Latest news with #romcom
The Guardian
25 minutes ago
- Entertainment
- The Guardian
My advice to people who want to write a romance novel? Don't get dumped before you finish it
There is one incredibly important way that the shiny romantic comedy genre differs from the cold and grimy indignities of reality, and it explains the global love affair (pun sadly intended) with the form: the happy ever after. It's obviously not the only difference between reality and romcoms – for example, romantic comedies seem to believe that most women run failed cupcake bakeries, that you can fall in love with someone you hate with a fiery passion, and that most people keep their bras on during sex – but the happy ever after is the defining contrast. For those unfamiliar, the 'happy ever after' is the defining trope of romance narratives over books, TV and film, which posits the insane ideal that once the movie's (brief) romantic conflict has been resolved, the couple in question will be in love together, forever. It's also implied that such is the transformative power of that love, that most of their other problems (failed cupcake bakery, family farm being sold, gangrenous leg) fade into the background as a result. The happy ever after is given to us in a climactic and usually iconic scene that often involves running: Billy Crystal sprinting through the streets of New York to declare his love for Meg Ryan before the ball drops, Hugh Grant driving down one-way London streets to interrupt the press conference to declare his love for Julia Roberts, Jennifer Aniston inexplicably getting off the plane for David Schwimmer. These scenes have to be huge and dramatic because they have to make us believe that love has overcome all obstacles. It's this certainty that makes romance narratives so compelling – in an uncertain hell-world, at least we can disappear into a make-believe universe where we know love will always triumph. In the real world, obviously love does exist – but we don't get the comforting finality of the credits, which tell us that, for these characters, they will be happily in love forever. We get all the uncertainty of being a disgusting real person who needs antibiotics for their rotting leg wound and a prenup. All the best romantic comedies have a big happy ever after ending – which is why it was so annoying when the only thing left to write in my romcom was the climactic ending, and I got unceremoniously broken up with, out of the blue. There's nothing like having your belongings put into storage, sleeping on your mum and dad's couch and applying for one-bedroom apartments for you and your dog to really make you believe that not only is a happy ever after a myth but that love might actually be a lie. There's a unique humiliation in jumping on a Zoom call with your publisher and explaining that you can't meet your delivery deadline because you're too heartbroken to write the scene that's meant to encapsulate the feeling of being in love. There's nothing like accidentally writing a happy every after scene so unintentionally depressing that you briefly consider rewriting the rest of the novel to become a sad literary tale about Irish teens who never learned how to be happy and enjoy having emotionally ambiguous sex. It's one thing to break my heart, but making me miss my deadlines is unforgivable. I didn't like this limitation I'd discovered in myself – after all, an author's job is to imagine things, so surely I could imagine the idea of being in love, even if I didn't feel or believe in it any more. Literary fiction authors use their imagination to invent a world where it isn't weird for university lecturers to date their students all the time! Sport memoir writers imagine a world where people care about cricket, and cookbook authors like to imagine that people read all the stuff before the recipe. Fantasy authors imagine things that don't exist all the time too – dragons, magic, a world before the invention of toilets that doesn't stink and suck – so surely I could use the awesome powers of my creativity to imagine two boys falling in love and having a climactic smooch? But unfortunately, I found myself stuck on the precipice of an imaginary happy ever after, bitterly wishing I'd written another book about old people solving quaint village murders instead. Ultimately what helped me write my happy ever after was the same delusion that helped me recover from heartbreak and go out and fall head over heels in love again: turning my rock bottom breakup depression into a necessary part of the narrative. When I realised that you can't get a happy ever after in a romance book without earning it first through trial and pain. You need to have your rock bottom scene for there to even be a romcom in the first place – Bridget Jones drunk and crashing out about being 'old' and alone in her apartment – before she can have her big moment of snogging Mr Darcy in the street with no pants on. Instead of bashing my head against my final scene, I went back and rewrote the beginning of the book, where my character was sad and alone and hopeless – this time with added feeling. That made me remember what fuels our love of a happy ever after romance story – it's the hope that this moment of sadness will one day end and everything will work out again. All I needed to do was remember that to write a good end to my book, only a little bit late. The gangrenous leg will heal. In order to justify that big climactic moment of happiness, we had to go through the sadness first – a good lesson for anyone writing a romance book, or recovering from a heartbreak. Patrick Lenton is a writer. His novel, In Spite of You, comes out 1 August 2025
The Guardian
11 hours ago
- Entertainment
- The Guardian
Fiddle-laden fake trailer reignites debate about Hollywood's Irish stereotypes
A man in a bar with a flat cap, bloodied knuckles and a dreamy look lays down his whiskey and writes a letter. 'Dear Erin,' he begins, and a soundtrack of fiddles swells as he yearns for his lost love in the distant land of America. The trailer for the upcoming film – tagline: 'she was the Irish goodbye he never forgot' – ran in recent weeks in cinemas and online and was accompanied by a poster showing green mountains, shamrocks and a rainbow. For many, it was Hollywood's latest affront to Ireland. 'What did we Irish people ever do to you to deserve this?' said one social media post. 'Christ could they not find a leprechaun to complete cliche bingo,' said another. Some sought solace in sarcasm: 'I think they nailed it. I'm always in the pub in the 1910s writing love letters to American girls with my big dirty fingernails. Finally I feel seen.' Last week came the twist: Epic, the Irish emigration museum in Dublin, revealed it had made the trailer and that the film, titled Dear Erin, did not exist. The trailer was a stunt to lampoon the stereotyping of Ireland in Hollywood romcoms such as Wild Mountain Thyme, Irish Wish, Leap Year and PS I Love You. 'It was time to call it out,' the museum said in a statement. 'We created a trailer for a film that we hope never gets made, and filled it with all of the tired, cliched portrayals of Irish people often seen in Hollywood movies.' Colonial-era stereotypes of the Irish as fist-fighting drunks or hopeless romantics persisted in contemporary films, warping perceptions of a complex, multilayered society, Aileesh Carew, the museum's director and chief executive, said in an interview. 'If you don't know anyone from Ireland then these films may be your only reference point.' The trailer features the actor Peter Coonan sporting shamrocks on his lapel and surrounded by empty beer glasses as his voiceover reminisces about meeting Erin: 'I have played that night over in my head more times than the Finnegans fought the O'Malleys.' The goal was to mimic a studio publicity campaign while cramming in every conceivable cliche, said Carew, adding: 'Potatoes, we forgot the potatoes.' Hundreds of thousands of views on TikTok and LadBible, along with the response on Instagram, Reddit and other platforms, showed the campaign had hit a chord, said Carew. Before the reveal, some commenters guessed that the trailer was a spoof, while others begged that it be so. 'Must be a joke here somewhere,' said one. 'Sweet Jesus no please. This should be called Dear God No! not Dear Erin.' The Hollywood stereotypes dated from the 1930s when gangster films featured Irish characters who were menacing thugs or comic relief drunks, but invariably seedy, said Dr Sian Barber, a film studies lecturer at Queen's University Belfast. 'Irishness was something foreign but also comforting. It was not done with any malice but it quickly became embedded in Hollywood consciousness.' Sign up to This is Europe The most pressing stories and debates for Europeans – from identity to economics to the environment after newsletter promotion Irish people, and tourism authorities, at times colluded in this romanticisation, said Barber. 'It offers this beautiful image of unreality which is welcoming and friendly. It's playing to this tourist idea of what Ireland can offer – the landscape, the loveable rogue.' John Ford's 1952 film The Quiet Man set a template of sorts by sending John Wayne's character back to his homeland to find a wife, whom he ends up dragging through fields, but its rural setting reflected much of Irish life at that time, unlike more recent fare that suggests society still revolves around sheep, donkeys and Guinness. Irish critics howled – in mirth and agony – at the whimsy and dodgy accents in the likes of Wild Mountain Thyme, a 2020 romcom starring Jamie Dornan and Emily Blunt, and Irish Wish, a 2024 vehicle for Lindsay Lohan. The main problem was not inaccuracy but lack of context, said Paudie Holly, a storyteller at Dublin's National Leprechaun Museum. Folklore can and should be celebrated, and there was no reason to feel shame about Ireland's rural past, but modern Ireland was different, he said. 'It's ridiculous to suggest our culture has been frozen in place for a hundred years.' Lance Daly, the Dublin-based director of Black 47, said Ireland had aggravated the phenomenon by luring foreign productions for the jobs they would bring rather than the stories they would tell. 'What you have then is a director who is not Irish directing actors who are not Irish … We have a weird tolerance for it. We have to be careful that we're not sponsoring foreign film-makers to make fools of us.'
The Guardian
11 hours ago
- Entertainment
- The Guardian
Fiddle-laden fake trailer reignites debate about Hollywood's Irish stereotypes
A man in a bar with a flat cap, bloodied knuckles and a dreamy look lays down his whiskey and writes a letter. 'Dear Erin,' he begins, and a soundtrack of fiddles swells as he yearns for his lost love in the distant land of America. The trailer for the upcoming film – tagline: 'she was the Irish goodbye he never forgot' – ran in recent weeks in cinemas and online and was accompanied by a poster showing green mountains, shamrocks and a rainbow. For many, it was Hollywood's latest affront to Ireland. 'What did we Irish people ever do to you to deserve this?' said one social media post. 'Christ could they not find a leprechaun to complete cliche bingo,' said another. Some sought solace in sarcasm: 'I think they nailed it. I'm always in the pub in the 1910s writing love letters to American girls with my big dirty fingernails. Finally I feel seen.' Last week came the twist: Epic, the Irish emigration museum in Dublin, revealed it had made the trailer and that the film, titled Dear Erin, did not exist. The trailer was a stunt to lampoon the stereotyping of Ireland in Hollywood romcoms such as Wild Mountain Thyme, Irish Wish, Leap Year and PS I Love You. 'It was time to call it out,' the museum said in a statement. 'We created a trailer for a film that we hope never gets made, and filled it with all of the tired, cliched portrayals of Irish people often seen in Hollywood movies.' Colonial-era stereotypes of the Irish as fist-fighting drunks or hopeless romantics persisted in contemporary films, warping perceptions of a complex, multilayered society, Aileesh Carew, the museum's director and chief executive, said in an interview. 'If you don't know anyone from Ireland then these films may be your only reference point.' The trailer features the actor Peter Coonan sporting shamrocks on his lapel and surrounded by empty beer glasses as his voiceover reminisces about meeting Erin: 'I have played that night over in my head more times than the Finnegans fought the O'Malleys.' The goal was to mimic a studio publicity campaign while cramming in every conceivable cliche, said Carew, adding: 'Potatoes, we forgot the potatoes.' Hundreds of thousands of views on TikTok and LadBible, along with the response on Instagram, Reddit and other platforms, showed the campaign had hit a chord, said Carew. Before the reveal, some commenters guessed that the trailer was a spoof, while others begged that it be so. 'Must be a joke here somewhere,' said one. 'Sweet Jesus no please. This should be called Dear God No! not Dear Erin.' The Hollywood stereotypes dated from the 1930s when gangster films featured Irish characters who were menacing thugs or comic relief drunks, but invariably seedy, said Dr Sian Barber, a film studies lecturer at Queen's University Belfast. 'Irishness was something foreign but also comforting. It was not done with any malice but it quickly became embedded in Hollywood consciousness.' Sign up to This is Europe The most pressing stories and debates for Europeans – from identity to economics to the environment after newsletter promotion Irish people, and tourism authorities, at times colluded in this romanticisation, said Barber. 'It offers this beautiful image of unreality which is welcoming and friendly. It's playing to this tourist idea of what Ireland can offer – the landscape, the loveable rogue.' John Ford's 1952 film The Quiet Man set a template of sorts by sending John Wayne's character back to his homeland to find a wife, whom he ends up dragging through fields, but its rural setting reflected much of Irish life at that time, unlike more recent fare that suggests society still revolves around sheep, donkeys and Guinness. Irish critics howled – in mirth and agony – at the whimsy and dodgy accents in the likes of Wild Mountain Thyme, a 2020 romcom starring Jamie Dornan and Emily Blunt, and Irish Wish, a 2024 vehicle for Lindsay Lohan. The main problem was not inaccuracy but lack of context, said Paudie Holly, a storyteller at Dublin's National Leprechaun Museum. Folklore can and should be celebrated, and there was no reason to feel shame about Ireland's rural past, but modern Ireland was different, he said. 'It's ridiculous to suggest our culture has been frozen in place for a hundred years.' Lance Daly, the Dublin-based director of Black 47, said Ireland had aggravated the phenomenon by luring foreign productions for the jobs they would bring rather than the stories they would tell. 'What you have then is a director who is not Irish directing actors who are not Irish … We have a weird tolerance for it. We have to be careful that we're not sponsoring foreign film-makers to make fools of us.'
Yahoo
13 hours ago
- Entertainment
- Yahoo
The 8 Most Underrated Rom-Coms of All Time
There's something utterly all-consuming about a classic rom-com. The yearning, the missed signals, the dramatic confessions in extreme weather—it's a beloved genre, and for good reason. With the Nora Ephrons of the world cementing their place in the rom-com canon, it's easy to overlook a handful of underrated gems. Whether they didn't get much promo or just quietly slipped under the radar, these eight rom-coms deserve a second look. Scroll to see all the underrated rom-coms we honestly still can't get enough of in 2025! 1. Love, Rosie If you're a sucker for the infamous right-person-wrong-time trope, then this movie should be at the top of your list. Rosie () and Alex () have been inseparable since childhood, always side by side and completely in sync. But as they step into adulthood, unspoken feelings start to surface, right as life begins throwing them in totally different directions. Between miscommunications, missed chances, and messy timing, their connection gets tested in just about every way. As they navigate new relationships and big life changes, the film keeps you wondering: Will they ever get it right? It's heartbreakingly sweet and frustrating in all the best ways. 2. Sleeping With Other People Featuring Allison Brie and Jason Sudeikis, this one's for the romantics who also believe healing can be hilarious. Lainey and Jake lost their virginity to each other back in college, then parted ways, thinking it was just a one-time thing. Years later, they reunite unexpectedly in a sex addicts support group (yes, really) and realize they both have a complicated relationship. To avoid falling into old patterns, they make a pact to just be friends—no hooking up, no pressure. But the emotional intimacy they build starts to challenge that rule, and suddenly, they're questioning everything they thought they knew about love, connection, and what it means to be 'just friends.' 3. Emma This version of Emma, starring , gives 's classic story a modern edge while keeping all the delicious drama intact. Emma is rich, beautiful, and a total know-it-all when it comes to love… except her matchmaking never really goes as planned. While she tries to orchestrate everyone else's relationships, she's totally blind to her own feelings, especially when it comes to Mr. Knightley. With sharp dialogue, over-the-top fashion, and the kind of chemistry that builds slowly then hits hard, this one is as fun as it is romantic. 4. Palm Springs This time-loop rom-com is chaotic in the best way. Starring Andy Samberg and , Palm Springs takes place at a wedding where two guests end up stuck in a never-ending day. What starts off as a weird sci-fi setup turns into something surprisingly sweet and existential. As they relive the same day over and over, they let their guards down—and start to fall for each other in the most unexpected way. It's funny, strange, and way deeper than you'd expect. 5. It's Complicated If you think rom-coms are only for the 20-somethings, think again. It's Complicated stars , , and in a love triangle that's anything but boring. plays a successful bakery owner who starts hooking up with her ex-husband, who just so happens to be married to someone else. Meanwhile, a sweet architect enters the picture, and things get even more… complicated. It's a grown-up romance with all the charm and chaos of a classic rom-com, plus the dream kitchen of your Pinterest board. 6. About Time This one might technically count as a time-travel movie, but at its heart, it's a love story—and a really tender one. Domhnall Gleeson plays Tim, a guy who learns he can travel through time (but only in his own life). He uses this power to win over Mary (played by ), but along the way, he realizes love isn't about getting everything perfect—it's about being present. It's soft, a little magical, and full of those small, everyday moments that make life beautiful. 7. The Incredible Jessica James This indie rom-com is criminally underrated and full of personality. Jessica Williams () plays a confident, hilarious, and wildly opinionated aspiring playwright in New York who's recovering from a breakup. When she starts casually dating a sweet, awkward app developer (Chris O'Dowd), it forces her to let her guard down and reimagine what love could look like. It's sharp, refreshing, and doesn't rely on clichés. Jessica James is the kind of character you root for instantly. 8. Plus One If you've ever had a friend become your last-minute wedding plus-one, this one will hit close to home. and Jack Quaid star as two single friends who agree to be each other's dates to every wedding of the season. They bicker, tease, drink too much—but of course, start catching real feelings along the way. The banter is top-tier, and the chemistry is undeniable. It's one of those movies that feels grounded and chaotic in the best way, like real love often is. Looking for more , , and news? Follow us on so you never miss a thing! Solve the daily Crossword
ABC News
a day ago
- Entertainment
- ABC News
Too Much? The return of Lena Dunham's messy white women
More than a decade after HBO's Girls made her "a voice of a generation" for white millennial women, Lena Dunham's back with Too Much, a rom-com series for Netflix. Hannah and Bev peel back their layered feelings about Lena Dunham, and get into whether Too Much, starring Megan Stalter and Will Sharpe, meets expectations. And the sidebar is in session, making rulings on Emmy nominations and Dr Orna Guralnik's fashion. Get in touch: Share your pop culture takes with us! Write or send a voice memo to stopeverything@ Show notes: Lena Dunham rises again Girls creator Lena Dunham returns with Too Much Meg Stalter is the prettiest girl in America We all want to dress like Orna
