To what extent can Shakespeare's play 'Much Ado About Nothing' be considered a "straight-forward" romantic comedy?

We see a strong example of the play being a "straight forward" romantic comedy when Beatrice is tricked into hearing that Benedick loves her. She proclaims to herself that she will be 'taming' her 'wild heart' for Benedick's love. The word "taming" could suggest that Beatrice is calming down and maturing her attitude towards the prospect of love, as before she claimed to hate anything to do with the matter, hence her heart being once "wild". This interpretation appeals to modern audiences as a straightforward romantic comedy, as it shows the romantic development of a character. It also could be seen, however, that by "taming" her "wild" nature, she is planning on domesticating herself. Though to modern audiences this may seem a darker social issue in the play, this is a further show of the play being overall a straightforward romantic comedy as it would abide to Elizabethan social expectations. For a resolution suitable for Elizabethan times, the outcome would have to be that Beatrice is "tamed" in her relationship with Benedick, for even though the audience would find her "wild" nature humorous, women were not meant to remain that way. The fact she wishes to tame herself, shows her own personal realisation of how women were expected to be, and yet also could suggest that she is retaining some power by choosing to do so herself. Friedman (source) furthers this view, as he talks of the play having Beatrice be "hushed on purpose" to have a proper resolution, with male dominance playing a key part in this resolution. Though it's interesting that Beatrice is choosing to "tame" herself in this play, which could suggest a subtly unconventional resolution as it was not fully instigated by a man, overall the outcome abides to straight-forward, Elizabethan romantic comedy conventions as she ends up being a tamer woman and a 'good wife'. We further see Much Ado About Nothing being a straightforward romantic comedy when Benedick is tricked into believing Beatrice is in love with him. Upon believing he has her love, Benedick says in a soliloquy that he will be "horribly in love with her..." The word "horribly" is juxtaposed alongside the word "love". The word "horrible" could thus imply that Benedick dislikes his love for her and is unhappy because of it. Notably, it instead could mean that his love is so great that he can't express it positively, that it's so vast and complicated that the only word he can use to explain his feelings is "horrible" because of the unfamiliar magnitude of his feelings, a feeling likened to the sublime. This shows how new Benedick is to the feeling of love, for even if he has loved her for a long time subconsciously, actually realising it has made his emotions muddled. Benedick being "horribly in love" is also very heartwarming for all audiences of the play, for you see the character who once found love horrible, to now be "horribly in love". Furthermore, Benedick and love itself seem to be a juxtaposition, as he claims to hate love, thus the language mirrors the shift in his character. The fact Benedick is overcoming hurdles with his feelings to be able to realise his love for Beatrice makes the play a straight forward romantic comedy, with conventions of the genre being characters who overcome their difficulties and pride to follow their true emotions.