Meg Ryan’s second project as a director, What Will Happen (2023), released in the United States, unfolds a tale in which two former lovers reconnect at an airport during Christmas. He collaborates with David Duchovny, and the film nods to Nora Ephron, who directed What’s Remembered (1993) and You’ve Got Mail (1998). It stands as a homage to the romantic comedy tradition of the 1980s and 1990s, while Ephron’s screenwriting legacy, including When Harry Met Sally… (1989), remains a clear influence.
The film’s arrival coincides with other notable moments like the premiere of Crazy Rich Asians (2018), Lost City (2022), and Brothers. More than Friends (2022), Journey to Heaven (2022), and Netflix hit To All the Boys I’ve Loved Before (2018), which spawned two sequels, prompts questions about a possible revival of 80s–90s romcom sensibilities. It invites reflection on what today’s romantic comedies share with classics like When Harry Met Sally… or My Best Friend’s Wedding (1997) and where these stories flourish—whether in weddings or friendships.
2018: Attempted revival
Pop culture analyst Ainhoa Marzol notes that the triumph of To All the Boys I’ve Loved Before sparked a revival impulse for romcoms in 2018. Streaming platforms, she explains, found a receptive audience for a genre that didn’t perform strongly in big theaters but resonated on smaller screens. From a production standpoint, the shift didn’t rely on blockbuster budgets, yet platforms offered a perfect setting for cozy, home-viewing experiences—snug under a blanket with a bowl of ice cream. Film critic Quim Casas adds his support, suggesting that as mid-budget productions faded, platforms carved out a home for mid-range storytelling, much like the horror genre did in recent years.
A little context
Understanding whether these films carry the iconic humor and warmth of the 1980s and 1990s requires revisiting that era. Casas points out that modern romantic comedies have adapted from the earlier mold, updating it for contemporary audiences. A familiar thread runs through the era, with pairs like Meg Ryan and Tom Hanks illustrating the appeal of grounded chemistry and everyday romance. The famous “romantic spark” can be traced back to ordinary moments, friendships, and shared work rather than merely grand declarations.
Memory often colors perception, casting nostalgia as a lens for evaluating these films as bright, sincere, and occasionally cheesy. Yet critic and thinker Carlos Losilla offers a more skeptical view, noting that the 80s and 90s romances sometimes overmanaged their self-awareness. He observes that those films echoed a cinema that learned from earlier American storytelling, with directors like Rob Reiner and Nora Ephron shaping a unique strand of American cinema that reflected rather than copied earlier models.
Nostalgia and update
Where does today’s romcom stand in relation to nostalgia? Do films consider gender dynamics and broader representation, or do they mostly dress familiar formulas in new packaging? Marzol distinguishes two strands: first, romcoms that proudly embrace well-worn conventions in a classic, Hallmark-like manner; second, titles that attempt something fresh while still nodding to tradition. The success of titles such as A Christmas Prince on streaming platforms hints at broad appeal, sometimes enjoyed ironically but often embraced earnestly by many viewers.
When adapting to modern times, it matters whether updates are merely cosmetic or if they address real shifts in how relationships are portrayed. Marzol notes examples like Fire Island (2022), which reimagines familiar storytelling within a contemporary LGBTQ+ context, while still relying on a recognizable romantic arc. The challenge, she says, is balancing a proven structure with nuanced representation, ensuring that portrayals respect the complexity of today’s relationships and communities.
Quantitative rebirth
Marzol points to a string of recent romcom successes—To All the Boys I’ve Loved Before, How to Get Rid of Your Boss (2018), Palm Springs (2020), The Lost City, and The Road to the Rye (2023)—as evidence of renewed interest. Yet she and other critics sense that this revival leans more toward volume than a true renaissance. When asked whether the genre has peaked since the era of the 80s and 90s, scholars like Losilla and Casas lean toward a cautious verdict. JuD Apatow’s work, they argue, marks a distinct but related revival that reimagines romance for a newer audience without simply imitating earlier films.
Casas highlights My Best Friend’s Wedding (Paul Feig, 2011), produced by Apatow, as an example of a different kind of renewal. These titles connect to earlier romantic comedies yet add fresh dimensions, especially in how female characters are designed and how the narrative interfaces with other genres. If revival exists, it is not a mere throwback—it is a reworking that borrows from older templates while inviting new perspectives and social realities.