The ubiquity of Tinder and its ilk started to confront rom-coms with some of the same logistical headaches that have been haunting slasher movies for the last two decades (to say nothing of Twitter, which arguably presents a more existential threat to a tradition whose outmoded tropes and petrified gender dynamics often require a degree of disbelief that can’t survive the slaughterhouse of online discourse).įor better or worse, the world is changing faster than Richard Curtis could ever hope to keep up with.
Around the same time multiplexes became too clogged with Marvel sequels to make room for “the next ‘Notting Hill,’ modern love began migrating to the decidedly un-cinematic realm of dating apps. It’s no secret that romantic comedies have a major technology problem.
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