The first space [bad bromance] offers is in the transgressive sexual performance of the writing itself. If the act of writing utopian, egalitarian slash resists heteronormativity (either because of its queer content or because women are writing sexually explicit fantasies

I cannot speak of dub-con’s audiences like some collective entity which approaches and accesses the genre in the same way for the same reasons. However, I argue that dub-con represents as much of a move as the wider genre of