Yesterday, Warner Bros.’ Crazy Rich Asians has garnered a total of $139.8 million in domestic earnings, making it the highest-grossing romantic comedy since Walt Disney’s The Proposal in 2009. If it surpasses the unadjusted gross of $164 million, it will become the biggest romcom since Hitch in 2005. Moreover, once it surpasses the success of films like What Women Want, There’s Something About Mary, Hitch, Runaway Bride, Pretty Woman, Knocked Up, Sex and the City ($153 million in 2008), and The Proposal, it will become the second-highest-grossing female-led romcom, following My Big Fat Greek Wedding, which holds the record for the highest domestic earnings in the romantic comedy genre.
The Hangover Part II and Bridesmaids were fantastic elements of the 2011 summer, with The Hangover Part II earning $254 million and Bridesmaids earning $188 million. Since its release in 2012, Ted has become the biggest straight-up comedy, grossing $218 million. The Avengers and Ant-Man and the Wasp are the biggest superhero films, while 22 Jump Street and Pitch Perfect are the top-grossing musical comedies. The Hangover Part II and Bridesmaids also had impressive numbers, with The Hangover Part II earning $254 million in 2011 and Bridesmaids earning $188 million. Overall, it is the eighth highest domestic earner of the summer, surpassing Ocean’s 8 with a total domestic gross of $139.9 million. Additionally, it becomes the second-biggest unadjusted romcom, behind My Big Fat Greek Wedding, as it surpasses $182 million. Regardless of the numbers, it is clear that it had a successful run.
Becoming the most secure box office wager is a significant factor in its triumph. Crazy Rich Asians embodied the type of nostalgic film you would only now discover on Netflix, in an industry that transformed the female-led romantic comedy into an endangered category. Thanks to buddy-ish hits like The 40-Year Old Virgin and Superbad, along with a generation of actresses who were convinced that major studio romcoms were below their stature. The movie was regarded as a noteworthy occasion by individuals who resemble Constance Wu more than Scarlett Johansson, and the importance of representation is emphasized. There are numerous explanations for why Crazy Rich Asians is such a successful hit.
I’m talking about movies that are led by female characters.
Unlike Rough Night and Snatched, which usually come from true-life horrors, female-led studio releases often feature an ensemble cast emphasizing a “certain supporting woman” and promise a good escapist, stress-free time of kinship and/or female camaraderie. These films, such as Crazy Rich Asians, Ocean’s 8, Girls Trip, Bad Moms, Trainwreck, The Other Woman, Pitch Perfect, Bridesmaids, Mamma Mia!, Sex and the City, and Think Like a Man, typically have a very happy ending without the frustration of male-created conflict.
Additionally, I argue that the figures hidden in the Twilight Saga speak, relatively. The definition of escapist fantasies is where women usually veer away from institutional expectations and indulge in romantic and financial pursuits without many consequences. They are narratives that allow women to live adventurous and high life without punitive repercussions or societal expectations. These pictures represent a custom-made moviegoing experience for a girl’s night out, allowing women to escape real-world perils associated with institutional sexism for 90-140 minutes.
Asians Rich Crazy was the exact opposite of a surprise hit. While movies like Tag, Night Game, and Blockers, which were all well-received releases from Line’s New and Universal, did not surpass $70 million domestically, Asians Rich Crazy and 8 Ocean’s Again Go We Here Mia! From WB’s and Mamma Mia! From Comcast Universal/Corp. Were considered the safest bets in town. These three straight-up comedies, led by females, should be regarded as the biggest hits of the year. In fact, they defy conventional wisdom that female-led comedies are not successful at the box office. The successes of these films are no longer surprising and should be seen as regular occurrences in the industry.
