n an era where romantic comedies are often seen as predictable, Nobody Wants This is a fresh entry. It takes what viewers love about rom-coms — the meet-cute, the tension, the will-they-or-won’t-they suspense — and reintroduces it in a way that feels both nostalgic and heartwarming. Created by Erin Foster, Nobody Wants This features an exceptional cast led by Kristen Bell and Adam Brody, along with a warm, often witty script.

At first glance, Nobody Wants This might seem like another formulaic romantic comedy, checking all the boxes: an unlikely couple, cultural and familial hurdles and quirky supporting characters. However, the series brilliantly uses the familiar clichés to its advantage, adopting the conventions of the genre while subtly flipping them on their head.

The storyline follows Joanne, portrayed by Kristen Bell, an agnostic podcast host and Adam Brody in the role of Noah, a rabbi dealing with the aftermath of a breakup. The two pursue a budding romance that, on paper, seems doomed to fail. The series opens with a charmingly awkward meet-cute at a party, where Noah’s profession as a rabbi immediately sets the stage for the culture clash that follows. Joanne, outspoken and often irreverent, is thrown into a whirlwind of unfamiliar Jewish customs and expectations while Noah wrestles with his faith and the pressure to find a Jewish partner.

Noah and Joanne’s relationship faces obstacles typical of the genre; meddling families, miscommunication and doubts about compatibility, but the series does not settle for the expected outcomes. The central tension between Joanne’s agnosticism and Noah’s faith is handled with sincerity, giving weight to the problems they face without reducing them to mere punch lines. Instead, it becomes an honest look into how love can transcend religious and cultural differences, a theme that connects deeply with today’s diverse, multicultural societies.

The Netflix series evokes nostalgia for the rom-coms of the late 1990s and early 2000s, a time when the genre was at its peak. With Bell and Brody leading the cast, there is a sense of familiarity and warmth that fans of classic rom-coms will appreciate. The chemistry between Bell and Brody is palpable. This dynamic effortlessly recalls the charm of on-screen couples from the golden era of the genre.

Yet, Nobody Wants This is far from a relic from the past. While it plays into the nostalgia for earlier films, it also feels distinctly modern in its approach to romance. It is not the saccharine, fairytale love story of yesteryears; it is grounded in the complexities of real-life relationships. Joanne and Noah are flawed characters, each dealing with their insecurities and baggage. Joanne struggles with the idea of being good enough to date a rabbi; Noah must come to terms with the expectations placed on him by his religious community. Their imperfections make them relatable and their love story authentic.

While the title may say Nobody Wants This, by the time the final credits roll, it’s clear that everybody wants this and not just as a series, but as a love story they could imagine wanting for themselves; sweet, imperfect and undeniably real.

The series refuses to rush the romantic arc. Rather than relying on over-the-top grand gestures, it allows the characters to build a connection organically, complete with awkward moments, small victories and real conversations about their differences. It is in these quieter moments that Nobody Wants This wins hearts, capturing the sweetness of love in a way that feels honest and tender without the artificial gloss of some rom-coms.

The show does not shy away from exploring the tensions that arise in contemporary interfaith and multicultural relationships. Noah’s Jewish faith and Joanne’s agnosticism are not treated as throwaway character traits; they are integral to the story, shaping the couple’s interactions and the impediments they must overcome.

Family dynamics are also depicted with great insight throughout the series. Noah’s family, led by the formidable Bina, played by Tovah Feldshuh, is traditional and devout, placing pressure on him to settle down with a Jewish woman. Whereas Joanne comes from a more relaxed background, with her father newly out of the closet and her relationship with her sister Morgan, portrayed by Justine Lupe, forming a key subplot. These familial influences add layers of complexity to the central romance, showing how deeply our upbringing can shape our approach to love and partnership.

All these cultural differences are tackled without resorting to caricature. The show finds humour in the tension between Joanne’s irreverence and Noah’s faith, but it never trivialises the challenges they face. Instead, it presents an earnest portrayal of the compromises, conversations and growth required to make an interfaith relationship work.

For those longing for a return to the golden age of rom-coms when love stories were both amusing and emotionally resonant, Nobody Wants This is a great watch. It is a sweet, wholesome escape and a reminder of why audiences fell in love with the genre in the first place.

While the title says Nobody Wants This, by the time the final credits roll, it’s clear that everybody wants this and not just as a series, but as a love story they could imagine wanting for themselves; sweet, imperfect and undeniably real.

The author is a freelance contributor