From Print to Podcast: Is This the New Era of Romantic Comedies?

The role of print journalist used to embody a sense of glamour for romantic comedy protagonists, with characters like Julia Roberts’ restaurant critic in My Best Friend’s Wedding and Kate Hudson scamming Matthew McConaughey in How to Lose a Guy in 10 Days. However, in today’s landscape, it seems more fitting for these characters to be a content creator from platforms like YouTube or TikTok, or even a podcaster. While Hollywood has yet to produce iconic characters from the first two categories, Carrie Bradshaw from Sex and the City has transitioned from her newspaper column to a podcast format in the sequel series And Just Like That … However, this modern interpretation still feels tied to its nostalgic roots, maintaining the franchise’s essence rather than fully adapting to contemporary media landscapes.

As a more fitting example of the modern rom-com protagonist, the new Netflix series Nobody Wants This dazzles with Kristen Bell and Adam Brody in leading roles. Bell portrays Joanne, a single podcaster who crosses paths with Noah, a laid-back rabbi portrayed by Brody, following the end of his long engagement. Their flirtation grows, but their budding romance faces obstacles, particularly due to Joanne being outside Noah’s faith, resulting in familial and community tensions.

Created by Erin Foster, who converted to Judaism through her marriage, Nobody Wants This delves into interethnic relationships in a light-hearted yet somewhat shallow manner. The narrative evokes classic films like Look Who’s Coming to Dinner but avoids deeper engagement with Noah’s faith, opting instead to treat their differences more as cultural than specific religious conflicts.

Despite the lack of dramatic tension normally associated with romantic comedies, the series excels in delivering enjoyment. The chemistry between Bell and Brody creates a captivating experience, with minimal conflict between their characters, even when complications arise, such as episode scenarios involving family expectations.

Uniquely, the show is the first non-crime narrative to effectively integrate a podcaster’s perspective into its structure. Joanne, alongside her sister Morgan, portrayed by Justine Lupe, runs a chatcast reminiscent of the early days of a popular podcast. This element not only enriches the series but also provides a creative framework for stories to unfold, from ambitions to secure a lucrative deal to personal tensions over podcast content.

Lupe shines as Morgan, balancing Bell’s bubbly nature with a touch of chaos, reminiscent of her character on Succession. Notably, the chemistry between Lupe and Timothy Simons, who plays Noah’s married brother, presents a compelling dynamic that adds an interesting layer to the series.

While Lupe and Simons add depth to the show, it is Brody who stands out as a principal charm. After a series of less rewarding roles, Brody returns to form as Noah, showcasing a blend of charisma and warmth that is sure to resonate with audiences. His portrayal encapsulates the nuanced persona that first made him a beloved figure in The OC.

However, the effortlessly smooth setting of Nobody Wants This also invites scrutiny. The idyllic Los Angeles backdrop where the characters thrive suggests a world devoid of real struggles, focusing instead on existential dilemmas. The resolution opts out of fully addressing its central themes, reminiscent of traditional rom-coms that similarly prioritized escapism over deeper exploration.

Ultimately, Nobody Wants This not only exemplifies the rise of the podcaster in contemporary narratives but also delivers a light-hearted take on romantic engagements wrapped within the appealing guise of modern entertainment.

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