Following up, now I'm thinking of the kinds of love stories that do work for me. Not the ones I make up in my head when I do that 'shippy thing, I mean. The ones actually told on a screen or in a book. Because I do actually have what would seem to be a contradictory kink for a good portion of the romantic comedy genre. So I went thinky about it, trying to pick apart how that works for me. And where it does is generally in a specific kind of romcom. The ones where the protagonist starts the story chasing or hopelessly mooning after what she (or he, but most of the times in these stories it's she) thinks is her One True Love Soulmate or Perfect Partner, often to ridiculous and obsessive levels, and without any real consideration of who that person actually is. There is a then a partnering up with an unlikely or unexpected match for whatever plot reason (sometimes specifically to win the object of desire), with the two of them working together in the midst of whacky hi-jinks misunderstandings and growing confusion over developing feelings, and a conclusion where one turns to the other and is all 'Oh, hey, wait...you' Generally followed by kissing.
And, I like it because, to me it feels like a spoof on the whole concept that true love is this destined thing that you can recognize and all you have to do is want it enough for it to be true. That you don't have to take into consideration who you actually are or who they actually are or how that would fit together for real even if you did get there. And the 'who you are' part can show up in someone discovering through these silly adventures things they never knew about themselves about what they like, or what they were forcing themselves to think they were like. I have some twitchyness over 'whacky guy shows uptight frigid woman how to loosen up' and other dodgy concepts that sometimes accompanies, but I do like the underlying idea that it is good to re-examine the things you tell yourself about who you are and what you want, and that getting too tied up in one perspective can hold you back. I like to think, though I'm probably reading against the text here, that the ultimate lesson here is not that there is only one right person for you, but that if you believe there is you may just miss out on one who could be. That sort of thinking leaves me confident that anyone who could make that leap isn't going to depend on just that relationship to make them happy.
To go with examples...Sleepless in Seattle doesn't really work for me, even though the story is rather adorable, because at the end I'm pretty much yelling at the screen 'But you don't even know him, look, ditch the fiancee who isn't working for you, cool...but for fuck's sake this notion that your whole unsatisfying life will be solved by some dude in Seattle is barking mad'. While You Were Sleeping does (aside from some moments of fist shaking wondering why she couldn't just go travel the world by herself), because it so completely busts up this fantasy idea of the 'perfect partner' by making him perfect because he is IN A COMA (this will never not amuse me). French Kiss, yes, despite the above mentioned twitchyness over 'cool guy loosens up rigid chick' because Meg Ryan's obsessive planning over her perfect life with her lost fiancee is a different kind of 'perfect partner' fantasy that ignores reality. And on and on.
I really have no idea where 'His Girl Friday' fits into this mix, because I love that one LIKE PIE, but it does not follow the same formula, along with quite a few other screwball comedies of the same era. I'll have to think on that one.
And, I like it because, to me it feels like a spoof on the whole concept that true love is this destined thing that you can recognize and all you have to do is want it enough for it to be true. That you don't have to take into consideration who you actually are or who they actually are or how that would fit together for real even if you did get there. And the 'who you are' part can show up in someone discovering through these silly adventures things they never knew about themselves about what they like, or what they were forcing themselves to think they were like. I have some twitchyness over 'whacky guy shows uptight frigid woman how to loosen up' and other dodgy concepts that sometimes accompanies, but I do like the underlying idea that it is good to re-examine the things you tell yourself about who you are and what you want, and that getting too tied up in one perspective can hold you back. I like to think, though I'm probably reading against the text here, that the ultimate lesson here is not that there is only one right person for you, but that if you believe there is you may just miss out on one who could be. That sort of thinking leaves me confident that anyone who could make that leap isn't going to depend on just that relationship to make them happy.
To go with examples...Sleepless in Seattle doesn't really work for me, even though the story is rather adorable, because at the end I'm pretty much yelling at the screen 'But you don't even know him, look, ditch the fiancee who isn't working for you, cool...but for fuck's sake this notion that your whole unsatisfying life will be solved by some dude in Seattle is barking mad'. While You Were Sleeping does (aside from some moments of fist shaking wondering why she couldn't just go travel the world by herself), because it so completely busts up this fantasy idea of the 'perfect partner' by making him perfect because he is IN A COMA (this will never not amuse me). French Kiss, yes, despite the above mentioned twitchyness over 'cool guy loosens up rigid chick' because Meg Ryan's obsessive planning over her perfect life with her lost fiancee is a different kind of 'perfect partner' fantasy that ignores reality. And on and on.
I really have no idea where 'His Girl Friday' fits into this mix, because I love that one LIKE PIE, but it does not follow the same formula, along with quite a few other screwball comedies of the same era. I'll have to think on that one.