|Dando ao velho termo "retardamento" um novo sentido|
“The central problem in American film comedy for the past 15 years or so — let’s say from middle-period Sandler through prime Apatow and late ‘Hangover’ — has been maturity, or, more precisely, its avoidance. In the old days, adulthood was a fact. Now it’s a vague, unproven theory. Adolescence used to represent constraint and frustration, to be left behind as quickly as possible. For the heroes of the New American Comedy, it represents a blissful state of hedonistic freedom, to be held onto for as long as possible.
How to stay a child when the world expects otherwise — and how to make the world love you anyway — has usually been, in these movies, a male predicament. Women have been sirens or mommies, on hand to inflame the boys’ desires or soothe their fears. This has begun to change recently, although mainly on television, where shows like ‘Girls’ and ‘Broad City’ have extended the privileges of arrested development on a more or less equal-opportunity basis.”