A somewhat recent romantic comedy has actually been lauded for its treatment of this subject: Obvious Child from 2014 starring comedian Jenny Slate. From a Slate article:
In the new movie Obvious Child, twentysomething stand-up comic Donna gets pregnant after a drunken one-night stand, loses her job, attempts to schedule an abortion at her local Planned Parenthood clinic, and—cherry on top—discovers that the only available appointment is on Feb. 14. Turns out, it’s the perfect day: This is a romantic comedy where the girl gets an abortion and gets the guy. Along the way, she doesn’t even have a change of heart, contract a nasty infection, or succumb to a tragic death. That makes Obvious Child a run-of-the-mill story for a woman in America but an exceedingly rare tale for a woman on film.
Obvious Child executes [a] remarkable feat. While other films that touch on abortion conspire to neutralize a woman's choice, or else punish her for it, Obvious Child never dwells on Donna’s decision. (This is no “Donna’s Dilemma.”) Instead, it plays with all the other choices inherent in the abortion decision—like how much to involve the man in the choice, how to tell your mom, and how to talk about it all publicly—and it does it all with humor and poignancy without getting glib.
The article details the contrasting, stark depiction of the subject in previous works and its causes, but also contains another somewhat positive portrayal: A plot from the sitcom Maude in 1972:
Until Obvious Child, the best, most honest portrayal of abortion on screen aired in 1972 (after the procedure was legalized in New York, but before Roe took it nationwide), when Maude featured a two-episode abortion plotline titled “Maude’s Dilemma,” in which 47-year-old Maude becomes unexpectedly pregnant and spends a full television hour brashly debating every aspect of her choice with friends and family—including her age, her financial situation, her temperament, her husband’s feelings, and her daughter’s concerns. She ultimately chooses abortion, but not before the show wrings all possible feminist statements and dark laughs from the predicament.
Other notable (and recent) examples of this trope’s subversion