How TV holiday rom-coms got so successful (Encore)

Summary

Summary of "How TV Holiday Rom-Coms Got So Successful (Encore)" – The Indicator from Planet Money

Release Date: December 24, 2024
Hosts: Waylon Wong and Adrienne Ma

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Introduction to the Holiday Rom-Com Phenomenon

In the holiday season, audiences across television and streaming platforms are greeted with an abundance of heartwarming romantic comedies. In this encore episode of The Indicator from Planet Money, hosts Waylon Wong and Adrienne Ma delve into the evolution and burgeoning success of made-for-TV holiday rom-coms. They explore how these films became a staple, driven by strategic decisions from television executives and shifting audience appetites.

Hallmark's Pioneering Role in the Genre

Waylon Wong and Adrienne Ma highlight the pivotal role of Hallmark Channel in transforming the landscape of holiday rom-coms. Bill Abbott, former CEO of Hallmark Channel's parent company, provides historical context:

"For the most part, the TV movie space was really only a few movies leading up to Christmas. You know, maybe five or six Christmas movies a year."
[03:02] Bill Abbott

Recognizing an untapped market, Hallmark launched Countdown to Christmas in 2009, significantly increasing the number of holiday films. Within a few years, Hallmark expanded to air 12 original holiday movies annually, featuring titles like A Princess for Christmas and Mistletoe Over Manhattan.

"There was a little bit of that [12 Days of Christmas] there, to be candid. We kind of thought, what's a good number? And 12 kind of made sense for the business model anyway."
[04:15] Bill Abbott

Budget Constraints and Production Strategies

One of the key factors behind the proliferation of these holiday rom-coms is their frugal production approach. Bill Abbott explains that Hallmark allocated approximately $12 to $15 million for a dozen movies, a fraction of the budget compared to Hollywood productions like Paramount’s No Strings Attached, which cost around $25 million.

"You look back. There are Christmas movies that had no snow, that were clearly in warm weather, things we would never do now because we didn't have the budget to create that overall setting and location."
[04:56] Bill Abbott

To maximize resources, these films typically feature simple, small-town settings and are filmed swiftly, often within a few weeks. This approach not only keeps costs low but also fosters a consistent and immersive Christmas atmosphere that audiences crave.

Casting and the Role of Familiar Actors

The strategic casting of recognizable actors plays a significant role in the genre's appeal. Danica McKellar, renowned for her role as Winnie Cooper in The Wonder Years, is a notable figure in holiday rom-coms. She remarks on the efficiency of such productions:

"We have so many years in the business that we don't need more than two takes."
[05:56] Danica McKellar

Her involvement, along with other familiar faces, attracts loyal viewers and provides a sense of continuity and reliability to the genre.

Additionally, the decision to film in locations like Ontario, Canada, leverages substantial tax credits (35-40%) offered by the provincial government, further reducing production costs.

"Christmas at the Drive In. In this film, her character is trying to save the town drive-in movie theater from getting torn down."
[07:02] Danica McKellar

Challenges in Diversification and Modernization

Despite its success, the genre faces critiques regarding its lack of diversity and over-reliance on traditional tropes. Yulene Kuang, a screenwriter, shared her experience attempting to introduce more contemporary and diverse elements into Hallmark's scripts:

"After maybe like three or four rounds of that back and forth, I'm sure some beleaguered executive at Hallmark was like, pull the plug."
[09:03] Yulene Kuang

Kuang's efforts to infuse the narrative with references to real-world figures and incorporate political themes were met with resistance, reflecting the network's preference for non-controversial and universally appealing storylines.

Yulene’s experience underscores the delicate balance Hallmark seeks between maintaining its signature feel and evolving to embrace more diverse storytelling.

Industry Insights and Future Directions

Bill Abbott emphasizes the importance of avoiding excessive sentimentality while maintaining the genre's charm:

"One thing we have is like the cheese alert. The minute we sniff it out, it's like, move on."
[10:15] Bill Abbott

This “cheese alert” ensures that the films remain endearing without tipping into over-the-top sentimentality that might alienate viewers.

Furthermore, while Hallmark and similar platforms have gradually introduced more diverse stories, the genre predominantly features straight white couples and idyllic settings. However, there are signs of progress, with films like Hulu’s Happiest Season (2020) starring Kristen Stewart, recognized as the first queer Christmas rom-com.

Conclusion

The success of made-for-TV holiday rom-coms is a testament to strategic planning, budget-conscious production, and an understanding of audience desires for comforting, predictable narratives during the festive season. While the genre continues to thrive, ongoing efforts to diversify and modernize its offerings could further enhance its appeal. As the holiday season approaches each year, networks like Hallmark remain at the forefront, crafting stories that bring warmth and joy to millions of viewers.

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Notable Quotes:

• "We have so many years in the business that we don't need more than two takes."
  — Danica McKellar [05:56]

• "Before going into it, I thought they were very vanilla kind of cookie cutter romances. What I have learned is that there's a lot of work that goes into the making of a Hallmark movie."
  — Yulene Kuang [09:36]

• "One thing we have is like the cheese alert. The minute we sniff it out, it's like, move on."
  — Bill Abbott [10:15]

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This detailed exploration provides a comprehensive understanding of the factors contributing to the rise and sustained success of holiday romantic comedies on television and streaming platforms. Whether you're a long-time fan or new to the genre, this episode offers valuable insights into why these heartwarming stories continue to captivate audiences year after year.

Transcript

[Waylon Wong]

Happy Holidays from the Indicator. For the next week, we are running some of our favorite shows from this year. Today's episode is about how the heartwarming holiday rom com became a staple of TV and streaming platforms.

[NPR Announcer]

Npr.

[Waylon Wong]

Ah, do you feel that, Adriene? That nip in the air, the crispness of the fall leaves?

[Adrienne Ma]

I can smell the pumpkin spice.

[Waylon Wong]

Ah, for me, fall is the most romantic season.

[Adrienne Ma]

That's right. This is the Indicator from Planet Money. I'm Adrienne Ma.

[Waylon Wong]

And I'm Waylon Wong. Today on Love Week, we're unwrapping the Made for TV holiday rom com and how television executives figured out how to mass produce seasonal romance. That's after our theme song.

[Adrienne Ma]

We have a theme song?

[Waylon Wong]

Yes, and it's by Grant Lee Phillips, who is the town busker on Gilmore Girls, the TV show about a little romance.

[Adrienne Ma]

Watch a rum come holding hands, a provocative plot. Open the window cause the market's hot.

[Waylon Wong]

It'S steamy in this place. I might have to change to something comfortable.

[Adrienne Ma]

Love Weak is love.

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[Adrienne Ma]

SIPC it's become kind of a national pastime to grumble about how the holiday marketing Blitz seems to start earlier and earlier every year. But believe it or not, there was a time when it seemed like there was not enough Christmas, at least not when it came to made for TV movies. Bill Abbott was CEO of Hallmark Channel's parent company for over a decade, and he remembers those barren days way back in the early 2000s.

[Bill Abbott]

For the most part, the TV movie space was really only a few movies leading up to Christmas. You know, maybe you do five or six Christmas movies a year.

[Waylon Wong]

Bill says he and others at Hallmark believed there was a big untapped audience for Christmas content. People who wanted presents, snowflakes, sleigh rides, and most importantly, they wanted PG rated romance.

[Adrienne Ma]

So in 2009, Hallmark launched Countdown to Christmas, a collection of movies that would air in the weeks leading up to December 25th. And Bill says things really got going a couple years later. That's when the network aired 12 original holiday films with titles like A Princess for Christmas and Mistletoe Over Manhattan.

[Waylon Wong]

Did you pick that because it was like the 12 Days of Christmas?

[Bill Abbott]

There was a little bit of that there, to be candid. You know, we kind of thought, what's a good number? And 12 kind of made sense for the business model anyway.

[Waylon Wong]

A key part of this business model was frugality. Bill says they spent around 12 to 15 million dollars on those dozen movies. To give you an idea of how thin that shoestring is, around that same time, Paramount released a romantic comedy in theaters called no Strings Attached, starring Natalie Portman and Ashton Kutcher. That single rom com cost a reported $25 million to make.

[Adrienne Ma]

Yeah, Bill did not have that kind of Hollywood budget, so there were some trade offs made.

[Bill Abbott]

You look back. There are Christmas movies that had no snow, that were clearly in warm weather, things we would never do now because we didn't have the budget to create that overall setting and location. That is, we've learned, is so critical to making the viewer become immersed in Christmas. And so those were choices that we had to make just due to financial constraints.

[Adrienne Ma]

Even without Hollywood A listers and elaborate sets, these movies have found both enthusiastic viewers and advertisers. Hallmark already kicked off Countdown to Christmas last week and will play holiday movies 24, seven through the season. And this year's lineup has over 30 new films. Streaming services like Netflix and Hulu have also aired their own original holiday rom coms.

[Waylon Wong]

As the genre's expanded, so have budgets. But a lot of the cost saving measures from the early days have stuck around. For example, the movies tend to have simple small town settings and they're shot quickly in just a few weeks.

[Danica McKellar]

We have so many years in the business that we don't need more than two takes.

[Waylon Wong]

You may recognize that voice as Danica McKellar. She played girl next door Winnie Cooper in the TV series the Wonder Years. She is also a Christmas movie mainstay. Maybe you watched Crown for Christmas or Coming Home for Christmas on Hallmark.

[Danica McKellar]

You'll see a lot of, you know, 90s child stars like myself in these movies, in part because we know how to do this stuff.

[Adrienne Ma]

Danica is now at a network called Great American Family, which Bill Abbott launched after leaving Hallmark. Danica followed Bill when he switched jobs and so did several other actors, along with the holiday movie Playbook that Bill helped develop at Hallmark.

[Waylon Wong]

One strategy in the Playbook is shooting in Canada. The provincial government in Ontario offers a tax credit of 35 to 40% as long as productions meet certain requirements around hiring local labor and services.

[Adrienne Ma]

One movie Danica shot in Ontario was Christmas at the Drive In. In this film, her character is trying to save the town drive in movie theater from getting torn down.

[Danica McKellar]

Christmas is a beautiful tradition and so is the Drive In. If that goes away, how could that possibly be a good thing for Brennington?

[Adrienne Ma]

Classic. Rescuing a troubled local business is, of course, a recurring theme of these movies. So of course we had to ask Danica about this economic angle.

[Danica McKellar]

We don't like to have a lot of bad guys because we don't want to model bad behavior. So who's the bad guy? The bank. The rates have gone up. The bank is going to have to foreclose. Right. You're not fighting against a person. You're fighting against the big economic structure that works pretty well most of the time in this country. But then there's some pitfalls, right?

[Waylon Wong]

Yeah. Capitalism. Are you allowed to say capitalism in a script?

[Danica McKellar]

Are we allowed to say capitalism? It's never come up. But, you know, you don't want to get political in these scripts because our goal is to make people feel good. So if you bring up anything controversial at all that might interrupt their feeling.

[Adrienne Ma]

Good, these stories present a pretty specific view of the world. One persistent critique of the genre is that it predominantly features straight white couples, although you can now find more of a variety of stories at Hallmark and other streaming services. Hulu released a rom com called happiest season in 2020, which starred Kristen Stewart, and Variety said it was the first queer Christmas rom com.

[Waylon Wong]

A lot of the movies, though, still tend to take place in small towns or the occasional fictional European monarchy. That's untouched by current events or even pop culture. Yulene Kuang realized this in 2019 when she was hired to help write a Hallmark rom com called Love on Ice. And spoiler alert, it's part of my.

[Yulene Kuang]

Lore that I was fired by Hallmark.

[Adrienne Ma]

Aww. Yulene says she worked on the script with a partner, and they kept getting notes that the writing was too, too hip for Hallmark. Like, for example, one draft had a reference to George Clooney and his wife, Amal. Yulene said that had to go. So did a mention of a character working in politics.

[Yulene Kuang]

After maybe like three or four rounds of that back and forth, I'm sure some beleaguered executive at Hallmark was like, pull the plug.

[Waylon Wong]

Yuleen and her partner were let go via a polite conference call. But Yuleen says they did get paid. She remembers her earnings being $30,000, and she and her partner are still credited as writers on the movie. That means they get residual payments whenever the film airs.

[Adrienne Ma]

Yulene has since moved on to rom com projects with major studios, but she says she's still grateful for the Hallmark gig as a milestone in her early career.

[Yulene Kuang]

Before going into it, I thought they were very vanilla kind of cookie cutter romances. What I have learned is that there's a lot of work that goes into the making of a Hallmark movie. That said, I do hope that they continue to go more diverse and give more opportunities to other plucky young screenwriters and other plucky not so young screenwriters.

[Adrienne Ma]

As for Bill Abbott, he says a vanilla cookie cutter production was never his vision. There's a fine line, he says, between familiari and repetition, between earnestness and something that's too sentimental.

[Bill Abbott]

One thing we have a it's like the cheese alert. The minute we sniff it out, it's like, move on.

[Waylon Wong]

Is there like a button you press to play a sound in like a screening room where you use the cheese alert?

[Bill Abbott]

That's a great idea. I watched a movie today that I would have been pushing the button all day long.

[Waylon Wong]

This episode was produced by Julia Richie with engineering by Kwesi Lee. It was fact checked by Sierra Juarez. Cake and Cannon is our editor. Our Love Week theme song is by Stars Hollow's finest, Grant Lee Phillips, and the Indicator is a production of npr.

[Adrienne Ma]

We wanted to take a moment as the year comes to a close, to say thanks. Your support is what keeps NPR and the Indicator going.

[Waylon Wong]

An easy way to support our work is through npr. If you've already joined, we really appreciate it. If you've never given to public media or you haven't in a while. We would love for you to consider it.

[Adrienne Ma]

A small recurring donation gets you perks for more than 25 NPR podcasts like sponsor free listening and bonus episodes. Go to plus.NPR.org for details. Thanks again for being part of the public media community.

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