Around the new millennium, movie masculinity began to take on a tenor that defied the idea that men could only sublimate emotion onscreen through violence and seduction. The films of Judd Apatow, and others that followed in his wake, put male friendship at centre stage. Nevertheless, it was usually much too much for anything so delicate as feelings to be discussed directly. In the first wave of onscreen bromances, any sort of emotional vulnerability still had to be carefully swaddled in a layer of jokes – even a film that was literally titled I Love You, Man. (“I love you, Bro Montana … Broseph Goebbels … Tycho Brohe.”)