A sometimes-lightweight feel belies a killer instinct, as series turns a ruthless eye on the corporatisation of identity politics and girl-boss feminism
The plight of the romantic comedy over the past decade has, for me, been painful to watch. Once a staple of the multiplex, low-to-mid-budget romcoms in the vein of Suddenly 30 or How to Lose a Guy in 10 Days have all but disappeared from screens, replaced by gross-out bro comedies, superhero movies, and, on the other end of the spectrum, “important” films.
Most people probably don’t yearn for another Legally Blonde, but for someone like me – whose childhood was filled with DVD screenings of ultra-saturated stories of hardened career girls and their quests for love – there’s nothing like a humble romcom. Films like Bridget Jones’ Diary and Monster-in-Law, with their perfect blend of cynicism and fairytale serendipity, shaped my personality more than I’d care to admit.
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