Mediocre romance films and why they need to be held to a higher standard than they are now

Romance is a highly popular and profitable genre in the film and television industry. According to a report by the Motion Picture Association, romance films accounted for 13% of the global box office revenue in 2019, making it the third most successful genre after action and adventure. The genre also dominates streaming platforms, with Netflix producing multiple original romantic comedies and dramas every year, such as To All the Boys I’ve Loved Before, The Kissing Booth, and The Princess Switch.

However, the genre's popularity and profitability do not always translate to quality and creativity. Critics and viewers have pointed out the flaws and clichés that plague the romance genre, such as unrealistic expectations, stereotypical characters, predictable plots, and problematic messages. These issues not only affect the artistic value of the genre but also the social and cultural impact of the genre, particularly on younger and more impressionable audiences.

Therefore, I propose that romance films and filmmakers should be held to higher standards than any other genre in film and television. By higher standards, I mean that romance films and filmmakers should strive to:

- Challenge the conventions and tropes of the genre: Instead of relying on the same formula and patterns that have been used for decades, romance films and filmmakers should explore new and diverse ways of storytelling about love and relationships. For example, they could subvert the audience's expectations, experiment with different formats and styles, or incorporate elements from other genres. Some examples of romance films that have done this are Eternal Sunshine of the Spotless Mind, 500 Days of Summer, and The Shape of Water. This includes demanding that the pantheon of screenwriting instructors/gurus/teachers and filmmaking schools raise their game and not allow mediocre ideas to flood the market with meaningless stories that are super predictable.

- Represent the diversity and complexity of the real world: Instead of portraying a narrow and idealized version of romance, romance films, and filmmakers should reflect the variety and richness of the real world. For example, they could feature characters and couples of different races, ethnicities, genders, sexualities, ages, cultures, and backgrounds. They could also address the challenges and issues that affect real relationships, such as communication, compatibility, conflict, and compromise. This can come from both heterosexual and gay couples and not just from tunnel-visioned heterosexual relationships. Some examples of romance films that have done this are The Big Sick, Moonlight, and The Farewell.

• Whenever a perverted filmmaker proposes an additional idea for a boy meets girl love story, we can point out that there are other areas of love that they are missing out on and encourage them to explore these. Examples include: love and bond shared between a parent and child, between cousins, between grandparent and grandchild, between friends (i.e. bromances). It doesn't always need to be sexual in nature like most perverted filmmakers are known to think up. 

• Each time a perverted filmmaker proposes the idea for this boy meets girl premise, we need to ask them these questions:

1. Why have you chosen these particular characters to fall in love with each other?
2. How are the two characters complimenting their weaknesses with each other's strengths?
3. Why have you chosen only straight couples for this movie? 
4. Why have you not chosen characters that belong to the LGBT community to tell this story?
5. Can these chosen characters convert their weaknesses into strengths while being together? Why not? 
6. Can you think of ways where the characters are able to turn each others' weaknesses into strengths without them having to fall in love with each other? Why not? 
7.  Why should you always have the male character chase after the female character? Can you accomplish the same by reversing the roles?

- Empower and educate the audience: Instead of reinforcing harmful and outdated norms and values, romance films and filmmakers should empower and educate the audience. For example, they could promote healthy and respectful relationships, celebrate individuality and agency, and inspire positive and meaningful change. They could also raise awareness and spark dialogue about important and relevant topics, such as consent, equality, and social justice. Some examples of romance films that have done this are The Perks of Being a Wallflower, The Half of It, and Promising Young Woman.

By holding romance films and filmmakers to higher standards, we can not only improve the quality and creativity of the genre but also the social and cultural impact of the genre. Romance films and filmmakers have the power and responsibility to shape the way we think and feel about love and relationships, and they should use that power and responsibility wisely and ethically. Romance is not just entertainment; it is also education. We deserve better.