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Betancourt agrees that streaming has been a key driver of the romcom resurgence. "How we watch movies now changes what we expect from them," she says. "If we waste 90 minutes watching something on Netflix that wasn't perfect, we're not going to be as upset as if we spent money going to see it and hired a babysitter for the evening." She and Meslow both highlight To All the Boys I've Loved Before – Neftlix's 2018 adaptation of Jenny Han's best-selling novel of the same name – as a key moment that re-energised the romcom genre. The film was a critical and commercial success, spawning two sequels and cementing its leads, Lana Condor and Noah Centineo, as teen idols. Although the film was criticised by some fans for not including an Asian male love interest, that in itself exemplified how much audience expectations of romcoms – and mainstream films in general – have changed since the 1990s. Released the same month as Crazy Rich Asians – a romcom about a professor who travels to meet her boyfriend's family, and is surprised to discover they are among the richest in Singapore – To All the Boys I've Loved Before was described as a similarly important moment for Asian-American representation in mainstream culture.