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Isn't It Romantic Director and Screenwriters Talk Romantic Comedy Tropes


Isn’t It Romantic, the highly anticipated rom-com parody starring Rebel Wilson, Priyanka Chopra, and Liam Hemsworth, hits theaters today. It centers on Natalie (Wilson), a woman who finds herself trapped inside a romantic comedy—and all the cringe-y tropes that come with it. You know exactly what we’re talking about: In this alternate universe, Natalie has an apartment far too expensive for a twenty-something, a gay best friend who is there just to help move the plot along, and a love interest so hot nothing else matters.

But don’t mistake Isn’t It Romantic for the rom-coms of 2003. The brains behind this movie are acutely aware these tropes exist—that’s why they included them. The director (Todd Strauss-Schulson) and screenwriters (Erin Cardillo, Dana Fox, and Katie Silberman) actually subvert stereotypes in Isn’t It Romantic and, as a result, bring the genre into 2019.

Of course, this required some research, but Strauss-Schulson, Cardillo, Fox, and Silberman soon became experts in romantic-comedy tropes. Below, they tell us which ones they enjoy—and which ones they were most excited to poke fun at—in Isn’t It Romantic.

Todd Strauss-Schulson, director:

Before I got on set to direct Isn’t it Romantic, I watched 80 romantic comedies in a row. I went a little insane, but my heart grew more and more tender by the day. Obviously, I’d seen romantic comedies before, but I wanted to become an expert. The idea was to crack the code and see what story and visual tropes were used over and over again.

I wanted to break the rom-com genome and isolate the textures and tropes so I could rebuild them into something modern and fresh for our movie. I found a lot of weird stuff beyond the well-known “gay best friend who has no purpose in life but to care for the main character” and “trying on clothes montage” tropes. For instance, did you know there is a lot of shellfish eaten in romantic comedies? It’s true, but why? Maybe because shellfish is an aphrodisiac? Who knows, but it’s in a lot of ’em.

One of the most consistent visual tropes—and when I say consistent, I mean I was straight up spooked when I kept seeing it repeat in every movie—was half-moon windows. Like this:

Michael Parmelee/Warner Bros. Pictures

Everywhere I turned, there they were. In the offices of Bridget Jones, Working Girl, and What Women Want. At a restaurant in Picture Perfect. Front and center in the apartments in When Harry Met Sally and Made of Honor.

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So I did a little deep dive, and I found two interesting potential answers. First, half-moon windows are also referred to as lunettes, and Merriam-Webster says there is some evidence of the word being used for a “little moon.” (Though that meaning is now obsolete.) The moon is often associated with having a deep connection with women, and so it makes sense they would be subliminally placed all over this particular genre.

In tarot, arches symbolize beginnings, initiations, and ceremonies of renewal. Walking through an archway represents the sloughing off of the old and moving into a new phase of life. That sounds a lot like a rom-com plot to me! These characters are opening up to love, getting out of their comfort zone…and maybe even getting married.

Moons have cycles—and so do genres. Rom-coms are coming back, and we hope Isn’t It Romantic becomes one of your new favorites.

A straight line

Erin Cardillo, screenwriter:

My favorite rom-com trope is The Realize and Run. As in, when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible. (Thank you, Harry. See: Nora Ephron.) Back before cell phones existed, this trope made sense. You suddenly realize you’re in love with somebody—after being a dingbat about it for the better part of the movie—but you can’t call them to tell them because landlines are stupid. Plus, they aren’t home. In fact, your somebody is probably at the airport having just passed through security, ready to board that flight to “I’m never coming back, and you can’t track me down.” Or, in most cases, they are in a nondenominational church about to marry the wrong person and they’re totally against annulment.

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So you must run. Fast! Cars are just as stupid as phones. Luckily, you don’t have a bad back—or if you do, it was designed that way for comedic effect. Nevertheless, you can run, and you are capable of traversing whatever absurd obstacles are in your path. You have to do this! This is the closest thing to an action sequence the audience is going to get in most rom-coms, and it’s essential to get them reinvested in your happy ending before your big, perfect “I love you” speech. A speech that, while often flawed and totally clichéd, is, after your epic run, still pretty freakin’ satisfying.



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The Big Bang Theory Season 12, Episode 11 Recap: Can We Talk About Raj and Anu's Break Up?


Uh, what just happened on tonight’s The Big Bang Theory? It appears Raj and Anu have called off their engagement after three-plus months of dating, but their storyline ended so abruptly that I can’t say for sure. (And I re-watched the scene three times…) What I do know, though, is that they hit their biggest speed bump to date, and the whole thing raises a lot of questions.

Let’s go through this together, shall we? The episode—titled “The Paintball Scattering”—begins with Anu and Raj chatting about floral arrangements for their wedding. A chime goes off on Raj’s phone, and Anu says, “Is someone texting you?” Raj tells Anu that it’s his doorbell camera, and it’s one of the greatest inventions ever because that’s how he found out a raccoon was eating his monthly cheese delivery. Alrighty then.

Anu says she has a doorbell camera as well, but she’s just never bothered to install it. Raj says it’s super easy, and she’ll love it, so he’s happy to do it for her.

Then, later in the episode, Raj is at Howard and Bernadette’s for dinner when the chime goes off on his phone. He tells them it’s Anu’s doorbell camera, which he helped install. (Side note: In this age of non-stop smartphone alerts, why is everyone so concerned about this chime? It’s like they’ve never heard an alert before.)

PHOTO: Michael Yarish/Warner Bros. Entertainment

I have no idea the protocol on these doorbell cameras, but I suppose you can have it connected to more than one phone. Otherwise, what’s the point of Anu having it if she can’t see who’s at her door? But I don’t think it’s that strange for Raj to keep the app on his phone. This is his fiancé—the woman he’ll be living with—so it makes sense to share access. It’d be one thing if I got the feeling he didn’t trust Anu, but he really hasn’t given off that impression. Then again, he’s never quite been the most mature boyfriend either.

Anyway, all this to say Raj notices a guy at Anu’s door carrying plastic bags. Anu gives him a hug—and not just any hug. It’s more like a, “I’m really happy to see you” hug. She then invites him into her house; understandably, Raj is confused and upset.

The next day, while the entire gang decides to play paintball (Anu included), Raj decides not to say anything—for now. While I don’t think he needed to apologize to Anu for what he saw, he should have brought it up right away. Anu knew he was installing her doorbell app; it’s not like he did it without her permission.

Minutes into their paintball outing, though, Raj blurts out that he saw a strange man going into her house. Anu is appalled and wants to know why he was “spying” on her. Raj says that’s not the point. I think he should have simply said that he wasn’t spying on her, because he wasn’t: When the chime went off, he looked. Of course, it’s never that easy on TV, is it?

Anu admits that it was her ex-boyfriend at the door, and he was there to pick up some stuff that he left at her house. Raj implies that “stuff” means sex (oh no), but Anu says that wasn’t the case. But when Raj asks if she’s still talking to her ex-boyfriend on a regular basis, Anu says yes and she won’t apologize for that. I get that she and Raj have only been dating for a few months, but they are engaged. Isn’t that something she should have told him about? That’s fine if she wants to have a friendship with her ex, but she didn’t handle that revelation too well. And clearly, neither did Raj.

Anu tells Raj to delete the app from his phone, but he says, “Why? Is it because you’re hiding something from me?” Anu says no, it’s “because you should trust me.” What both of them don’t understand is that trust takes time; Anu may want Raj to trust her, but the first step is opening up about an ex-boyfriend. In Raj’s case, he should have come to Anu right away without jumping to conclusions. Instead, Raj responds by asking how he can trust her when he barely knows her.

Ouch.

The fact is though, he has a point. While you can learn a lot about a person in three months, you can’t know everything. Anu asks Raj what they’re doing if they can’t trust each other. “Why are we planning a wedding?” Raj’s response? “I don’t know.”

In the next scene, Anu says she’s going home but he shouldn’t worry…she’ll wave to the doorbell when she gets there. (OK, that was actually funny.) He urges her to at least let him drive her home, but she says that’s OK, she’ll Uber. Meanwhile, Amy and Sheldon—who have had their own spat now that Super-Asymmetry is a thing again—offer to drive her home. And that’s the end of that.

Except it isn’t, because there are more questions than ever. Is the wedding called off? Postponed? Is their relationship over or just on pause? And who is this ex-boyfriend of Anu’s? Does she still have feelings for him? Him for her? And why do I have as many questions as I did after This Is Us‘ fall finale?

Welcome to 2019, you guys. It’s going to be a ride.

Related: Is There a Chance for a Big Bang Theory Spin-Off?



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Meet KiKi Layne, the If Beale Street Could Talk Actress Everyone's Talking About


There’s something familiar about KiKi Layne when you meet her, even though she’s on the brink of super stardom. Her smile is contagious, the kind that only belongs to that person in high school who was everyone’s best friend. Her infectious laughter is disarming. And when the 26-year-old talks about watching The Lion King and Selena repeatedly as a kid—so much so that it would drive her brother crazy—you laugh and remember doing the same. Talking to her is like catching up with an old friend, the one you always knew would make it.

As the breakout star of Barry Jenkins’ buzzy If Beale Street Could Talk, the film adaptation of the James Baldwin novel in theaters now, Layne plays Tish Rivers, a woman trying to prove her lover’s innocence while pregnant with their first child. Layne says it was the special combination of Baldwin’s writing and Jenkins’ directorial prowess that initially drew her to the screenplay. “Reading the script, I thought it was amazing how it’s this really beautiful love story,” Layne says. “You’ve got these two young black people who are soulmates, but they’re dealing with issues that are just as present today as they were when the book was written in the early ‘70s.”

PHOTO: Bruce Glikas/Getty Images

Jenkins’ interpretation of Baldwin’s story brings a complexity and humanity to the reality of black people’s experiences, so much so that Layne knew immediately she needed to be a part of it. If Beale Street Could Talk effectively highlights how systemic oppression affects black relationships and thwarts the power of black love. In particular, Layne speaks to the difficulty of filming the movie’s prison scenes, knowing full well that those scripted moments are a reality for many black women today. “I was very aware that this isn’t some general story,” she explains.

To prepare for the role, Layne relied heavily on the life of Kalief Browder—a young black man who spent two years in solitary confinement on Rikers Island awaiting trial for allegedly stealing a backpack—and the impact his prison sentence had on the people he loved. “I watched the docuseries about his life and paid attention to what everything was doing to his family and the people who were left behind to try to fight for him,” Layne says. “They were experiencing this with him, too.”

“To see a young black woman being loved for just who she is—her hair, her skin, her clothes—is powerful.”

Working alongside such powerful black actresses as Regina King and Teyonah Parrish, Layne also understands the movie’s ability to challenge the stereotypical narratives around black women’s strength. “Working on this film gave me a different perspective on what a ‘strong black woman’ looks like,” she says. “I don’t think I’d ever seen a strong black woman who had the characteristics of Tish—someone who was vulnerable, open; so loved and loving.” Playing Tish, Layne says, enabled her to reimagine both what power is, and what it could be. “I’m hoping that seeing this film and more images of black women being really comfortable in their skin gives a broader perspective of what strength looks like for us,” she explains. “For a while, the perceptions have been very narrow.”

And she’s right. The acceptance of black women’s natural beauty is rare in today’s mainstream media, but throughout the film, the combination of Layne’s beauty and Jenkins’ meticulous eye create a series of standout moments. “In this film, you see a black woman being loved so hard for just being her natural self,” she says. “To see a young black woman being loved for just who she is—her hair, her skin, her clothes—is powerful. She doesn’t have much, but what she has is enough.”

Yet, even as the entertainment industry and society at large still struggle to include black women within its standards of beauty, Layne is glad they’re not waiting. “We’re seeing more black women saying: ‘This is who I am; this is what I’ve been given.’ And it’s beautiful.” She continues: “It’s especially important in the time of social media where there are so many images of this very specific type of woman that’s supposed to be beautiful, sought after and sexy. To see women rejecting that and embracing who they really are, it’s really powerful.”

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PHOTO: Allstar/Annapurna Pictures

IfBealeStreet1.jpg

PHOTO: Allstar/Annapurna Pictures

It’s rare that black women’s stories are told with the same veracity this film offers. Layne knows this, and considers herself lucky to be entering the industry at a time when movies like If Beale Street Could Talk are being made. “We are in a moment where there are just so many more platforms and outlets and opportunities for us to get our stories heard,” she says. “Instead of asking for permission, we’re seeing more artists and creatives taking control over the stories we tell. That’s a powerful time to enter.”

Thinking beyond this film, or even her next project—a screen adaptation of Richard Wright’s 1940 novel Native Son—Layne aspires for a career that’s not just fruitful for herself, but also for others. Recognizing the reality of black women’s experiences in the entertainment industry, the actor hopes her career creates more opportunities for young black women everywhere. “I want to push the boundaries on the roles that have historically been given to actresses who look like me,” she says. “There is so much more we can do. There always has been.” The way she says this—with a gleam in her eye that shows an honest, genuine determination to make a difference—makes you believe her.

KiKi Layne is going to do that, and more. And we’ll be all the better for it.

Candice Benbow is a writer and activist living in New Jersey.



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Ellen DeGeneres Might End Her Talk Show Sooner Than You Think


We don’t want to alarm you, but Ellen DeGeneres has considered ending her longtime, beloved daytime talk show. This idea isn’t just something that popped into her head once when she was having a bad day, either; it’s a decision she still thinks about often.

In a recent New York Times profile, the comedian shared that she had the option of extending her contract not too long ago. Before signing it, she wavered for a bit and “had been close to declining.” Instead, she decided to keep the show going until summer of 2020—but after that, who knows?

According the piece, “On the question of leaving, she changes her mind all the time. Her brother has been an advocate for staying on, making the case that in the age of Trump, the country needs her positive, unifying voice on television every day.” Ellen’s wife, Portia de Rossi, however, has a different take. “I just think she’s such a brilliant actress and standup that it doesn’t have to be this talk show for her creativity,” de Rossi says in the piece. “There are other things she could tackle.”

As much as I’d love to keep The Ellen DeGeneres Show on the air, De Rossi has a point. Ellen announced earlier this month that Netflix will release her stand-up special Relatable on December 18, her first special in 15 years.

But taking on new projects doesn’t mean the show has to end. It’s been running for 15 years, amassing 50 Daytime Emmy nominations and 39 wins. What would the world be like without Ellen’s pranks and dances? Who else would brighten our day by giving their audience members $1 million just because? Let’s hope we don’t have to think about that anytime soon and revisit this conversation after 2020.

Related: Watch Ellen DeGeneres and Milo Ventimiglia Do a Hilarious Bachelor Parody



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Women of the Year 2018 Summit: Three Female Entrepreneurs Share Some Real Talk on Starting Your Own Business


Did you know that, in 2017, female founders got only about 2.2 percent of venture capital funding? A sobering statistic, but an unsurprising one to any woman who’s working to turn their idea into a viable business. Still, many have been able to cut through all the noise to create some of your favorite products, from Away carry-ons to Outdoor Voices leggings. And they have some real-talk for anyone hoping to follow in their footsteps.

At the Glamour Women of the Year Summit, Audrey Gelman of The Wing, Jen Rubio of Away, and Ty Haney of Outdoor Voices came together in conversation with Suitan Dong from the Female Founders Fund to discuss what it takes to get from pitch deck to big business. You can follow all the inspiring speakers and panels from the on our Summit recap—below, we round up some of their most pressing tips for female entrepreneurs.

Don’t get discouraged by the no’s.

Away’s Rubio has been on both sides of the fundraising conversation, so she knows that “no’s” are just a part of the process. But, from her experience, she sees women get discouraged by the sheer amount of rejection you face in those early stages of the business. “It’s part of the process,” she says. So it’s important to prepare yourself for it.

When she was first pitching Outdoor Voices, Haney would introduce her idea as “the next big activewear for women”—more often than not, to a group of men, who would counter with the names of the big-name activewear brands you know (and are, well, mostly run and designed by men). A lot of times, they wouldn’t get her vision for Outdoor Voices. So Haney came up with a new strategy: Send product ahead of a meeting to the women in the office, to the VC’s wives… Then, she started to hear yes from the rooms full of men. “Being a woman is a competitive advantage when you’re building a company for women,” Haney says.

The process doesn’t end once you get that coveted “yes,” though: The Wing’s Gelman stresses that what you do once you receive it is just as important. In her case, it’s fostering a community that then allows for more female entrepreneurship: having members network, encourage each other’s ideas, hire each other, and so forth. Pay it forward to get more voices in the room.

Know when to take advice—and when to not.

Rubio and her co-founder, Stephanie Korey, both came from Warby Parker, which is often held up as the paradigm for start-ups—but “one of the first things we realized is that there’s no traditional startup experience,” she says. There’s no playbook for starting a small business; in fact, a lot of what they learned during their time at Warby Parker didn’t really translate to their new concept, of starting a direct-to-consumer luggage brand. When you start a company, you get advice from a lot of people. The key, according to Rubio, is to learn how to filter through all of it and apply what makes sense for your business.

Cultivate a sense of community within your customer base.

The Wing’s 6,000 members are “their marketers,” according to Gelman: They spread the word on the co-working space and create interest in what they’re doing, attracting new customers. From its inception, The Wing would host events for specific sub-sets of their community—based on where they lived, or what industry they worked in—where they would pass physical business cards to each other, connect in real life… And that proved to be a valuable asset. Now, The Wing is working to launch a mobile app that allows its members to get in touch outside of the physical space, whether that’s for advice or networking.

Remember that fundraising is a two-way street.

Walking into a room to pitch your idea for a business can be extremely intimidating. But Haney encourages people to remember: You’re just talking to a person. If you’re real and vulnerable, it’ll come across.

Gelman points out that, when you’re fundraising, the power dynamic can feel imbalanced: They have money, you don’t. So when you’re preparing to pitch your company to potential investors, try flipping that and asking, “Do I want to partner with this person?” It takes the power back, if only energetically—and it offers you, as a founder, an important lens through which to think about potential partnerships.

Rely on your community of fellow female founders.

The community of female business owners is, unfortunately, still pretty small—but it’s there, and there’s often overlap when it comes to potential executive hires and VCs. Backstage, Rubio and Haney were discussing some candidates they were looking at for open positions at their respective companies. Because you often end up talking to a lot of the same people, you can recommend folks to each other and get real insight that you can’t find elsewhere.

This network is also not city-specific: Haney launched Outdoor Voices when she lived in New York, but she then relocated to Austin. And though the decision to move her still-growing company to Texas might have felt odd at first, she slowly began building her own community out there, thanks to some introductions from other female founders. (Girlboss’ Sophia Amoruso introduced Haney to Bumble’s Whitney Wolfe Herd, for example.) “Don’t be scared to leave your comfort zone,” she says.

Be really, really sure that you want to do it.

Newsflash: Starting a business is hard. You’re going to be told “no” a lot. It can feel lonely. What’s going to get you through is passion, says Rubio. “You have to really want to do it… It’s easier than ever to start a company—it also means you can go too far in a direction you don’t want to be in.”

For Haney, it’s all about execution, and making sure she can deliver on an idea she sets her mind to. She has a rule of having no more than three goals at a time, for instance—that helps her stay focused and ensure she doesn’t muddy her vision.

Also, don’t get caught up in what other people are doing. Gelman likes to think of the quote, “Don’t compare your insides to someone else’s outside.” You might see something in a magazine and think they have it all together, but it could be a whole different story behind the scenes. Keep your eyes on your own path.

Get more from Glamour‘s Women of the Year Summit here.



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Giuliana Rancic's New Plan: Let Celebrities Talk About—Gasp—*Themselves*


If it’s hard to believe that three full years have passed since Giuliana Rancic stepped down from her co-anchor spot on E! News, that’s because her face has still been everywhere. A consistent red carpet fixture for the better part of two decades, she was fully present for a smattering of viral moments that dominated this year’s awards shows and her Instagram has remained plenty active. Plus, she’s been out promoting other projects, including her eponymously-named Prosecco and a “judgement free” parenting app with her husband, Bill, called Pear.

So, in a way, it seems almost like she hit pause on E! News more so than walking away. But make no mistake: On September 4, Rancic returned to her reign on the nightly show, alongside co-host Jason Kennedy. And she’s got a plan for how to dig back in, at a time when Hollywood is still going through a major reckoning.

“Certainly, in the past year or so, [we’re] having more important conversations, more meaningful conversations, on the red carpet,” Rancic tells Glamour. It’s a marked change from when she began as a correspondent on the network, back in the early aughts. “There was a long period of time in the beginning, really until recently, where viewers wanted to hear about the light things: the beauty, the fashion, the projects. We would do a little bit of everything.”

“I think we’ve gotten away from keeping the focus on the people we’re talking to.”

But, in her view, what’s really changed now—more so than talking about equal pay and inclusion riders on the step and repeat—is the fact that celebrity reporters have gotten away from talking to celebrities about, well, the celebrities themselves. Whereas once the conversation was largely focused on the show, the project, or elements of their personal lives, so much of the dialogue now rests in cultural commentary, which isn’t, innately, a bad thing. But while some are more than happy to take up the role of advocate or social critic, others aren’t quite as cut out for it. Or just don’t care to do it.

And so, Rancic has a philosophy that, right now, sounds at once intuitive and a little bit rogue: “Letting someone just talk about what they want to talk about, and not making them feel like ‘Oh my gosh, I’m going to get asked to talk about something that has nothing to do with me,” she explains. “I want celebrities to feel like, when we do an interview, that it’s about them. I think we’ve gotten away from keeping the focus on the people we’re talking to.”

PHOTO: NBC

If you think this sounds simplistic, it is. You don’t have to tell Rancic, either; she’s aware of that fact. But she also thinks the time has come for us to get back to the basics. It’s a theory she cooked up while she was a consumer, instead of a creator, of celebrity news over the past few years, based on a recurring observation: “It’s like a lot of other voices [are] jumping into conversations that don’t really have anything to do with them, and they’re not necessarily voluntarily doing that.”

It’s also among the reasons she decided to come back to making the news. “That’s honestly one of the things I’ve been thinking about a lot,” she adds, “how to have more direct, honest conversations with people, about things that apply to them. I think if we do a lot of that, it’s a nice way to start getting back on track.”

Ranic isn’t the only person whose wondered whether or not we’re asking too much of red-carpet conversations that, at the end of the day, are about entertainment: Award shows and interviews don’t have to become our thunderdome for hashing out systemic issues. But it’s also not that Rancic thinks we should stick to fluff—not by a long shot. At the end of the day, like a lot of things, it’s all about balance.

“The way you handle these interviews has a lot to do with who you are as a person.”

“You can be serious, and also have fun, and a minute later say something that moves someone. That’s how I am in my life,” she says. “You just have to be able to read the moment. I think a lot of people—even the people who are using the [red carpet] platform for so much good, and putting up these meaningful messages—know that there needs to be that balance.”

In summary, and maybe to say the least: “It’s a really interesting time,” Rancic says with a laugh. “Everyone’s got to be more prepared on the red carpet, but honestly, my key is to be in the moment,” she says. “It really comes down to: The way you handle these interviews has a lot to do with who you are as a person.”

Elizabeth Kiefer is a New York–based writer and regular Glamour.com contributor.





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