In the summer of 1978, critic Brian Henderson declared the “rom-com” dead. Detectives rushed in with magnifying glasses, poking and prodding at the body to find the killer. Could it be the executives who panicked after seeing low box office sales, or perhaps modern sensibilities regarding problematic tropes?
Theory One: Lack of Commercial Success Killed the Rom-Com (Detective Nicholson, Yahr, and Siegel)
In the period of 2012-2013, the rom-com was nowhere to be found in the top 100 box office films. Tragically, this trend continued in 2015 where the market share for rom-coms dropped significantly. Some speculate that execs in studios saw this decline and decided it was time to cut ties with the genre. Like a cheating lover, they dropped the rom-com for other flashier, more popular genres.
Theory Two: The Woke Virus Killed the Rom-Com
The infamous woke virus has infected the masses, leading to a free-thinking generation that is critical of the rom-com. According to author Megan Feeney, tropes that were previously adored are now receiving backlash in the “post-romantic” era. Side effects of the woke virus include body chills at the idea of a creepy stalker-like love interest whose grand gesture is likely to land them behind bars, and growing tired of two-dimensional female characters who exist to merely develop the male lead’s character. Unable to sustain attacks on its outdated tropes, the rom-com succumbed to the virus of political correctness.
Theory Three: The Rom-Com Is Actually Still Alive (for better or worse)
When the dust had settled and all believed the rom-com was gone for good, the media started to receive reports of sightings from concerned critics. Author Oria Beatriz, for example, believes that the rom-com is still alive, it simply looks different. The old rom-com was pale and thin. It believed that the cure to being a spunky, career-focused woman or a cynical, liberated feminist was to eventually settle down with a “good man”. Now, the new rom-com is a sexually-liberated, non-monogamist in Trainwreck or a young, rich, Asian heir in Pretty Rich Asians. The new rom-com believes anyone can end up with anyone. This time, Harry meets Sally in Fire Island.
Some, like Feeney, argue that if you look closely, you will realise the rom-com never changed at all. The non-monogamist in the new rom-com inevitably changes her wanton ways and settles down with one man. The new rom-com may allow for an older female lead, but one can hardly see her under the make-up and digital beauty work done to her. When the new rom-com introduces a lesbian relationship in the Happiest Season, the main characters must still gain the acceptance of the patriarchal family to secure their happy ending.
In spite of allegations of death by box office flunk or failure to adapt to modern standards, the rom-com remains a contentious point of discussion long after it was declared dead. Perhaps this is the answer. The fact that critics still attempt to solve the mystery of the genre today is a testament to its immortality.
