The eighth chapter of Mark D. Rubinfeld’s Bound to Bond: Gender, Genre, and the Hollywood Romantic Comedy provides the reader with the fourth and final type of the Hollywood romantic comedy plots, which are outlined throughout the book.  These four plots include the pursuit plot, the coldhearted redemption plot, the foil plot, and the permission plot.  The permission plot, discussed in Chapter 8, “depicts a romantically involved hero and heroine encountering resistance from a parent and/or authority figure who vehemently disapproves of their courtship” (63).  The disapproving figure tends to be a father, although it can be a mother or any person with authority over the hero and heroine.  Within the permission plot there are two variations—the acceptance permission plot and the separation permission plot.  The acceptance permission plot refers to instances in which the authority figure finally agrees to recognize and accept the relationship, and the hero and heroine are embraced by the formerly disapproving family.  The separation permission plot, on the other hand, refers to instances in which the hero and/or the heroine never gain approval from the disapproving authority figure and must decide whether or not to betray their families or end their relationship.  Rubinfeld then addresses the ideological contradictions inherent in both variations of the permission plots in that they both eventually support patriarchal ideology while at the same time appearing to challenge it.