Throughout a person’s life the saying” you will see this again in life” is always said and the film industry made sure to hit the nail on the head with this while making romantic comedies because the bad reputation associated with the genre is something that ingrained in the minds. Megan Garber of the Atlantic broke down the genre of romantic comedy and shed a light on key issues that affects the genre and explains why there is a negative stigma on romantic comedies. Garber pointed out the common variable in films from this generation that contributes to the problem. She found out that the negative stigma stems from three major problems that interact significantly to produce a successful film in the film industry’s current market. First, …show more content…
The worn out use of the same satire is “Shoulder pads and permed hair and screechy modems old”, Garber writes. The references that the movies used was so outdated that the new generation of lovebirds would not get the reference or basically anything that the film was trying to imitate. The fact that the script was written years ago had no effect on the success of the film. Since the perception of the film was “romantic comedy” and the negative stigma attached to it set the film up for failure before it even had a chance. People tend to associate stereotypes to things that relate and in the case of romantic comedies that is a major …show more content…
Garber comically points out, “rom-coms are rom-bombing.” Christopher Orr writes, “The romantic comedy has fallen on tough times. After a decade of essentially printing money, the genre abruptly ran out of box-office steam in 2012 (qtd in Garber).” Consumer’s attention worldwide is not so easily attracted to the idea of romance. Instead, the attention is more towards films that are more action packed and exciting. Reality comes into play when it becomes noticeable that there is a generational difference in the way that boys court girls and what they are willing to spend. Andrew Romano states, “movies increasingly rely on the wallets of tween-to-teen boys—not a group likely to pay $15 (or $5 on iTunes or Amazon, or even $0 on Bit Torrent) (qtd in Garber).” Together these factors come together in the marketable side of the genre, but that is only one side and the issue is