Anytime I see people talking about canon and fan fiction and all the discourse that happens therein, my brain always goes back to this line from Slings and Arrows. It’s been living in my head rent free for nearly 20 years.
Geoffrey Tennant is standing in front of a workshop class full of corporate middle management people who tell him they’re at the workshop to learn communication skills and management styles by learning about the works of Shakespeare. And they’re all just very cut and dry business folk who are there and are gonna Learn a Thing.
Geoffrey basically waves the class’s notions aside and says: “Let’s fuck around with some text.”
I love that line. I think about that line a lot when I think about fandom. Taking canon and finding our own way to play and fuck around with it. Search for profound truths about a character. And the horny. The silliness and fun. Explore the new and process trauma or share joy with fic or art or vids. Going in completely different direction from canon because we’re in so deep and are possessed and that’s where the stories and the fanon has carried us.
Let’s fuck around with some text. It’s so good.
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Bad Buddy remains one of the only romcoms I really enjoy rewatching and would recommend.
Like. Its got its weak spots. But its strengths definitely override those: extremely talented main leads and director, utilizes every romantic and comedy trope it can fit in an entertaining and emotionally in a way that benefits the story (making it easy to watch if you Only like romance or Only like comedy, or Only like stories of friends growing up, Or only like stories about overcoming conflicts with parent's baggage, or Only watching for it's interpretation of Romeo and Juliet, since it'll deliver those experiences). The Just Friends main theme song is pointedly about the whole story, sounds good, and is used in lyrical and instrumental variety to thread through the emotional beats. (Its also an Action romance comedy, something I particularly need in my romance stories lol or I tend to lose focus personally ToT). It aims to tell a solid Romeo and Juliet modern retelling, while also being made fresh with very fleshed out Pat and Pran as characters with rich lives, and it packs in enough angst to really resonate as a romantic journey with stakes and real risk of loss. You turn it on, and you get an experience you're hoping for, and a very well made one.
As an added bonus, like a lot of newer BL, it: depicts bisexuality, depicts queer women, depicts fairly realistic relationship conflicts (like how out to be, how commited to be, unsure of anothers feelings, when each person is comfortable with X, dealing with a lovers other close relationships like friends and family), depicts accepting parents and friends (and them being unaccepting for other reasons unrelate to queerness - making both an allegory to the biases against queer people we have to deal with while also 1 being escapism and wish fullfillment in the kind of world we might wish we had around us and 2 utilizing conflicts that Any watcher might relate to, since everyone's had disagreements with friends or family at some point).
You just turn it on and know you're getting what you hoped for, and a really amazing piece of work.
It doesn't particularly break any huge new ground (although it did help kick off the trend of shows realizing there's a desire for more GL from audiences, and it was part of the wave of earnest efforts in BL to show more realistic kisses and sexuality and Discussions Of Sexuality - which thankfully was a trend which continued, and is now almost expected to be Included in newer BLs that are made). Its a romeo and juliet story, with the young love and warring families and impossible situation that it promises. Its two people who desperately wanted to be friends, but couldnt, who became buddies anyway and wanted to be more. For that, its perfect.
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Okay, how to phrase this question haha. I really love your Opus multiverse works, especially What We Choose (the hand holding scenes absolutely kill me in those) and The Things We’ve Done. I suppose what I mean to ask is, in these universes, what’s Sam’s thought process or the deciding factor that makes Sam act on his feelings for Kaidan, as most of them end up with them getting together as a result of Sam’s actions? Reading Opus, Sam doesn’t seem to really properly register his feelings for Kaidan in a blatant way until Sonata, so I wondered what pushes him to make a move in these multiverse scenarios. Obviously they’re AU’s so they’re just for funsies and just exploring what could be, but I’m always so immersed in everything you write!
This is an AMAZING question, and thank you so much for asking it!
The Opus Multiverse, the first kisses in particular, are a great excuse for me to do all kinds of stuff. When it comes to the first kiss AUs, in addition to getting some much needed release from the unrealized romantic and sexual tension, I get to poke Sam with a stick and see what happens. I LOVE exploring what flips his switch in different situations, because the answer is always interesting (to me, anyway).
My conclusion after lots of poking is that, in general, the way to get Sam to fucking figure it out is one of two things, sometimes both put together:
Put him in a situation where he is forced in some way to sit and stew about what Kaidan means to him, and I mean examine it, not just exist with it, like he does on the porch swing.
Touch.
Secret third thing: Put Kaidan in mylar.
Touch is a big one. Initially I really wanted to push the queerplatonic nature of their relationship - have them be a lot more physically affectionate with each other, but Sam is really keen on physical touch once you give it to him, and the slow burn would have gotten a lot faster, lol.
So, for example, in Yours, Sam had the double whammy of being forced to think about why the beacon visions upset him so much while lying in the same bed with Kaidan. The urge to touch him, for the reassurance he needs so badly, gets the better of him and he's toast.
What you can't do: spring it on him. Sam is an asshole when you back him into a corner. In The Hand and the Heart, his heart overrode his brain and surprised the hell out of him, and he reacted like an asshole. Sam almost pulled his asshole card on The Things We've done for similar reasons, but...he'd been forced to sit and stew a few days about some pretty serious shit, which made the difference.
(The Things We've Done is also a little bit different, because it's one of the few where I didn't change anything to flip Sam's switch - he just...kissed him, and I honestly don't think canon!Sam would ever do that, because he just isn't there yet. I think at that point in the story it's hard enough for him to grapple with the fact that Kaidan has become so important to him at all, and he just...isn't ready to go beyond that. But I REALLY WANTED HIM to, so he did.)
I tried to write a first kiss AU on Noveria in which Ashley ribs Sam about his feelings for Kaidan, but Sam lashed out so hard I not only couldn't get a first kiss out of it, it might have added a few years to the slow burn. XD.
Sam usually has to initiate, because for him to take it well he has to have space to think about things and get comfortable with it, and also, Kaidan is so good about suppressing how he feels and so unwilling to force anything on Sam that he doesn't think Sam wants that he won't make the move. (Exception: when you're on a midnight walk with the love of your life and you kiss him under the stars.)
It's also just fun to see that switch flip, because he basically goes from, "he's the closest friend I have," to, "if we don't get married right now I'm gonna start biting people," in the space of an eyeblink and it's delightful.
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