“In November, the trees are standing all sticks and bones. Without their leaves, how lovely they are, spreading their arms like dancers. They know it is time to be still.”— Cynthia Rylant, In November
Here November is, a precursor to the long hard slog of a Canadian winter, and what a chilled November it is. It’s a month of in-betweens and a month of rushing: to get out of the cold, to enjoy what daylight there is, to get our shopping done or take advantage of the sales, to hurry toward our still-far-off holidays and the new year, anything to distract us from right here, right now.
It is, in short, a month that threatens misery and exhaustion…unless you decide to make like the clever creatures of the wild and get cozy. Unfortunately, we live in a society where human hibernation is not really viable (although maybe it could be one day), but that doesn’t mean we can’t get into the spirit of settling in somewhere warm and indulging in comfort.
Some might call December holiday season. And it is! But it’s also the season of another cheerful, warming tradition: the romantic comedy. Think about it. What goes better with cozy twinkle lights and a steaming mug of tea than two people falling in love? With Hallmark finding new life with the Christmas rom-com boom—and Netflix getting in on the action—it seems like we’re all yearning for a little something sweet come the holidays. Personally, my current watch list is stocked with Love Actually, The Holiday, Bridget Jones’s Diary, and the like, and it will be until the post-holiday blues wear off.
The sudden resurgence of the rom-com genre in both film and book format seems ripe for analysis. Why are these stories so satisfying to us, when we can accurately map out each plot point and know literally from the beginning how they’re going to end? And why do they go through periodic booms? Well, like any genre, rom-com popularity is surely at the whim of trends, which come and go mostly without explanation. But I think there might be something more to it.
The most obvious place to look is, quite simply, the state of our world. With our relatively new access to the incessant, depressing, soul-crushing 24 hour news cycle—giving us access to previously obscure horrors from around the globe in addition to our own backyard—it’s easy to lose faith in just about everything. Whether or not the world is in a worse state than it’s ever been, the fact is we now know how terrible things are (whereas before, we may have only gotten the news in bits and pieces). So what better antidote to real-world horror than candy-coated, perfectly contrived narratives that by necessity end with a happily-ever-after? As Hugh Grant’s character says in the opening scene of Love Actually, “Whenever I get gloomy with the state of the world, I think about the arrivals gate at Heathrow Airport. General opinion’s starting to make out that we live in a world of hatred and greed, but I don’t see that. It seems to me that love is everywhere.” Hugh’s version of Heathrow Airport holds the same kind of heartwarming, best-version-of-humanity qualities that we love in romantic comedies. It’s a world where the good outweighs the bad, where love always wins, where you know exactly how things are going to play out. It is, in a short word, comfort.