A Comfort-food Genre: Why we keep coming back to rom coms

9/11/26
By Lorelai Getman
               Romantic comedies blend love with humor, built on misunderstandings, timing, and growth. Audiences are drawn to these films due to escapism mixed with relatability. The genre's charm lies in balancing laughter at love's absurdity with belief in it. From twisted lovers to modern meet-cutes, the rom-com genre has evolved. Its early origins trace back to Shakespeare's plays such as Much Ado About Nothing and A Midsummer Night's Dream, where banter packed with wit and mistaken identities drove the romance. This genre returned with adaptations of his other plays, such as 10 Things I Hate About You (Gil Junger, 1999), which took a modern Seattle take on The Taming of the Shrew. As Clueless (Amy Heckerling, 1995) reimagined Jane Austen’s Emma into a Beverly Hills coming-of-age story. Throughout history, many films have fallen into this category, with legends like Marilyn Monroe and Hepburn's leading cinematic romances. The romantic comedy has survived cultural shifts by adapting its formula to reflect changing ideals of love, gender, and identity. While this blog doesn’t cover films before the 2000s, it felt only right to acknowledge the impact 1990s rom coms had on 2000s and modern rom coms.
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​               Every resurgence needs a spark, and for romantic comedies, that spark was struck with When Harry Met Sally (Rob Reiner, 1989). Recognized for redefining and revitalizing the genre, its slow-burn, dynamic dialogue, and study of romantic versus platonic relationships set the tone for many films to come. Their explorations of friendship, timing, and love encouraged studios to invest in films like Sleepless in Seattle (Nora Ephron, 1993) and Notting Hill (Roger Michell, 1999), which also became major successes and laid the groundwork for the early 2000s to carry the torch with witty humor and irresistible chemistry. From the whimsical to the professional, romcoms offered endless variations on the unpredictability of love. These films had characteristics audiences ate up, with quirky meet-cutes and unusual first encounters.  

               With said meet-cutes, there are so many ways for characters to meet and connect. Perhaps this trope feeds the audience's fantasy of a similar meet-cute happening to them on a random day. The Proposal (Anne Fletcher, 2009) is a great example of the fake dating-to-lovers trope, as the relationship starts with an obligation that morphs into real feelings that quickly develop. Similarly, fake dating often overlaps with enemies-to-lovers, as characters argue back and forth until that tension morphs into undeniable love. Love triangles often include 2 men fighting over a woman, creating tension and drama as the woman chooses. Manic Pixie Dream girls/boys can be considered both a trope and character type, as they are meant to push the main character to experience life or learn more about themselves, often discovering their own depth. A shallower trope, prevalent in the early 2000s, was the makeover trope, in which a character is “undesirable” to the love interest until they get a makeover that changes everything about how the other feels about them, even if the makeover was just taking off their glasses and letting their hair down. Perhaps the catalyst for the makeover is how social comparison and opinion can become the forbidden/unrequited love that makes it impossible for the couple to be together, whether because of societal, personal, or cultural obstacles. In a more comedic example, My Big Fat Greek Wedding (Joel Zwick, 2002) shows two people with very different lives and families coming together to build a beautiful relationship. And by far the most controversial yet juiciest is when a love story is sparked, but the character is already in a relationship, leaving no other choice but to cheat, driving the main characters in You’ve Got Mail (Nora Ephron, 1998).


​             Some might wonder why this genre appeals to large audiences. That's the optimism each film offers the audience, whether through its narrative, messaging, or overall feel and experience. Or, while it pulls you in with its initial premise, you know there will be a sad low point in the film before it raises spirits again with a picture-perfect ending. For example, 13 Going on 30 (Gary Winick, 2004) is a take on second chances and childhood friends, starting with a young, ambitious (though a bit materialistic) 13-year-old Jenna (Jennifer Garner) celebrating her birthday. Quickly, a regrettable wish brings her to her 30s, and she realizes her life has become unrecognizable.  Through her quirky ways of adulting, she finds her footing and grows closer again with Matt (Mark Ruffalo), her childhood friend. Things go awry as she seems to lose both her old best friend and her new one, ultimately hitting the main character's traditional low point of the movie. Turning this conflict around as she successfully produces a campaign for her job and reconnects with Matt, before finally returning to 13 with a bright future to look forward to.    


           The emotional bounce back seen in films like this reflects the genre's own renaissance; after the big boom of rom-coms, there was a slow fade-out in the 2010s that left rom-coms few and far between. Many factors may have contributed to why the once-electric genre fizzled out. Perhaps it was oversaturation and a factory-like production line that churned out films year after year; audiences grew bored as their tastes shifted to the next big thing, like YA dystopian book adaptations. After this lull, a resurgence came again in the 2020s as streaming services brought new voices, technology, and self-aware humor into people's homes. A lavish, heartfelt story arrived in 2018 with the global success of Crazy Rich Asians (Jon M. Chu, 2018). That success gave way to newer ideas as the formula updated to fit younger generations' interests. Modern rom coms now reflect digital love with texts, dating apps, and social media miscommunications. As things changed, so did the genre's diversity, now bringing cultural identity, queer romance, and intersectional experiences into the spotlight. 

             This expansion also offers a chance to explore how love intersects with ambition, identity, and social expectations. These films can highlight different relationship dynamics and societal roles. Movies like Legally Blonde (Robert Luketic, 2001) and The Proposal (Anne Fletcher, 2009) portray powerful, ambitious women balancing their careers and the possibility of a romantic relationship. Meanwhile, Bridget Jones’s Diary (Sharon Maguire, 2001) zooms in on her anxieties of single life in the modern world where everything is advertisable. The struggles characters go through mirrored the audience's own experiences and anxieties; as the audience goes to work, focusing on self-image and relationships, so do the quirky, fun, lovable characters. The rom coms became like comfort food, giving viewers security amid the chaos of life and love.
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           Beyond the feel of these films, the look also found its way into audiences' hearts. These romcoms are pros at creating at least one iconic outfit. Bringing instant character development through ensembles that are sometimes even more popular and well-known than the movie they came from. If you were told to picture yellow plaid, you'd think Clueless (Amy Heckerling, 1995), which pairs high school hierarchy with couture. A yellow silky dress would lead you to How to Lose a Guy in 10 Days (Donald Petrie, 2003). 13 Going On 30's (Gary Winick, 2004) bright nostalgia reflects emotional warmth and optimism. Of course, the looks wouldn’t be embodied without the actors and actresses who wore them. Julia Roberts, Meg Ryan, Drew Barrymore, Sandra Bullock, and Reese Witherspoon became known for the wit, charm, and relatability they brought to the films. Presenting the emotions seen as they laughed through tears, confessed something with deep awkwardness, and celebrated triumphant victories. Hugh Grant, Matthew McConaughey, Adam Sandler, and Jude Law brought the awkward but charming Brit, confident flirt, and lovable goof to life.   

              A mix of performance and design is central to the genre's appeal. The aesthetics and sounds surrounding the film further enhance it, enveloping the audience in the feel of rom-coms. When thinking of romantic comedies, the signature look is warm and emotionally charged, with golden lighting, cozy and chic interiors, and city skylines that become characters themselves. Music deepens the experience, with soundtracks making a statement of their own. Love Actually’s (Richard Curtis, 2003) Christmas setting wraps the ensemble of love stories in nostalgia and hope. Or 13 Going On 30 (Gary Winick, 2004) combines 80s pop with 2000s pop to further the childlike feeling Jenna experiences. The Holiday's (Nancy Meyers, 2006) orchestral music plays a narrative role that also conveys warmth and renewal. These soundtracks fully revolve around the setting, feelings, and actions of the characters in these films.

            Romantic comedies continue to give audiences optimism, reminding them that love, while chaotic, is worth laughing and crying. From Shakespeare’s wit to the banter seen in modern screen couples, romantic comedies can still be seen as a bridge to humor and vulnerability. Visually and emotionally, rom coms continue to influence modern storytelling.