If you look across the internet, people lament the loss of theatrical comedies every other week. There are a ton of think pieces about this topic. For reference, theatrical comedies refer to purely comedy genre films made for a successful run in the theaters before eventually finding their way to streaming sites or the DVD section. Judd Apatow was the master of theatrical comedy with an incredible run during the 90s and 2000s.
Many successful actors like Jonah Hill and Seth Rogan made their name in these movies. But with the rise of streaming, theatrical comedies have slowly been taken back and put down. So, what happened to the theatrical comedies we grew up watching? People have dissected this question over and over again over the last decade, and there are many possible answers. But let’s not regurgitate the same old narrative because there is a far more exciting conversation to be had; Could they be making a comeback?
Let’s get into 3 reasons why I think theatrical comedies could be making a comeback.
Stand Up Comedian led films:
Notable films: The Machine starring Bert Kreisher & About My Father starring Sebastian Maniscalco.
The studios ‘ most significant issue is getting audiences to show up at the theaters. However, that shouldn’t be difficult for top-bill comedians who sell out arenas. Sebastian Maniscalco and Bert Kreisher are well-known figures in standup comedy and have spent years cultivating their loyal fan bases. Asking their in-built fanbases to show up to the theater and pay a fraction of the price for a few hours of entertainment seems like a good deal. Lionsgate and ScreenGems (a subsidiary of Sony Pictures) foresaw their star power and decided to double down on them. Both films also boast a star-studded supporting cast with the likes of Robert DeNiro and Mark Hamill, respectively.
Another secret power that comedians wield is their marketing network. The rise of many stand-up comedians is due to their success in the podcast format. They can promote to a much wider audience through guest appearances on other comedians’ podcasts. Fans of these podcasts are used to guest appearances when comedians promote their comedy specials. Promoting a movie would be similar.
The ingredients for success are there: star power, a marketing network, and an inbuilt fan base accustomed to buying tickets. Both these movies have not been reviewed well, but will that matter to studios if they profit? This is a great experiment, and if it works, we could be witnessing a renaissance of theatrical comedies led by stand-up comedians.
Indie Comedies:
Notable Films: Beau is Afraid & You Hurt My Feelings by A24. Paint by IFC Films.
Indie movies have had a resurgence in the past few years, with A24 leading the charge. Famous for their low-budget, high-concept films, indie studios top the categories at most prominent film festivals and go on to have significant commercial success. These studios spend in the range of $10 million, with a notable cast and a star director. If these movies flop, the studio is largely unaffected. However, if they take off and show commercial success, the profits could pay for another ten films in the coming years. We see this with Everything Everywhere All At Once, and the commercial profits from that film’s theatrical run could pay for a whole year’s worth of movies at the indie studio.
With Beau is Afraid and You Hurt My Feelings, we see A24 dip its toe into the comedy genre. Similar to stand-up comedian-led films, these indie comedies also feature big stars. Beau is Afraid stars Joaquin Pheonix. You Hurt My Feelings stars Julia Louis-Dreyfus. And Owen Wilson plays the lead role in Paint. These films won’t look like the theatrical comedies we watched growing up. But a more experimental, dark, hybrid comedy that could still appeal to the masses. And while the upside of success for indie movies is limited, it’s certainly something to keep an eye out for. If this strategy succeeds, you will undoubtedly see many indie studios, such as Neon, ScreenGems, and Magnolia, jump into the mix with their own version of the independent comedy film.
Comedies with a female lead:
Notable Films: Joyride starring an Asian female cast of Sabrina Wu, Ashley Park, Sherry Cola, and Stephanie Hsu. Along with, No Hard Feelings starring Jennifer Lawrence.
A female-led raunchy comedy could be the closest in spirit to movies like The Hangover or 40 Year Old Virgin. Taking the same formula as those films but catering it to the female audience makes sense from a marketing perspective. We’ve already seen this archetype work in the world of Hip Hop with the rise of female artists like Cardi B and Megan Thee Stallion. They’ve proven that there is an audience for content that challenges the stereotypical representations of women in media.
And films like Joyride or No Hard Feelings could undoubtedly take advantage of a gap in the market. This isn’t a particularly novel strategy either. We’ve already seen the success of female-led comedies in films such as Bridesmaids or Mean Girls. Both films performed commercially well and have been cemented as staples in the cultural zeitgeist. So it’s about time studios invested in female creatives to create comedies.
Similar in tone to the theatrical comedies of yesteryear, with the twist of a female lead, these comedies could be the jolt the genre needs. It would not be surprising to see both the films mentioned above enjoy a successful theatrical run and inspire a new subgenre that puts the female perspective at the forefront. Joyride will also feature an entirely Asian core cast. Unique perspectives from diverse cultures can be highly profitable, as evidenced by films such as Crazy Rich Asians and Everything Everywhere All At Once. While those films have comedic sequences, they aren’t pure comedies. Joyride is billed to be a comedy through and through. And it certainly has what it takes to set a precedent for the comedy genre.
I want to leave you with these final thoughts. First, I’m not saying that theatrical comedies are back, but we might be on the precipice of their return. The examples mentioned above could set a precedent for what is to come. Second, studios are slowing down spending for their streaming-only releases and looking for a more profitable strategy. The stage is set for theatrical comedies from a macro-industry perspective. An important summer window of films is coming up, and my prediction hinges on the box office performance. So let’s hope that they do well. If not, I may have to just hold onto the nostalgia from my teenage years and rewatch The Hangover for the hundredth time.
