It’s Not Funny What’s Happened to Comedies

Whenever I’m invited to speak to a college screenwriting class, the first question I like to ask aspiring young writers is whether they prefer to see a movie at the theater or home. Nine times out of ten they say home, with the exception of event films where the big screen and booming sound system make for a bigger and better experience.

Then I follow up by asking if they think seeing a comedy in the theater enhances the experience due to the communal vibe. I don’t think I’ve ever had a single student answer yes to this one.

I must say this is a bit disappointing to hear, because I grew up watching live-action comedies at the theater and know how much fun the communal comedy experience can be. I emphasize live-action because those have always been my favorite comedies. From Some Like It Hot and Monty Python and the Holy Grail – to Blazing Saddles, Big, Best in Show, Fast Times at Ridgemont High, Borat, Coming to America, Back to the Future and so many more – I’ve always had an affinity for live-action comedies.

Back when I was growing up -- and really until the “AMC era” kicked off in 1995 at a theater here in Dallas -- movie theater auditoriums were flat with no sloped stadium seating. There were also no cushy leather recliners, and we were packed in like sardines with obstructed views, little leg room and shared armrests with no cupholders. However, despite the discomfort and lack of amenities, it made for a much more communal experience where laughter was as contagious as COVID.

But today, there’s so much separation between moviegoers -- along with sound systems that basically drown out the audience -- that the true communal feeling is lost. As a result, and to the dismay of us baby boomers, it’s no longer a reason to go to the theater.

Before the advent of streaming, you knew a movie at the theater wouldn’t come to the small screen for at least six months, sometimes a year. So, when there was a movie you really wanted to see, there was a sense of urgency to go out and see it.

However, now the release dates going from theaters to streaming are all over the place, and consumers are completely confused. They see some movies streaming just a few weeks after a theatrical release (and until last year even simultaneously), so there becomes no reason to rush out to the theater. Add to that the exorbitant cost of taking a family to the theater and it’s no wonder why so many today prefer to stay home and wait it out.

Regarding live action comedies, being that the communal experience of seeing them with an audience is no longer a factor, it also means people are content to wait and stream at their convenience at home. And that, in turn, means studios see limited distribution possibilities for comedies, resulting in fewer being produced.

Back in the day, movies of every genre were produced primarily for the domestic audience. But that’s all changed, with the tremendous reliance on the overseas box office. And of all genres, comedies have been hit the hardest. The fact is that a lot of American live-action comedies – especially those that are more dialogue-driven – typically don’t play well overseas.

As a result, studios are more reluctant to produce them due to what they see as another financial risk. Instead, they prefer to produce horror, action and sci-fi, where the action, effects and scares are more universal in their appeal and do better abroad. Even dramas are considered less of a risk for overseas audiences due to the universal themes that affect us all, no matter where we live. But comedy is so subjective that it can easily be misunderstood and even alienating. Which leads to my final point…

As we know all too well, everything today is politicized – and that certainly includes the world of comedy. Without delving too deeply into politics, I’ll just say that many of the best live-action comedies of all time have had politically incorrect moments and themes. Actually, at the time they were produced, it was no big deal. But today it’s a completely different story with one or two simple lines of politically incorrect dialogue alienating half of a potential audience.

And what a shame that is, because a writer/filmmaker who is afraid of expressing his or her true voice is giving short shrift to their story, subsequently missing the opportunity to not only entertain, but inspire. This not only affects more mainstream comedies, but especially the thought-provoking and prescient satires like some of my favorites such as Dr. Strangelove, Being There, and Network. Would studios greenlight those movies today? I’m afraid not.

Barbie was obviously a massive success worldwide, but I don’t believe its success means more live-action feature comedies will be going to the big screen. Instead, I believe there will be a rash of comedies from the world of toys, games and preexisting IP.

The beauty of Barbie to me, however, doesn’t merely stem from it being iconic IP -- because it easily could have gone in a different direction had it been “dumbed down.” Instead, the studio made a brilliant move in hiring the great Greta Gerwig and Noah Baumbach to create a completely original screenplay and movie that was clever, smart, satirical, and didn’t take itself too seriously. By combining a hilarious fish-out-of-water journey with a strong theme of empowerment and self-acceptance, it hit all the right notes.

My mom’s favorite saying was “Laughter is the best medicine” and it’s helped me through many obstacles in my life, including a battle with cancer when I watched and rewatched the live-action comedies I love so much (including the wicked Ali G series).

As for the future of live-action feature comedies, nobody knows. What I do know is that trends in Hollywood come and go like the tide. So, if you’re a screenwriter or filmmaker with something important to say and an affinity for comedy, please don’t give up, because the world needs laughter more than ever. As Butch Cassidy told Sundance in William Goldman’s iconic western comedy:

“I got vision, and the rest of the world wears bifocals.”