The whole Earth loves him by the end of Pixels. Sold-out Yankee Stadium grants him an ovation in Anger Management. An assembled crowd of onlookers clap for him in Billy Madison and Happy Gilmore. And there is a steady escalation in the crowd-size for the inevitable “We Love You!” cheering climax. There are variations: In That’s My Boy, Sandler is a popular figure who has become a misfit. Deeds, people who mess with Zohan quickly learn You Don’t Mess with the Zohan, he’s the nicest of womanizers in 50 First Dates and Just Go With It. In the second story, Sandler is already totally cool and beloved when the film begins, children and little old ladies sing his praises, the ladies love him. See: Happy Gilmore and Billy Madison and The Waterboy and anytime he uses the quivering baby voice. There are two fundamental stories in the Adam Sandler filmography: “Everyone loves Adam Sandler eventually” and “Everyone loves Adam Sandler immediately.” In the first story, he’s a goofy downtrodden misfit, openly despised by avatars of cool-highbrow-dude society, who ascends to populist fame and explicit fortune.
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