Blake Lively’s It Ends With Us is perhaps this summer’s least surprising surprise hit at the box office. A $25 million adaptation of Colleen Hoover’s bestselling romance novel, the movie opened with $50 million and came in behind only Lively’s husband Ryan Reynolds’ Deadpool & Wolverine, which is in its third week in theaters. This is the first time ever that two films have earned more than $50 million in a single Friday-Sunday frame during August, and—small sample size alert!—the first time since the summer of 1990 that the top two movies have featured a husband and wife. (Back then, it was Demi Moore in Ghost and Bruce Willis in Die Hard 2.)

It Ends With Us drew an 83 percent female audience, according to Sony. And while that shouldn’t be a surprise, either, it may be for Hollywood. Indeed, female-focused melodramas have become an endangered species. The romantic comedies, melodramas, and cat-and-mouse thrillers that once provided starring vehicles for Sandra Bullock, Julia Roberts, and Ashley Judd have since famously gone the way of the Western. The romantic comedy has declined to such an extent that Amy Schumer’s Trainwreck, in 2015, was successfully sold as the last of a dying breed. By 2016, films like Practical Magic, Double Jeopardy, Sisterhood of the Traveling Pants, and Julie & Julia had become at best once-a-year events in theaters.