One of Christopher Orr’s theories:
Among the most fundamental obligations of romantic comedy is that there must be an obstacle to nuptial bliss for the budding couple to overcome. And, put simply, such obstacles are getting harder and harder to come by. They used to lie thick on the ground: parental disapproval, difference in social class, a promise made to another. But society has spent decades busily uprooting any impediment to the marriage of true minds. Love is increasingly presumed—perhaps in Hollywood most of all—to transcend class, profession, faith, age, race, gender, and (on occasion) marital status.
Alyssa thinks he misses the point that “the genuinely strong romantic comedies of the last decade or so have ventured inward for obstacles, rather than inventing ludicrous external ones”:
Part of what made Bridesmaids so wonderful was that Annie Walker (Kristen Wiig) wasn’t an essentially perfect woman barred by class or reputation from pursuing true love. She was a self-loathing mess grieving the loss of a relationship and her professional dream who had to fix herself before she was capable of loving someone, rather than overcoming external obstacles to be with someone she already loved. In The 40-Year-Old Virgin, Andy (Steve Carell) had to overcome his deep-seated terror of sex, and of growing up, to be able to form an adult emotional relationship. If romantic comedies have gotten harder to do well, maybe it’s actually not because so many barriers to finding love have fallen, but rather because modern love’s gotten more difficult, and more difficult to capture.