The year 2013 wasn’t a good one for the romantic comedy.
Pickings were slimmer than they’ve ever been, and the few entries that did garner some attention—like Admission, Austenland, and Baggage Claim—weren’t your typical rom-com, nor did any of them make more than $25 million at the box office. The Atlantic’s own Christopher Orr wrote extensive autopsies of the failing genre, and his critique of Love Actually (as a classic and romance) inspired think-piece wars. The rom-com’s cause of death, he wrote, is not just a dearth of willing (or talented) stars, studios and audiences, but the fact that there are no longer “[obstacles] to nuptial bliss for the budding couple to overcome.” According to Orr, “new complications must be invented, [and] test-driven”—which nobody is invested in doing anymore.
With these kinds of conversations painting a grim picture around what isn’t working in cinema’s most visible form of amour, it’d be easy to believe all romance has vanished from the movies.
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