Dare I say I love corny rom-coms? There’s a reason Hallmark can continue to produce so many movies with the same plot line over and over, and you can trust that the public will eat it up every time. I believe much of their popularity and success is rooted in their familiar formula: the female lead is experiencing a conflict, meets an eccentric boy, and uncovers a fundamental life lesson (and they fall in love, obviously). They’re comforting, and their level of relatability can appeal to a broad audience. Anyone But You, one of Sydney Sweeney’s latest movies, is a rather tentative variation of this. Her performance in Euphoria was, of course, remarkable, and her role in the show solidified her career in mainstream media. However, I feel that she is also well-suited for these lighthearted roles — truly a showcase of her range as an actress, on an unrelated note. Despite not being particularly plot heavy, I had a great time watching the movie, which I believe precedes the need for a masterful plot.
Don’t get me wrong — engaging in analysis and critical thought is crucial to media literacy, but not everything you consume must be deeply nuanced or contain complex themes. It’s fine to take things as they are instead of searching for some profound meaning. Sometimes the curtain is blue because the author likes blue. Regardless of what you’re watching, the intent is usually the same: to be entertained.
Still, I believe the whimsicality of rom-coms doesn’t compromise sincerity, and there’s a reason they endure as one of the most beloved forms of storytelling. The overall criticism for rom-coms I’ve gathered through general discourse and reading reviews is their repetitive and frivolous nature. To that I say, isn’t that the point? Rom coms aren’t sought out for esteem; they deliver charismatic leads and magnetic tropes and compelling storylines. These things are complexities of their own.
So, what could explain this lack of esteem? There’s always space for growth and variation in the romance genre, and it can sometimes provide better relevant social commentary than some of these “prestige” films. Crazy Rich Asians, Lady Bird, and Love, Simon are three quintessential examples of this — the layering of the rom-com structure into intentional narratives. Yet, the romance genre is deemed unworthy of cultural validity or less substantial due to, you guessed it, its majority female fanbase. With the oversaturation of the entertainment industry, which tends to prompt a lack of authenticity, “deep and meaningful” proves to be an arbitrary standard for plotlines, and supposed serious films can come across as try-hard and nonsensical in their efforts for individuality. Additionally, media can have actual psychological tolls, so it’s crucial to diversify what the audience consumes.
In the end, rom-coms and the romance genre are a portrayal of meaningful connections and characterizations, and they challenge the idea that the creation of narratives must always be defined by machination or commercial success. And, perhaps most importantly, they bring joy.