On this year’s exploration of the Christmas film genre, Ryan and Todd look to three films from the early-2000s: The Family Stone, Love Actually, and The Family Man (but not Elf, to one host’s disappointment). The hosts theorize two core concepts across these films and, by extension, the Christmas films they have covered in general: deepening the cut in the family dynamic to integrate an antagonism and a Christmas articulation of Shakespeare’s Green World (a concept famously developed by Northrop Frye). The hosts layer these new ideas atop prior Christmas film genre concepts such as the necessity of the castration of the father, the misfit, the rejection of cynicism, and seeing a flawed person as though they are an unwrapped present.On a personal note (this is Ryan speaking), I just want to take a second to thank everyone for the support over the years. As I mention early in the episode, I recently made it through the tenure process successfully, which is a pretty big career milestone for me. It took an awful lot of work to get tenure, and I couldn’t have found as much depth and meaning in that work without this audience. Thank you, everyone.

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