In recent times, a noticeable shift has occurred in the landscape of Hollywood cinema, particularly concerning the genre of comedy. The traditional, standalone comedies that once occupied a significant portion of cinematic releases appear to be on the wane. This phenomenon is attributed to several factors, including studios’ increasing preference for safer, more predictable blockbuster ventures and the perceived failure of streaming platforms to consistently deliver engaging comedic content.
The consequence of this trend is the gradual replacement of dedicated laugh-out-loud comedies with blockbuster films that tend to incorporate humor as an incidental element rather than its primary focus. Instead of providing sustained periods of mirth, these films often sprinkle jokes throughout, diluting the impact of genuine comedic storytelling.
This observation was highlighted during a recent episode of “The Rewatchables,” a highly regarded film-recap podcast. The discussion centered on the 1990s comedy “There’s Something About Mary,” a film that, while still retaining much of its comedic charm, also exhibits aspects that have aged less gracefully. During a segment where the panel discussed favorite comedies by decade, a collective pause and an inability to readily identify notable comedies from the 2020s emerged. Tentative suggestions like “The Drama’s pretty funny…” were met with an awkward silence, prompting host Bill Simmons to directly address the question: “Do we have comedies anymore? What happened to comedies?”
The question posed is indeed pertinent. What has led to the decline of the “everyday” American comedies, the kind that once found a consistent home in cinemas? These were films that often took relatable, everyday situations—such as teenagers navigating the complexities of losing their virginity, a man facing the disapproval of his girlfriend’s father, a maid of honor struggling with the demands of planning a bachelorette party, or stunted adolescents reluctant to leave the parental nest—and pushed them to absurd and often outrageous extremes.
This tradition of comedic storytelling stretches back nearly half a century, with roots tracing to films like “Animal House,” which depicted rowdy college students disrupting the dean’s authority through an extravagant party.
The question remains: can these beloved standalone comedies ever stage a significant comeback in the current film industry?