Differences between female and male same-sex friendships have been the subject of numerous studies. Additionally, male same-sex friendships have been studied independent of the differences related to female same-sex friendships. Despite these studies, a comprehensive, agreed on definition of male friendship remains unclear or ill-defined. The manner in which men perceive, express and experience same-sex friendships can be viewed as learned behaviors based on gender schema and sex typing. Men’s friendships, as viewed through the gender schema theory, are shaped through the association of gender based male identity and male behaviors. This phenomenological study investigated male perceptions of same-sex male friendships. The broad research question for my study was how do men experience friendship? Through interviews with eight men, data were collected, analyzed by each case that produced a total of 52 themes for all participants, and then a cross-case analysis produced nine super-ordinate themes. The resultant super-ordinate themes were the basis for responding to the main research question and five specific research questions. Findings from my study allowed for the identification of specific components important to the participants regarding their friendships. A second finding was related to social expectations of participants’ friendships. Implications of my study revealed that although men are generally assumed resistant to counseling, they look upon counseling favorably. For counselors and counselor educators, a better understanding of the way men experience friendship could ultimately be a resource for better practice in the way men are attracted to and perceive the counseling practice.

As well as critiquing my own abilities throughout the writing process, the essay aims to explore and examine the various models of friendship between central male protagonists and the evolution of masculinity and homosociality within the buddy movie/bromance genre which has been a staple of the American film industry since the before the 1950s. In addition, I will note if these on-screen relationships have been the product of social change and wide spread acceptance of an evolving idea of what constitutes ‘masculinity’ and if, in turn, these new boundaries of homosociality have been, in any way genre changing. Alongside this essay I intend to create a piece of creative writing within the bromance comedy genre set against the backdrop of Montclair New Jersey in present day which explores the difficulties and solidarities of friendship between five old college friends. This film intends to fit in with contemporary bromance and appeal to the market demographic of 18 – 35 males by conforming to accepted and expected aspects of the genre such as, friendship, exploration, crisis, discovery and, most importantly, comedy.