It isn’t that we’ve run out of stories to tell; we’ve just told the same story too many times.
The romantic comedy film is either dying or dead, according to writers at The Atlantic and The Daily Beast. After watching “They Came Together,” a romantic comedy that parodies the genre, the Beast’s Andrew Romano argued that the romcom’s heydey has come to an end, due to shifts in audience targeting and gender preferences, as well as money problems and failed branding.
The Atlantic’s Megan Garber thinks that romcom plots no longer address the “way we live now,” in the age of online dating and delayed marriages. Christopher Orr made a similar argument last year: he said romcom plots are too outdated for today’s society—we no longer have taboos against premarital sex, nor do we have societal class divisions. The romantic conflicts of yesteryear are outdated in today’s society. However, Noah Millman wrote a rebuttal to Orr’s argument, reminding us that the romantic movies of 1940 weren’t popular or good “because there were arranged marriages (there were none) and it isn’t because women couldn’t get a divorce (all the female protagonists of the movies I cited are or get divorced) or couldn’t have sex … they work because they go internal, into character, to find both the conflict and its resolution, and they work because they don’t isolate the world of romantic love from the rest of the social universe.”
The troubles of the modern romcom may have monetary or societal threads, but it also has a problem with simplification and homogeneity that we can’t ignore. Most romantic comedies follow either a star-crossed lovers plot, or a “You Got Mail” storyline—the man and woman hate each other, or would never marry each other, but then slowly find out they’re perfect for each other (examples: “When Harry Met Sally,” “How to Lose a Guy in 10 Days,” “Sweet Home Alabama,” “The Switch,” “27 Dresses,” et cetera).
It’s true that both these types are rooted in classics—the star-crossed lovers are classic “Romeo and Juliet,” while the we-hate-each-other-no-wait-we-love-each-other is usually some reincarnation of Pride and Prejudice. But both these classics had greater complexity and depth than most of their modern manifestations. Both told stories of class and family, prejudice and tradition, virtue and vice. Their supporting characters were just as important as their leads—we couldn’t have Pride and Prejudice without Mr. Collins or Mrs. Bennet. Modern films don’t usually give us this rich, colorful tapestry.
Featured columnist Gracy Olmstead is a senior writer for The American Conservative, a senior contributor for The Federalist, and the Thursday editor of BRIGHT, a weekly newsletter for women. Her writings can also be found at The Week, Christianity Today, Acculturated, The University Bookman, and Catholic Rural Life.