'Friends With Benefits': The New Casual Sex?

The romantic comedy's rigid formula celebrates the burgeoning relationship between two straight, white, financially comfortable, bumbling, star-crossed lovers, who after numerous unavoidable disasters, finally achieve their love-like nirvana.  Wikipedia generously defines the genre as “films with light-hearted, humorous plotlines, centered on romantic ideals such as that true love is able to surmount obstacles.”
So what is it about the romcom that draws in so many of us who do not identify with being white, skinny, straight or upper class? It rises from the dichotomy between acknowledging that idealistic love is in reality unattainable, and the masochistic longing for that “one true love” despite it all. Yet in 2011, the millennial's vision of the romantic comedy has shifted to a structured kind of free love, reflecting our generation's changing feelings about sex and flip attitude toward romanticism.
Generally, the overall framework remains unchanged—the romcom continues to reincarnate, with slight revisions that allow us to relate to its promise. New iterations reflect the progressiveness of time, but ultimately reinforce antiquated ideals of monogamous, heterosexual love. In the 1980s, there were a rash of films about (not so) liberated women “married” to their jobs—who, even with success, would be nowhere without the love of a man. (See Baby Boom and Working Girl.) The 1980s was the first full decade after a mostly white and middle-class feminist movement that focused on achieving equity for other mostly white, middle-class women in the workforce. The romantic comedies of the period reflected the realities of becoming working women, but reinforced the age-old necessity for a man’s love to provide true happiness. Progress—but only to a certain point...

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Collier Meyerson @'AlterNet'

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