The sustained popularity of urban romantic comedies can be explained through two complementary lenses: genre theory and the affective structure of late modernity. From a genre perspective, romantic comedy relies on a recognizable narrative grammar—encounter, misalignment, conflict, and reconciliation—that stabilizes audience expectations while allowing variation within a familiar formula. The urban setting further enhances reception by providing a socially legible context in which work precarity, relational negotiation, and metropolitan loneliness closely mirror everyday audience experience. From the standpoint of late modernity, intimate relationships are increasingly organized less by fixed tradition than by reflexive self-negotiation. Individuals are required to narrate and continually recalibrate the self through choices in love, commitment, and partnership. Urban romantic comedies operate precisely within this condition: they frame romance as a micro-social practice structured by emotional labor, boundary-making, and communicative ethics. In this sense, romantic union functions not merely as a plot resolution but as a symbolic marker of subject formation. Moreover, the genre serves as a low-risk mechanism of affective regulation. By offsetting anxiety through humor and restoring order through romantic closure, it offers viewers temporary psychological integration within a predictable narrative horizon. Its cultural function therefore exceeds entertainment: it mediates persistent late-modern desires for attachment, stability, and meaning. Accordingly, the appeal of urban romantic comedy should be read not as a simple market preference, but as a structural fit with the emotional conditions of contemporary urban life.