The end of romance: Why romantic comedies no longer work

The romantic comedy, a genre that once offered wish fulfillment and escapism, has reached its twilight. Author Kim Do-hoon argues that the genre's demise is evident even in its supposed modern iterations, citing 'The Devil Wears Prada 2' as an example where the central conflict revolves around professional solidarity rather than romantic entanglement. The male romantic interest, he contends, is a superfluous character, overshadowed by the protagonist's complex relationship with her formidable editor.

Kim attributes the decline to fundamental shifts in how relationships are formed. The advent of smartphones and dating apps has all but eliminated the serendipitous meetings that formed the bedrock of classic rom-coms. Instead of chance encounters, modern romance often begins with direct messages, social media interactions, or curated online profiles. This digital mediation removes the element of mystery and surprise, making it difficult to translate older romantic tropes into contemporary narratives. He humorously warns male readers against sending unsolicited messages or 'poke' features to women they don't know, suggesting such actions are more likely to provoke annoyance than affection.

Furthermore, the genre's reliance on 'class fantasy', romanticizing the bridging of socioeconomic divides, no longer resonates with audiences. Films like 'Pretty Woman,' which depicted a transactional relationship evolving into genuine love, or 'You've Got Mail,' where a small bookstore owner falls for the heir of a corporate bookstore chain, are deemed unrealistic and even problematic today. Kim suggests that a modern remake of 'You've Got Mail' might end with the protagonist joining an 'Occupy Wall Street'-style protest rather than embracing her wealthy suitor.

Kim proposes that a new era of romantic storytelling must acknowledge these changes. He humorously outlines an idea for a contemporary rom-com involving individuals with opposing political ideologies meeting on a dating app, highlighting the need for narratives that reflect the complexities and divisions of the current social and political landscape. The challenge, he implies, is to find romance not in idealized chance encounters or class disparities, but in navigating the very real, often polarized, world we inhabit.