It can be said that popular culture and real life world are interdependable as they influence each other. Popular culture effects everyday lives with its representation of certain matters, whereas real-life events can be so powerful as to guide what popular culture will represent. The most concerning thought about popular culture is the fact that it can represent people, culture and concepts in stereotypical and prejudicial way. It is therefore of high importance to analyse which stereotypes are the most recurrent ones in order to if not prevent them, then at least reduce their recurrence or to make people aware that they do not have to behave in accordance with different roles that are being continuously displayed in popular culture. This thesis chose to analyse gender roles that are appearing in romantic comedies. Its main aim is to observe, analyse and explore gender roles in romantic comedies. Research is based on two main theoretical frameworks – representational and discourse theory. Analysis is done based on total of twelve romantic comedies. Half of them, declared as older romantic comedies, were produced around 2010, whereas the other half, referred to as newer romantic comedies, were produced around 2020. Such division was made in order to see if there has been any progress or change in representation of gender roles during these ten years. Regarding gender roles, they are divided into four spheres that were recognized as the most recurrent ones in the representation of gender roles in romantic comedies – occupations, personality traits, domestic behaviours, and physical appearance. Personality traits are further divided into gender personality characteristics – being emotional, asking for help/giving advice, being nurturing/self-serving, dominance/submissiveness, and perspective towards love. Analysis of gender roles in popular culture of other writers and academics is also given, as well as its comparison with the results of analysis done in this thesis.