Beatriz Oria
Romantic comedy is in a permanent state of crisis. In its long history as one of Hollywoodâs oldest genres, it has gone through countless âdeathsâ and ârebirths.â This tendency has continued into the new millennium: the 21st century inaugurated a period of renewed turmoil for the Hollywood studio romcom, whose output followed a steadily declining path during the 2000s. Its fall from grace became even steeper in the 2010s: from 2012 to 2017 the number of romcoms widely released oscillated between two and zero.1 By the end of the 2010s these figures had increased slightly, with the success of Crazy Rich Asians (2018) timidly hinting at a possible revival for the genre at the box office, but in general terms it still remains in a slump, commercially speaking.2 The raunchy, often sexist, male-dominated romcom popularized by Judd Apatow during the 2000s seems to be on the wane, but it has not been replaced with a clearly identifiable single trend. Arguably, it is precisely a lack of homogeneity that characterizes contemporary romantic comedy, challenging perhaps this sort of pronouncement about its commercial performance. The genre has developed a range of strategies for reinventing itself in the so-called âpost-romantic age,â a context defined by a cynical attitude toward romance that has rendered the traditional romantic plot increasingly suspect for media-savvy millennials. The prefix âre-â is key here, as none of these formulas is really new, but a reworking of ideas previously tested in the genreâs long history that have been adapted to the contemporary zeitgeist.
These formulas include the rise of multiprotagonist films such as the five-part Cities of Love (2006â) franchise, Heâs Just Not That Into You (2009), Happythankyoumoreplease (2010), The Romantics (2010), Valentineâs Day (2010), Crazy, Stupid, Love (2011), Friends with Kids (2011), New Yearâs Eve (2011), To Rome with Love (2012), What to Expect When Youâre Expecting (2012), The Big Wedding (2013), The Little Death (2014), Sheâs Funny That Way (2014), Love the Coopers (2015), Thatâs Not Us (2015), How to Be Single (2016), Motherâs Day (2016), I Do . . . Until I Donât (2017), and Book Club (2018), which provide multiple iterations of the fantasy of âthe One,â perhaps to overcompensate for peopleâs loss of faith in soul mates.3 These films suggest that this trope is wearing thin, as they replace a single grand romantic narrative with a mosaic of relationships that, together, present a complex, more nuanced picture of contemporary intimacy and dating.
Similarly, the increasing visibility of queer charactersâin, for example, I Love You Phillip Morris (2009), Is It Just Me? (2010), The Kids Are All Right (2010), Your Sisterâs Sister (2011), Gayby (2012), Appropriate Behavior (2014), Boy Meets Girl (2014), Date and Switch (2014), Life Partners (2014), Me Him Her (2015), Naomi and Elyâs No Kiss List (2015), Thatâs Not Us (2015), The Feels (2017), Alex Strangelove (2018), Hearts Beat Loud (2018), Love, Simon (2018), and The Half of It (2020)âpoints to a hopeful future for the genre in terms of representation, and the success of films with protagonists of color, such as Just Wright (2010), Jumping the Broom (2011), Think Like a Man (2012), Baggage Claim (2013), The Best Man Holiday (2013), About Last Night (2014), Top Five (2014), The Big Sick (2017), Crazy Rich Asians, To All the Boys Iâve Loved Before (2018) and its sequel To All the Boys: P.S. I Still Love You (2020), Always Be My Maybe (2019), Falling Inn Love (2019), Last Christmas (2019), Yesterday (2019), The Half of It, and Love, Guaranteed (2020) may help resurrect the romcom at the box office. As the popularity of these films suggests, one key to romantic comedyâs rebirth may lie in the particularization of sexual and racial experience: increasing the genreâs specificity may wind up, paradoxically, encouraging its expansion.
Contemporary romantic comedy is also diversifying by wooing the âgray dollar,â meeting the needs of an aging audience that had been overlooked. The recent cycle of âmature love storiesâ4 such as Last Chance Harvey (2008), Mamma Mia! (2008), Itâs Complicated (2009), The Best Exotic Marigold Hotel (2011), Larry Crowne (2011), Darling Companion (2012), Love Is All You Need (2012), At Middleton (2013), The Big Wedding (2013), Enough Said (2013), The Love Punch (2013), And So It Goes (2014), Learning to Drive (2014), The Rewrite (2014), Hello, My Name Is Doris (2015), Iâll See You In My Dreams (2015), The Intern (2015), Finding Your Feet (2017), Hampstead (2017), and Book Club is challenging romantic comedyâs ageism by featuring âolderâ women as both desirable and desiring subjects.5
This chapter explores some additional new directions that have not received as much attention in recent yearsânamely, unexpected genre mixing, an increased emphasis on friendship as an alternative to heteronormative coupling, and a focus on the individual instead of the couple. These formulas are not exclusive to the post-romantic comedy, having been previously deployed at different points in history, but the specificity of the context in which they are being resurrected at the beginning of the 21st century imbue some of these familiar tropes with new meanings that are worth exploring.6
The ability of film genres to express the zeitgeist is one of their most compelling attributes and, arguably, what helps them stay fresh, culturally and commercially relevant. As Diane Negra and Yvonne Tasker state, âGenre cinema has long been understood as revealing both cultural anxieties and fantasized solutions which emerge in response to them.â7 The directions being taken by contemporary romantic comedy seem to constitute a response to a crisis of intimacy closely linked to millennialsâ pessimistic attitude toward romantic love. So too may these new generic inflections be symptomatic of cultural anxiety about the future of romantic love in an increasingly individualistic society fueled by a neoliberal ethos. This sociosexual context threatens to throw the shared project of the couple off-center and compels the post-romantic era romcom to imagine possible solutions.
For Lauren Berlant, the historical present is always hard to grasp, as it is perceived âaffectivelyâ: it is âa thing that is sensed and under constant revision, a temporal genre whose conventions emerge from the personal and public filtering of the situations and events that are happening in an extended now.â8 Film genre mediates the perceived âaffectâ of the present so as to help us make sense of it. For this reason, genres are in constant flow, continually evolving to keep current. As Berlant argues, âOlder realist genres are on the wane because their conventions of relating fantasy to ordinary life and their depictions of the good life now appear to mark archaic expectations about having and building a life.â9 In the romantic realm, Berlantâs concept of the âgood lifeâ translates to the traditional fantasy of lively, durable intimacy, complete with marriage, a family, and financial security.10 Arguably, one reason for the decline of the traditional romcom formula may lie in its apparent incapacity to faithfully represent the reality of contemporary experience: the fantasy of the âgood lifeâ has become unsustainable in the face of todayâs romantic and socioeconomic turmoil. Hence, the need for a significant ârepackagingâ of the genre.
This romantic turmoil is inextricably linked to the cynical attitude toward romance that is said to characterize U.S. millennials. According to a 2011 Pew Research Center study, only 28 percent of Americans aged 18 and older believed in the idea of âone true love.â Among those believers, about half (54 percent) of 18- to 29-year-olds thought themselves to have found theirs, compared with nine in ten adults aged 50 and older.11 Unsurprisingly, peopleâs loss of faith in traditional romance is also reflected in record low rates of marriage among the young, as only 20 percent of 18- to 29-year-olds were married in 2011, compared with almost 60 percent in 1960.12 These figures seem to explain the obsolescence of the trope of marriage as traditional romantic comedyâs telos and viewer skepticism regarding its ideological pillars of âthe One,â âlove at first sight,â and âhappily ever after.â For instance, in the era of Tinder, the loversâ âmeet cuteâ is more likely to happen online, which limits its dramatic and representational possibilities. As Emily Yahr posits, âRomantic comedies are fueled by an idealized version of love, while modern sensibilities about gender roles and romance have increasingly caused audiences to see these films through a much different lens.â13 This new lens prevents 21st-century audiences from buying into the sincerity that the genre has traditionally assumed. Spectator engagement with iconic romcoms such as When Harry Met Sally . . . (1989), Pretty Woman (1990), or Sleepless in Seattle (1993) crucially depends on their capacity to believe in the mighty power of romantic love, capable of sweeping human beings off their feet and lasting forever. Contemporary viewers, however, appear reluctant to suspend disbelief about romantic relationships. These neotraditional movies are revisited with nostalgia and ironic knowingness, but, if made today, they would be considered hackneyed and hard to relate to.14 Furthermore, some of the tropes traditionally championed by the genre, such as the concept of the soul mate, are in...