“I just want to be loved… preferably by Christmas.”

Join Ian, Liam (always listed second), Megs & Kev for our 310th episode as we swap mirror-lined jealousies and boxing-laden family dramas for frosted cottages, floppy fringes, and Nancy Meyers’ warm, impractical kitchens with The Holiday (2006). Crack open the mulled wine, argue about accents, and prepare to answer the most important seasonal question of all: is this even a Christmas film… or is it secretly a New Year’s movie pretending to care about tinsel?

This week we discuss:

• Whether The Holiday qualifies as a Christmas film at all — or if it’s really a New Year’s movie wearing a festive jumper, pressed into service only because our Patreon members voted it in as the Christmas review.
• How Ian possibly survives reviewing a film starring Cameron Diaz — given his long, storied, and deeply felt loathing toward her screen presence.
• How Megs approaches a film built around Jack Black — an actor she famously does not enjoy - despite her choices of undergarments - especially when he’s positioned as a romantic lead.
• Nancy Meyers’ world-building — does the film ever show us emotion, or does it rely entirely on characters telling us exactly how they feel at all times?
• Cameron Diaz’s Amanda — chaotic, guarded, and allergic to crying. Is this performance misunderstood… or exactly why Ian struggles?
• Kate Winslet’s Iris — earnest, wounded, endlessly self-sacrificing. Is she the emotional heart of the film or a fantasy of suffering femininity?
• Jude Law’s Graham — peak Meyers male fantasy, or walking red flag wrapped in knitwear?
• Jack Black’s Miles — pretentious douchebag, charming underdog, or the film’s secret emotional MVP?
• The dual-location structure — England vs. LA, coziness vs. confidence. Does the contrast deepen the story or just sell vibes?
• The film’s relationship with grief, loneliness, and romantic recovery — is it sincere, or comfort-food cinema avoiding real mess?
• Kev weighs in on the soundtrack and score cues — emotional shorthand or effective storytelling tool?
• Can we get over the plotholes? Who goes to LA to visit a house sight unseen and who leaves their dog behind for someone else to look after?
• The ending(s) — festive payoff, narrative convenience, or emotional earnedness? Haven't they just chosen a false ending once you really look at it?
• And finally, whether The Holiday is the Best Film Ever — or simply the most aggressively rewatchable seasonal comfort movie ever made.

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We are extremely thankful to our following Patrons for their most generous support:

• Juleen from It Goes Down In The PM
• Hermes Auslander
• James DeGuzman
• Synthia
• Shai Bergerfroind
• Ariannah Who Loves BFE The Most
• Andy Dickson
• Chris Pedersen
• Duane Smith (Duane Smith!)
• Randal Silva
• Nate The Great
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• Cheezy (with a fish on a bike)
• Richard
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• Stew from the Stew World Order podcast
• NorfolkDomus
• John Humphrey's Right Foot
• Timmy Tim Tim
• Aashrey
• Paul Komoroski

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Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor

Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/