Tag Archives: jason segel

Bromancing and the Destigmatisation of Homosexuality


Toby Young wrote in a column in the Independent over the weekend to comment on the growth of so-called bromanticism in modern movie making, arguing specifically that this phenomenon has grown in the wake of the “destigmatisation of homosexuality”.

The point is pretty trite and obvious, but I don’t think it had even occurred to me just how much this shift has taken hold. Young talks about his own youth and the lack of emotional attachment he would have to his male friends beyond the kind of stoic, brotherly companionship you can imagine seeing in war movies and westerns of the past. He says nowadays the shift has moved the other way to a point where “young men are more emotionally wrapped up in each other than they are with young women”.

This may well be true for a great deal of men around the world. The kind of hugging and physical attachment exhibited by footballers in the past and frowned upon by observers has become part and parcel of modern life for most men. I personally hug pretty much all my male and female friends when I see them.

Why? I honestly couldn’t provide you with a decent explanation other than I have absolutely no qualms or insecurities about sexuality. I think, as Young later notes, that this must be driven in part by the gay rights and liberation movement, along with the changes in modern life in the acceptance of homosexuality in all walks, but it had just never occurred to me just how much men are involved in each other’s lives now in emotional ways that would have been frowned upon constantly in the past. I suppose that this just doesn’t seem like something ‘gay’ to me or any of my male friends. We don’t consider having lengthy conversations about relationships and emotional issues to be a practice exclusive to gay men.

Whether that is a change of the times or upbringing or social values and mores of my generation, I don’t know. But I Love You Man, which Young says is satirising this relationship, has brought this to a forefront in the minds of social commentators in newspapers across the land and will likely provide a very interesting generational divide and maybe, just maybe, the film will force men of my generation to consider the relationships they have with other men and for others, not inducted into this cult, make them try to understand that talking with men you know about their feelings is, quite simply, not gay.

Moss, Byrne, Diddy to Greek


Further names have been recruited to star alongside Jonah Hill and Russell Brand in Get Him to the Greek, the spin-off from Forgetting Sarah Marshall following Aldous Snow, the rock star played by Brand in the aforementioned.

Joining are Mad Men’s Elisabeth Moss, Damages’ Rose Byrne and Carlito’s Way: Rise to Power’s Sean ‘P Diddy/Puff Daddy/Diddy’ Combs. Intriguing group of folks there but, I can assure you, Sean Combs’ Twitter indicates he is not too far from insane and, also, utterly hilarious.

Moss hasn’t really got much of a comedy background but she’s fantastic in Mad Men while Byrne, while awful in Knowing, is pretty good in Damages so both should be decent additions.

The screenplay has been written, unlike the Jason Segel-penned Sarah Marshall, by Marshall director Nicholas Stoller, who will also helm.

Whether this movie is a good idea remains in the air as spin-offs for peripheral characters in comedy movies often end up with said character outstaying their welcome. Hopefully Brand, who I love but can undoubtedly be something of a tit on certain days, can give enough levels to the character to prevent caricature and annoyance sinking in.

Knowing Trounces All Comers


Knowing, the new Nicolas Cage film, a genre in itself these days, reigned supreme at the US box-office over the weekend, racking up an impressive $24.8m over the three days. This was enough to knock I Love You, Man into second, taking a slightly disappointing $18m with Duplicity, the return of Julia Roberts (although she kind of returned with Charlie Wilson’s War a little way back), was another disappointment, taking only $14.4m despite relatively good reviews. This has prompted a few commentators to question the bankability of Roberts in the modern day.

Outside of that, Race to Witch Mountain slightly under half in its second week to $13m with Watchmen propping up the top five with $6.7m. It means the total gross of the latter currently remains under $100m for its domestic take.