(500) Days of Summer arrived at a pivotal moment for romantic comedies. While the genre had dominated the box office throughout the early 2000s with reliable hits like The Proposal and 27 Dresses, audiences were growing weary of predictable formulas. Marc Webb's directorial debut, based on screenwriter Scott Neustadter's painful real-life breakup, offered something different: a relationship movie that openly declared itself "not a love story."

What made the film revolutionary wasn't just its structure, but its willingness to interrogate the rom-com fantasy itself. Tom isn't a charming hero—he's a guy who projects his own idealized narrative onto Summer, a woman who's been honest about not wanting a relationship.

It influenced how a generation thought about relationships and romantic expectations. The film's famous split-screen "Expectations vs. Reality" sequence became an instant classic for how brutally it captured the gap between romantic fantasy and truth. It sparked endless debates: was Summer the villain, or was Tom?

500 Days of Summer arrived just as the traditional studio rom-com was beginning its decline. It represented a self-aware turning point; proof that audiences were ready for more complex, honest explorations of modern relationships. In deconstructing the romantic comedy, it created something that resonated even more deeply: a bittersweet, deeply human story about growth, self-delusion, and the messy reality of love.

I would love to hear your thoughts on (500) Days of Summer !

Verbal Diorama is now an award-winning podcast! Best Movie Podcast in the inaugural Ear Worthy Independent Podcast Awards and was nominated for the Earworm Award at the 2025 Golden Lobes.

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Hi, everyone. I'm Em, and welcome to verbal diorama, episode 322, 500 Days of Summer.

This is the podcast that's all about the history and legacy of movies you know, and movies you don't. There's either an evil, emotionless, miserable human being, or She's a robot. Or maybe you're just remembering the good stuff.

Seriously, I did get a comment on Spotify once claiming I was AI. I'm not. I am a genuine humanoid person with bones and flesh and whatever else you humans have, except emotions, I don't have those.

Welcome to Verbal Diorama. Whether you're a brand new listener, whether you're a regular returning listener, thank you for being here.

Thank you for choosing to listen to this podcast. I'm so happy to have you here for the history and legacy of 500 Days of Summer.

And as always, if you are a returning listener, thank you so much for returning to this podcast.

I am so grateful to have you come back to this podcast because there are a lot of podcasts out there that are all vying for your ears and for your attention and for you to come back to Verbal Diorama. Genuinely does mean so much to me, even if I am an emotionless AI robot. But genuinely, thank you so much for your support.

It really does mean the world.

And I feel like this month there's a little bit of tonal whiplash going on in the month of November on this podcast because I've intentionally scheduled movies that are very different from each other. So we started with Austin Powers International man of Mystery, and then last episode was a completely different type of movie in I Am Legend.

And again I've kind of tonally whiplashed back to a sort of romantic comedy that's kind of neither of those things, but also both of those things at the same time. And modern dating can very easily be summarized by expectation versus Reality.

Your expectation is that the amazing person you've been chatting to on an app is just as delightful and funny in real life, that you'll just hit it off straight away, enjoy each other's company, and eventually end up dating.

It'll become serious, you'll label it, and within a few years, maybe you'll move in together, maybe you'll get engaged if you're both set on marriage, or maybe you won't, but love will blossom and you'll have met your person, your soulmate, your one true love. Happily ever after. Or at least that's what the movies tell us.

The reality is shutting on a dating app where they seem nice and normal and on paper, potential nice date.

Until you get to a date where they turn up 50 minutes late, get down on their knees in a crowded coffee shop and beg for forgiveness before bragging about how important they are at their job and proceeding to tell a story about how they broke a bone when they were a child and then demonstrating how flexible that particular joint is before telling you they lied about facts on their profile, they aren't looking for anything serious, and they actually hate cats, but they've already booked a concert for the second date, which is actually never going to happen, and then as soon as you make an excuse to leave, they go in for an awkward hug where their hand travels a bit further south than you're comfortable with. So you get home quickly, write out a thanks for the date, but I don't think we're compatible.

I wish you all the best message and then you would match them. And yes, all of those things have happened to me. Various different guys.

I'm kind of amalgamating a load of different horrendous state stories together, but my point is reality is nothing like expectation, and this movie proves it. Here's the trailer for 500 Days of Summer.

Tom Hansen is an aspiring architect who currently earns his living as a greeting card writer, where he meets his boss's new assistant, Summer Finn. Tom falls in love at first sight and discovers that the pair have plenty in common.

They both love the Smiths, and they're both fans of surrealist artist Magritte. Before long, Tom is smitten. All he can think about is summer. Tom believes deeply in the concept of true love and soulmates.

And he's finally found his. Summer sees true love as the stuff of fairy tales and tells Tom she isn't looking for a serious relationship.

Undaunted and undeterred by Summer's casual stance, Tom believes their love is the real deal and that Summer will eventually believe it, too. Let's run through the cast of this movie.

We have Joseph Gordon Levitt as Tom Hansen Zooey Deschanel as Summer Finn Geoffrey Arend as Mackenzie Chloe Grace Moretz as Rachel Hansen Matthew Gray Gubler as Paul Clark Gregg as Vance Rachel Boston as Alison and Minka kelly as autumn. 500 days of summer was written by Scott Neustadter and Michael H Weber and was directed by Mark Webb. And this is a story of boy meets girl.

The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met the one. This belief stemmed from an early exposure to sad British pop music and a total misreading of the movie the Graduate.

The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. Since the disintegration of her parents marriage, she'd only loved two things. The first was her long, dark hair.

The second was how easily she could cut it off and not feel a thing. Tom meets summer on January 8th. He knows almost immediately she is who he has been searching for.

This is a story of boy meets girl, but you should know up front this is not a love story. It starts, though, with love.

They both loved movies and would casually chat about the movies they watched and loved. They bonded over the movie Rushmore and Neustadter had always wanted to be a writer, but he wasn't brave enough to go to LA and wait on tables to get his big break as a screenwriter. Together, they would go up to the roof at the Tribeca Film Centre and talk about the scripts coming in.

And while Neustadter was smitten, she wasn't really looking for anything serious. He would email Weber about the relationship and when the breakup came, it felt like the end of the world for him.

You can kind of see where this is going. He was Tom, she was Summer.

And the screenplay both Neustadter and Weber always wanted to write came organically from Neustadter's experience of heartbreak in London. And Neustadter admits that he originally set out to get some sort of cathartic revenge on his ex.

He smothered himself in movies and music during his lowest moments, pretty much exactly like Tom does. In another parallel to the events of the movie, Neustadter confided in his younger sister about the relationship.

And she was also much younger than him, 11 years younger.

During the writing process though, he realised that this girl didn't actually do anything wrong, that she was honest with him up front about not wanting a serious relationship. And clearly he liked her more than she liked him.

It was the Canadian anthology film 32 Short films about Glenn Gould that inspired a screenplay that was more a bunch of short films to tell a relationship story that you could tell in a non linear fashion, to create a rom com that had elements of rom and com but was a deconstruction of the genre, more realistic about the relationship and most importantly was co written by the guy who was the basis of the guy at the centre. And it would be very much a story from the male perspective, or at least Tom's perspective.

The script evolved over a year, starting out as 308 Days of April, where April was the girl, day one was their meeting and day 308 was their breakup.

It was honed over time, became 150 pages long with an incredibly long first act and the question became how to focus and tighten the script and also how to end it. The non linear script worked mostly because of how you perceive experience and how you remember certain things at certain times.

Or your memory is jarred by something specific and also that your memory only remembers things that you want to. Tom forgets the negative parts, the arguing, the incompatibilities. He only remembers the positive parts of Summer.

The script would start from a place of anger, but evolve into a place of contentment. They considered the idea that Summer would stop the movie after a certain scene and go, that's not how it actually happened.

That she would take control and you'd see her version of events. It was a fun idea, but it violated the logic of the movie because the movie is supposed to be entirely from Tom's point of view.

And that's why we learn little to nothing about Summer except for the background Tom has created for her. She is in many ways the manic pixie dream girl, but only because Tom doesn't really care about her, just about the idea of her.

And that's why she's never fully fleshed out or given much personality. If it's not in the movie, Tom didn't care to remember it. Even when she does open up to him, Tom's internal monologue speaks over her.

Summer asks Tom questions about his life, his experiences and his dreams, but he never asks her. So the script had everything except an ending.

And then the girl who didn't want a serious relationship with Scott Neustadter or indeed anyone, suddenly became engaged to someone else. And that was the answer. Summer, the girl who didn't want anything serious, would randomly meet her person and she would marry him.

500 days of summer was partially inspired by When Harry Met Sally in Feeling like these were actually real people with real lives and real experiences.

The 80s was the start of the high concept rom com like When Harry Met Sally, with its witty dialogue written by the incomparable Nora Ephron Splash, which I should definitely do an episode on at some point because it changed the game for Disney, being the first Touchstone Pictures released, and added the fantasy element of Madison being a mermaid, also propelling the name Madison into the stratosphere.

The 90s was the golden age of rom coms with Pretty Woman, Sleepless in Seattle, Four Weddings and a Funeral, you've Got Mail, Notting Hill, all huge hits with big name stars. The genre was full of cliches, predictable but comforting and often built around a specific concept.

For every Bridget Jones there was a pitch Perfect.

DVD by post services changed viewing habits, then streaming services changed it again, and mid budget films just became something you didn't go to the cinema for. 500 Days of Summer understood there was rom com fatigue.

It wasn't the only movie that deconstructed or subverted the rom com tropes, but it's the one we all remember. Maybe because wherever you are in your life, it feels personal.

After a few years in London, Scott Neustadter moved back to LA and the script felt a little too personal to him to shop around the studios. After getting fired as an Assistant to working in tv. He had two choices. Shop the script around or move back in with his parents.

He and Webber got a handful of meetings with various managers and agents and a broad comedy script they'd written before. 500 days a summer was the script that the agents preferred, and so that was submitted around the studios as a spec script.

But they didn't want to be known for that script. They wanted to sell 500 days of summer. So they advertised it as a new spec script, but it ended up shelved, with people confused about what it was.

Was it a romance? Was it a comedy? Was it a drama? Was it a warning about toxic masculinity? No one really knew how to market it, but they liked it.

It would lead to the pair being tapped to write The Pink Panther 2. And a job's a job. The expectation would be that studios would be biting off their hands for a chance to make 500 days of summer.

The reality was the complete opposite.

But the movie had its fans, its producers, Mark Waters, Jessica Tucinski and Mason Novick, who advocated for it at Fox Searchlight and encouraged the studio to take a chance on would still take a year to get greenlit, though, mostly due to persistence of eventual director Marc Webb, who at that point was only known for directing music videos. He would see the script and loved the ending.

He thought it felt more real than the formulaic rom coms Hollywood churned out during the genre's heyday. He would contact Fox Searchlight with storyboards and presentations to try to get them to greenlight the movie.

The main issue seemed to be with the character of Summer and whether any actresses would actually be willing to play the character. Webb met Joseph Gordon Levitt on a whim and asked him who he thought should play Summer.

Deschanel was hired, and very quickly, Joseph Gordon Levitt joined the movie shortly afterwards because the pair were good friends, they had great chemistry, and they worked really well together. And it wasn't just Neustadter's romantic history on full display either. Everyone contributed cringeworthy moments to Tom and Summer's relationship.

The awkward photocopy room kiss was experienced by director Mark Webb.

The trips to IKEA were from Michael Weber's past relationships, including the fun first trip where they play house, and the second, where the fun and joy just isn't there anymore.

The Continental Building and the old Angels Flight Railway, where Tom points out the Fine Arts Building and its designers, Walker and Ison being his favourite architects. The film's bench was even graced with a plaque.

But whether you sympathise with or agree with Tom or Summer, costuming was vitally important to show just how much summer infiltrated Tom's life and his mind.

Zooey Deschanel is a beautiful woman and she always looks great in slightly vintage fits, which worked because the filmmakers didn't want to tie the movie to a specific decade. There would be no UGG boots, no beach wear, nothing too expensive.

These were young people in their first jobs out of college, and only Summer Finn would wear blue to bring out Zooey Deschanel's eyes, but also to show how summery Summer Finn really was. Summer would be a thrifter, visiting many of LA's thrift stores to find vintage fabrics reusing older designs.

She wouldn't be sexualized and would always wear sensible shoes as a young woman in LA without a car. And all of those things were considered. Marc Webb's only specific request to costume designer Hope Hanifin was that the Summer wears blue rule.

No other character would wear any shade. Tom would be all about hipster vests, skinny slacks, leather sneakers and skinny ties.

But of course there is a very famous scene where everyone is wearing blue and Summer is nowhere to be seen, where Tom, after his first night with Summer, steps out of his apartment and into a full blown dance number set to Hauler notes, you make my dreams. It probably helped that Marc Webb made his name directing music videos. How else do you depict that rush of endorphins you get in a cinematic way?

And obviously Tom was an extra emotional guy at that point in his life. But did Joseph Gordon Levick actually want to dance? Why, yes. Yes, he did.

And he fully embraced the scene, despite being known at the time for his more serious roles.

Marc Webb contacted choreographer Michael Rooney, who he'd worked with before, and they worked on an original piece with a cameo by Han Solo, of course. And the idea would be that Tom would be so elated by his night with Summer that this is the greatest day of his life.

And he transitions into dance by being congratulated by people with its own visual messages, like hitting a home run after getting past first base, second base and third base, and including iconic dance moves like Saturday Night Fever and Elvis Presley's twist legs.

Every single other person in this scene wears some shade of blue to reflect that Summer is the only thing in Tom's mind and that the world around him reflects her. Originally they wanted Duran Duran for the music, and then they heard hall and Oates.

You Make My Dreams is genuinely one of my favorite songs of all time. That may be why I really love this movie more than most. Early iterations of this scene included a cameo by both Daryl hall and John Oates.

But while John Oates was keen, Daryl hall wasn't, and so neither actually appeared. It became the standout moment of the movie and even included a little animated Blue Bird, because regular listeners will know. I do love my animation.

But the scene that hits hardest, not just for me, but I think for many people especially, is the expectations versus reality scene. A split screen showing Tom's expectation of going to a party at Summer's apartment versus the reality of what happens at the party.

Both versions play simultaneously, starting out relatively annoying, but gradually diverging in painful ways. In Tom's expectations, Summer is thrilled to see him.

They have meaningful eye contact, she's affectionate, they connect deeply, and there are hints of reconciliation. In reality, Summer is polite but distant. She's mingling with other guests. Their interactions are awkward, and she's clearly moved on emotionally.

The gut punch comes when Tom notices Summer's engagement ring. In his expectations, this moment doesn't exist at all.

The two sides of the screen finally converge on this single, devastating reality that she is engaged to someone else.

And the scene brilliantly captures the gap between what we hope for and what actually happens, especially after a breakup when we're still holding on to some hope. We almost tell ourselves the outcome of something because it's the outcome we think we want.

It's relatable because we've all experienced a painful moment like that where the reality just punches you in the gut. Now, this is the only part of the movie for me where Summer is at fault.

Not for moving on or getting engaged, but for not telling Tom upfront at Millie's wedding that she was getting married, or, at the very least, that she had met Someone new. She'd always been honest with him and maybe she was afraid of his reaction.

But why then invite him to a party at yours if you're wearing a ring and other people at the party know you're engaged? Summer should have told Tom, but that's the only thing I can actually fault Summer for.

But then I suppose we'll go back to the great thing about this movie.

Whatever stage in your life you're at, you can watch this movie and you can see this movie in completely different ways at different stages of your life. You could watch it and believe Summer is the villain.

Or you can experience a bit more of life and love and see that Tom isn't necessarily wrong, but he's immature and shouldn't be projecting all his wants and desires onto a woman who has told him that she's not that into him. It's a lesson for all of us.

If a person says they're not that into you or employs it by suggesting a situationship when you want more, then they're not going to change their mind just because you want them to. They may change their mind because they want to change their mind, but you can't really rely on that happening.

So if you're not happy, you should move on and find someone who you can be happy with and who does want the same things as you. As for Scott Neustadter, he may not have had his happily ever after with his Summer, but he also found his Autumn.

And if you're new here and you don't know what this is, it's where I try and link every move without a feature with Keanu Reeves, because he is genuinely the best of men and always will be.

However, that was the only way I could think of to link this movie to Keanu Reeves, literally, because of the name of the building. That is the level of link that I'm trying to make. It's very difficult sometimes to link him to movies, but I thought this was a fun one.

I've already kind of mentioned the music in the movie and the soundtrack was crucial to the film's identity. It features indie and alternative tracks from artists like the Smiths, Regina Spector and obviously Horn and Oates.

Music wasn't just background, it was integral to Tom's character, his connection with summer and the film's emotional landscape. Two soundtrack albums were released for 500 days of summer.

The first consisted of various pop songs from the film and the second has the score, which was composed by Michael Danna and Rob Simonson. 500 Days of Summer made its debut at the 25th Sundance Film Festival, where it was a huge success and received a standing ovation in Europe.

For a little independent movie, all of those things were a huge deal. It opened at 11th at the US box office from only 27 cinemas.

It peaked at ninth in its fourth week as it opened wide to 817 cinemas and it was bolstered by good word of mouth and an online marketing campaign that posted exclusive clips and used social media to promote the movie, including a partnership with a dating website, Guardian Soulmates, for a Screenmates event in which users of the site could win a chance to attend an early preview of the film, followed by a drinks reception in central London.

On its modest $7.5 million budget, 500 Days of Summer grossed $32.4 million domestically in the U.S. and $28.3 million internationally for a total worldwide gross of $60.7 million. Not bad for a little indie movie not about love. Unlike Tomatoes, it has a rating of 86%.

500 Days of Summer received two nominations at the 67th Golden Globe Awards for Best Motion Picture, Musical or Comedy and for Joseph Gordon Levitt for Best Actor, Musical or Comedy. It would lose Best Motion Picture, Musical or Comedy to the Hangover and Best Actor, Musical or Comedy to Robert Downey Jr. For Sherlock Holmes.

It was also nominated for three Independent Spirit Awards for Best Film and Best Male Lead and won the award for Best Screenplay.

In researching this movie, it surprised me how controversial it actually is, and I get you either like it or you don't.

I'm very much in the former camp, but a lot of the controversy seems to be around unlikable and pretentious characters, or specifically the manic pixie dream girl trope. And I think much of this criticism comes down to the character of Summer rather than Tom.

But there's a reason why Summer comes across the way she does. She is actually a reflection of Tom's self indulgence and arrogance. Summer is whatever Summer is because Tom is framing her in that way.

Summer is the quote unquote perfect girl because that's how Tom sees her, not how Summer sees herself.

Tom creates an entire backstory for Summer, not actually taking the time to find out about her real backstory when he does ask about her past relationships. The photos we see on screen aren't the people Summer dated, but who Tom thinks Summer dated. Tom is inherently unlikable, but that's not a bad thing.

Tom is just the sort of person who projects perfection onto someone who will never live up to that perfection. Which to be honest, is something I've probably been guilty of in the past too.

Rose tinted glasses believing someone is perfect for you when they're clearly not.

The whole point is, is the movie is taking that stock rom com character, whatever gender they may be, in this case Tom, and pointing out the flaws of that behavior, not having it praised purely because they're the lead character in your movie. And that's why so many rom coms, in my opinion, don't work. The characters don't act like people, they act like characters in a movie.

While 500 Days of Summer effectively switches the traditional gender norms of girl is obsessed with guy, guy just wants a casual fling.

It also takes the tropes and cliches and uses them effectively to tell you what he's doing wrong, but then also using the non linear story to tell us up front that this isn't going to be what we expect.

Even the cinematography is meant to highlight the conceited nature of rom coms, the use of colour to put focus on summer because that's what Tom wants, but also the pretentious sepia toned films that are literally his depression, void of all color. Because without summer is color even worth it? Without summer, is music even worth it?

The way the movie uses music can literally tell you what Tom thinks or wants. He and Summer bond over the Smiths so when they break things off, he plays the Smiths in the office to get her interest.

He plays a song called Please Please, Please Let Me get what I Want. Could he be any more obvious and desperate? Summer is not perfect. The movie just frames her that way. Tom is an unlikable protagonist and that's okay.

We all want to have that. You make my dreams moment as long as it's with the right person. Whether for Tom, that's Autumn is another conversation entirely.

Does the day count reset to show Tom's growth as a person, or does it reset because he's just going to make the same mistakes again? With Autumn I like to think it's the formal, but the truth is sometimes people just don't learn from their mistakes.

That's what makes this movie stand the test of time. It's not anchored in a particular era, but it is anchored in a timeless story of boy meets girl. But not necessarily the right boy or the right girl.

Thank you for listening. As always, I would love to hear your thoughts on 500 Days of Summer. And as always, thank you for your continued support of this podcast.

If you want to show your support in multiple different ways, you could leave a rating or review wherever you found this podcast. You could tell your friends and family about this podcast or you can find me and follow me on social media and you can share the podcast that way.

I am@VerbalDiorama. You can share posts like posts, comment on posts.

It all helps really to get the word out there and to hopefully get other people to know this podcast and know what I've been doing for crikey almost the last seven years now. How mental is that? But I genuinely love doing this podcast and anything you could do to help would be so appreciated.

If you like this episode on 500 Days of Summer, you may also like a previous episode that I've done on another rom com that has an extremely unlikable lead character, but again that is one of the best examples in the whole genre.

I am admittedly not a huge fan of the rom com genre, but the ones that I love are I love very deeply and I want to recommend episode 145 on My Best Friend's Wedding. That is a great movie and Julia Roberts is the worst in that movie.

However, that's what makes the movie great because she acts like a real person and not a stock rom com character. As always, give me feedback. Let me know what you think of that episode or what you think of that movie.

So the next episode the Good guys dress in black. Remember that just in case we have a face to face and make contact.

The title held by me mib means what you think you saw, you did not see so don't blink be what was there is now gone Black suit with the black Ray Bans on Walk in shadow, move in silence Guard against extraterrestrial violence but yo we ain't on no government list we straight don't exist no names and no fingerprints Saw something strange watch your back because you never quite know whether MIB's is at well you will because it's coming next on the podcast. So yep, we are having more Will Smith because why not?

Please join me next week for the History and Legacy of Men in Black and I did consider wrapping that, but I am no Will Smith, so probably best not now.

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