By Sarah Osman

For those who are new to rom-coms, Falling in Love at the Movies is an informative introduction to their mechanics.

Falling in Love at the Movies: Rom-Coms from the Screwball Era to Today by Esther Zuckerman. Running Press, 256 pages, $24

The rom-com: it’s a Hollywood staple. From It Happened One Night to Roman Holiday to When Harry Met Sally, the genre is embedded in popular culture. We swoon, laugh, and in some cases, vomit over the sentimental cheesiness of rom-coms. But where did they come from? Who were the masterminds behind them? And why do we love them so much?

Those are the questions entertainment journalist Esther Zuckerman sets out to answer in her book Falling in Love at the Movies: Rom-Coms from the Screwball Era to Today. In each chapter she sets out to explain a specific facet of the rom-com formula and probes how these tropes came to be. She goes into the meet-cute, the different types of leading ladies (specifically two: the likeable woman and the spitfire), and the genre’s supporting roles (the Baxter, the bad girl, and the best friend). As a knowledgeable fan of romcoms, much of this analysis was not new to me — but the evolution of rom-coms over the decades was. I was particularly intrigued when Zuckerman dove into the rom-coms of the ’20s, ’30s, and ’40s. These are films that are often overlooked — especially the pre-Hays Code examples, which were downright saucy.

Much like a rom-com, Zuckerman’s writing is light and breezy. Falling in Love at the Movies is a welcome read for when you want to turn your brain off and disappear into a world of amorous whimsy. The volume is an ideal distraction from the dark realities we are currently grappling with. Particularly its celebration of short “perfect rom-com moments,” such as when Harry finally confesses his love to Sally on New Year’s Eve.

However, like too many rom-coms, Falling in Love at the Movies sticks to the surface. Zuckerman fails to dissect some of the more problematic parts of the rom-com: among them, the lack of people of color (which is just now starting to be remedied) and the genre’s strict enforcement of gender roles. Zuckerman acknowledges these issues, but she never directly confronts them. Why, in 2025, are there still so few LGBT+ rom-coms? And why are major studios so wary of mixing romance and superhero fare?

Zuckerman also never delves into international rom-coms, which is a surprising decision considering the title doesn’t suggest that the book is only going to cover the American variety (and some British ones). International rom-coms have always fascinated me because they embrace many of the same tropes of Hollywood rom-coms yet manage to reflect the culture they are set in. For instance, the Nigerian rom-com Isoken focuses on the plight of the titular Isoken, who, at 34, is considered an old maid. Her mother finds her someone she considers (culturally) to be the perfect man. Isoken is also interested in Kevin, who, being white, is far from the local ideal. The film pulls off a clever feat: it explores Nigerian racial stereotypes and cultural expectations while still being a fun rom-com. A chapter on films like Isoken would have been appreciated, especially given that rom-coms  have exploded globally. Perhaps international rom-coms presented too much ground for Zuckerman to cover; in that case she should consider writing a second book.

Still, for those who are new to rom-coms, Falling in Love at the Movies is an informative introduction to the  mechanics. Even those who are familiar with the genre will learn about a new star, film, or trope. And who knows? With Valentine’s Day right around the corner, you may get a romantic idea or two. At the very least, you’ll find a new movie to watch.

Sarah Mina Osman is based in Los Angeles. In addition to the Arts Fuse, her writing can be found in Huffington Post, Success Magazine, Matador Network, HelloGiggles, Business Insider, and WatchMojo. She has an MFA in Creative Writing from the University of North Carolina Wilmington and is working on her first novel. She has a deep appreciation for sloths and tacos. You can keep up with her on Instagram @SarahMinaOsman and at Bluesky @sarahminaosman.bsky.social.