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Recently, Hollywood films have been dominated by single male characters who still act and live like kids. This new-man child character is best represented in Judd Apatows two movies, The 40-Year-Old Virgin (2005) and Knocked Up (2007). Using these two movies as examples, this paper argues how man-child upholds male dominance and is able to strengthen its dominant position when postfeminist arguments that associate women with an established order are used in conjunction.