is surrendering any and all self preservation possibility, that he's open and ready to face the music, to not put defenses up and to tell the truth and nothing but the truth.

But we also knows that Pran never asks him to do that, to lower his defenses or be open, he in fact wants him to shut up not quite grasping what pat's intentions are.

And this fact that pran never asks him for that, and yet pat is offering him that honesty mere hours after he discovered this whole torrent of feelings he had had for so so long it just grabs my heart like anything.

Personality wise i am so so very different from Pat, and so so very similar to closed off Pran used to repressing all his feelings, so understanding Pat's actions here was tough but when i did it moved me so so much because i dont know if i could ever be so brave.

And thus the way i percieve it, Pat's gesture of open almost aggressive declaration of being ready to be vulnerable is nothing short of revolutionary.

Pat my little love warrior i adore you so much.

BAD BUDDY EPISODE 5 – A CLOSER LOOK AT THE FIGHT SCENE

The fight scene starting at Ep.5 [4/4] 2:22 was full of drama but also really disorientating (for me, at least).  I found it so difficult to align with the characters’ emotions because all three entered the fray for different reasons.  It’s only upon re-watching that their motivations and points of view become clearer…

Not surprisingly, Wai’s reactions during the confrontation were the most open and perhaps easiest to decipher.  In most conflicts, when battle lines are clearly drawn, it’s easy (lazy, even) to want to portray things as falling neatly into binaries – good v. evil, black v. white, Archi v. Engineering, Montagues v. Capulets, Jets v. Sharks, them v. us…  But just as the rivalry between Pat and Pran was a messy, man-made construct thrust upon them as kids, real-life conflicts are rarely all that clear-cut.  Unfortunately for Wai, he was deep in the trap of binary thinking when he waded into the confrontation.  After his gloating over the Engineering boys losing the song contest at Ep.5 [4/4] 0:27 (and not knowing that Pat and Pran were anything but rivals, let alone friends or more), from his point of view Pat was clearly just a sore loser looking to take out his frustrations on the winners.  So of course Wai was aggressive but also befuddled, blown off course when he sensed (he’s a smart boy after all) unfamiliar undercurrents buffeting the PatPran ship, prompting him to ask Pran “What’s your problem with this guy?” at Ep.5 [4/4] 3:40, and “Are you sure there’s nothing going on here?” at Ep.5 [4/4] 4:42.

For Pat, the fight was the culmination of the mounting, bewildering realization that he had fallen in love with Pran.  Pa’s love guru advice (starting at Ep.5 [2/4] 2.18) had comically shown Pat that he and Ink most definitely were not a match.  And no one was more surprised than Pat when he – never one for introspection and up until then hilariously clueless at how to navigate his own feelings, needing his younger sister’s guidance – began to realize in the music shop starting at Ep.5 [2/4] 6.56 that it was really Pran tugging at his heartstrings.  

But it was Korn’s advice (Ep.5 [2/4] 10.30) that truly hit home – Wai’s phone call to Pran at Ep.5 [2/4] 12.16 not only proved to Pat he was definitely in love with Pran, it also unleashed feelings of jealousy that he never knew existed.

Pat ALSO started becoming aware that his feelings for Pran were actually reciprocated, when he began reflecting on the songwriting process that they went through together in high school (Ep.5 [3I4] 0.25).  Pran might have been thinking it, but in fact it was Pat who suggested out loud that the song be about their own relationship (Ep.5 [3I4] 1.35).  Rather than rejecting the idea, Pran seemed to change the subject to writing about secret crushes.  We now know he had instead combined the two themes into one song, about his secret love for Pat while they continued to live out their strange relationship of being not quite friends but not quite enemies either. The lyrics of the song were another of Pran’s cryptic ways to tell the world about his hidden feelings for Pat.  

Watch Pat’s awakening during Pran’s performance of the song in the present day (Ep.5 [3I4] starting at 8.06) – with Pran’s voice sounding in his ears, declaring unrequited love with every line, he remembers their time in high school, writing that song together, and Pran’s surreptitious sidelong glances at him (Ep.5 [3I4] 8.32 and 8.36).

The realization about Pran’s long-held feelings for him dawns at Ep.5 [3I4] 8.43 (“This is not what a friend would do or say”).  These are the words and actions of someone MORE than a friend who LOVES you, dude. 😊 But then he sees Pran smiling (innocently enough) at Wai mid-song (Ep.5 [3I4] 8.48) and remembers how Pran smiled at HIM when they first performed the song back in high school (Ep.5 [3I4] 8.55) – and the thought that he could lose Pran to Wai takes root at Ep.5 [3I4] 9.03.  He then FEELS Pran’s devastation when they were first split up, via a series of painful flashbacks (starting at Ep.5 [3I4] 9.20) when their burgeoning high school relationship (little more than a platonic friendship for him at the time) was cut short, and he would surely have realized by then that in the present day all of these circumstances (new and old) combined could still drive him and Pran apart, as had happened before.

So when Pat waited up for Pran at the base of their dorm, bearing a little gift that was actually the fulfilment of a promise made at Ep.5 [2/4] 8.52, it was no wonder that the jealousy he felt in Pran’s room at Ep.5 [2/4] 12.16 boiled over into rage when he saw Pran arriving with potential love-rival Wai instead.  

That’s why he was saying things like “Tell him!” (Ep.5 [4/4] 3:57), “It’s between me and him” (Ep.5 [4/4] 3:37), “Why?… …Are you afraid he would find out?” (Ep.5 [4/4] 3:14) and “Do you care about him that much?” (Ep.5 [4/4] 3:31), all utterances of a wronged, wounded lover tired at being kept a secret.  Pat’s sarcastic reply “Defeated by that lousy song. Why would I feel anything?” (Ep.5 [4/4] 2:55) was particularly barbed, since he had felt so much emotion hearing Pran sing it, and he had also realized by then how much of that emotion was shared by Pran too.  So Pat was motivated by jealousy, and the searing thought that their mutual love, that he’d only so recently discovered, might be extinguished before it even had a chance to burn fully aflame.

But from Pran’s POV – he didn’t know Pat had figured out his feelings and was also returning them.  Pran may possibly have thought that Pat was upset he’d used THEIR song to win the contest (the surprise he expressed at this notion on the rooftop later – Ep.5 [4/4] 8:26 – seemed more of a taunt than anything).  Anyway, he was also sticking to their worn playbook and their defined roles as chief Archi v. Engineering rivals (thinking Pat would co-operate on this), with Wai their unsuspecting audience.  (He showed this at Ep.5 [4/4] 2:37 – an acting masterstroke by Nanon there – when he dropped his feigned swagger to risk a shiftily unsure glance at Wai, before climbing on-script again and asking Pat “Why? Is it so hard to accept defeat?”.)  

But Pat was clearly in no mood for the dissembling theatrics, deflecting Pran’s intentions and choosing instead to pretend about something else at Ep.5 [4/4] 2:44 – using sarcasm to suggest that he hadn’t been affected by their song at all (Liar! 😉).  Nevertheless, Pran had no inkling of Pat’s true feelings, as he thought that Pat was still interested romantically in Ink, after all.  And so he read the “Tell him!” at Ep.5 [4/4] 3:57 simply as Pat urging him to tell Wai that their enmity was faked (not knowing Pat was in reality threatening to expose their mutual feelings of love).  Pran was fighting – as always – to keep the truth hidden, just not the truth Pat was trying to expose. And just as Wai was confused by Pran’s attempts to lower the temperature, Pran was also confused by Pat’s angry refusal to play along at being life-long enemies in front of Wai.

So yes it was a confusing watch, but if you look closely there are signs of their inner motivations.  Single-minded Wai’s were the simplest to read – he was just angry at Pat, clearly the enemy from Day One.  But when Wai asked Pran accusingly if there was something more going on – watch the panic in Pran’s eyes, fearful of his play-acting being found out, during the long pause starting at Ep.5 [4/4] 3:41 (whose tension that dear Jimmy – bless him! – could not resist breaking at Ep.5 [4/4] 3:46).  

When Pran grabs Pat at Ep.5 [4/4] 3:07 – he does it not to fight, but to stall Pat’s CLEARLY non-offensive, tentative and tender approach just a second before, and to whisper urgently “What’s wrong with you? It’s not the time to be silly, Pat.”  And just look at Pat’s HANDS when Pran grabs him a second time in an effort to shut him up at Ep.5 [4/4] 4:01 – they’re open-palmed in surrender, not ball-fisted for a fight – he’s there to come clean with all his roiling feelings for Pran, certainly not to take him down.

TLDR… ;) The imbroglio starting at Ep.5 [4/4] 2:22 was perhaps more a confrontation than a fight scene – only two punches were thrown. Yet there was violence everywhere, under the surface, with deeply-felt passions raging concealed.  All three characters had different motivations and points of view – everyone was looking at each other but seeing different things, and I think the resulting disorientation was intentional, emphasized by the shaky camerawork, shifting in and out of focus.  Everyone remembers Episode 5 for the epic rooftop kiss at the end (and yes it is deserving of every accolade).  I think we also need to offer up as much respect for this very powerful, carefully-crafted, hard-hitting scene here too. 👍👍👍 

[seanwhites]

okay. it's my turn. what's my name? pat.

[khathastrophe]

Still cannot believe Bad Buddy made what is probably the best confession scene in media, with some of the most heartwrenching dialogue in cinema and they did that while one of the characters was wearing a "Baseball Mom" tshirt