Holiday rom-coms surge to popularity every winter. Audiences create part of this phenomenon by unearthing cult classics from the 90s and early 2000s like “The Holiday,” “Serendipity” and “Love Actually.” However, these are not the only holiday rom-coms going viral on social media.
Hallmark Media capitalizes off the virality of holiday films by constantly churning them out. Last year alone, Hallmark produced 32 holiday movies.
While this number may not sound high, most film companies produce less than a third of that number. In addition, the number only counts the movies featured in their Countdown to Christmas series, excluding other seasonal films the company produces.
The company holds a monopoly over holiday movies, owning their own cable channel and recently launching their own streaming platform, Hallmark+. From holiday movies alone, Hallmark makes a third of their yearly revenue which adds up to about $350 million.
The amount of revenue generated from these movies coupled with the low price point of $2 million per film allows Hallmark to turn out movie after movie every holiday season.
There is nothing inherently wrong with this practice.
However, this practice has made the company prioritize quantity over quality. The movies feature many of the same actors and actresses along with obvious brand deals meant to bring in more money. One notable film from 2024 was “Holiday Touchdown: A Chiefs Love Story.”
The movie was released on Nov. 30, on the Hallmark Channel. Starring Hunter King and Tyler Hynes, the film centers around a die-hard Kansas City Chiefs fan and her family competing to win a Fan of the Year contest.
The connections between the Kansas City Chiefs and Hallmark are clear on and off screen. In fact, Chiefs Head Coach Andy Reid and Travis Kelce’s mother, Donna Kelce, both make cameos in the film. The on-screen partnerships are coupled with off-screen branding initiatives, including a Hallmark themed “Kiss Cam” called the “Star Cam,” which matches fans with their Hallmark holiday superlative, and a Hallmark-branded tailgating zone which was unveiled at Arrowhead Stadium.
This film released at a rather convenient time for Hallmark and the Chiefs. The Chiefs had just won the Super Bowl in February against the San Francisco 49ers. In a similar period, Chiefs tight end Travis Kelce and Taylor Swift announced their relationship at the end of 2023. These two major moments catapulted the Chiefs into further social fame, specifically with the female demographic between ages 18 and 25, as fans of Swift flocked to watch Chiefs games for the chance of seeing Swift on screen.
Hallmark has the same demographics, with approximately 70% of their audience being female, which begs the question, are the brand deals just a money grab, or do they speak to the dual interests of this demographic?
I frankly do not know.
Due to Hallmark films’ repeated plotlines and lack of diversity, social media users and critics of Hallmark have noted the company’s monopoly on the holiday. To me, Hallmark’s quick production films is vaguely reminiscent of the concept of fast fashion, a term which refers to the production of inexpensive clothes by mass-market retailers to keep up with trends.
While I do see the similarities between fast fashion and the rapid production of films, it is important to note that I think it is unfair to associate a company like Hallmark with brands that exploit workers. The average Hallmark actor, someone with lines but not a lead, makes around $1,251 and $3,575 per film. In comparison, SHEIN, a popular fast fashion brand, pays their factory employees around $831 to $1,385 a month.
While Hallmark may prioritize quantity over quality, they practice significantly more ethical practices than fast fashion brands. Even with their potential lack of quality and diversity, most Hallmark movies are a loved staple of the holiday season.
If people are brought joy from watching holiday rom-coms produced by Hallmark, who are we to judge them?
