Bring Back 2000s RomComs

Who’s This Generation's Kate Hudson?

By: Samantha Rosenberg

Photograph by Mia Bianco

Rom-coms used to dominate the movie industry, with films like How to Lose a Guy in Ten Days, She’s the Man, and 13 Going on 30. Now, the best out there is People We Meet on Vacation. 

There aren’t any new, iconic rom-coms that I can laugh and cry over, and I need that back—now.

Instead, what do we get? Sequels. Reboots. Random, half-hearted romantic subplots that are hidden beneath an action movie. And when the occasional rom-com is finally released, it’s just the same tired plot over and over again: two friends who, after 10 years, an existential crisis, and a move to a big city, finally figure out they’re in love with each other. I want more drama, more chaos, and definitely more tension.

I challenge you to find even one new film that gives us that nostalgic, magical feeling that 2000s rom-coms mastered so easily. That era understood something that Hollywood has forgotten: love stories are supposed to be whimsical. I want to be captivated, pulled in as if I were the one who was falling in love. Don’t feed me dread or second-hand embarrassment, give me butterflies.

At the center of all these early 2000s films lies the radiant Kate Hudson. In How to Lose a Guy in Ten Days, she not only embodies Andie Anderson with her lovable, energetic manner, but her chemistry with Matthew McConaughey practically jumps off the screen and into your heart. Her comedic timing, tied with his charismatic charm, makes their bond even stronger and more believable. Her vulnerability made me root for her even when her character was purposely obnoxious. She made grand gestures look natural. She made chaos look captivating. And most importantly, she made love look fun.

That’s what’s missing in today's films: fun.

I’m not asking for pure fantasy. I don’t want unimaginable stories with zero depth or Cinderella fairytales that are completely removed from reality. The best 2000s rom-coms were grounded in real insecurities—fear of rejection, career uncertainty, friendship struggles—but balanced with hope. They made love feel attainable, yet cinematic.

So…where’s this generation’s Kate Hudson? Where are the actors bold enough (and the writers creative enough) to fully commit to the story without fear of being cringy? I want to leave a theater feeling lighter than when I walked in. I want to believe, even if it’s just for two hours, that love can be dramatic and still overwhelmingly beautiful. 

Bring back big-screen rom-coms. Bring back yearning. Bring back subtle, yet meaningful details, like how Andie's hair goes from straight to curly once they fall in love. Without all of this, a film will fall short of becoming the rom-coms we know and love.

The most recent display of what rom-coms used to feel like is the new limited series Love Story, which is centered around the tragic relationship of John F. Kennedy Jr. and Carolyn Bessette. This show has become a sensation, although only five episodes have premiered, and the main actors are new to the industry. But that’s one of a few things that is striking about this show—it’s not the same actors we’ve seen time and time again, and their love is complicated and ultimately doomed. All this gives us the chance to truly believe their story and find ourselves captivated by their presence.

Rom-coms don’t need big budgets or unimaginable plots—they need heart. They need stories that embrace the messiness and add a dash of magic. The early 2000s proved that audiences crave romance that feels cinematic, yet sincere. 

So all I have to say is, bring back the charm, the yearning, the tension, the grand gestures…and give me a love story I can fall in love with.