The holiday season is defined by traditions. Antiquated cuisine like fruitcakes emerge from recipe archives; mid-19th century songs like "Jingle Bells" create festive atmospheres as they pervade shopping centers. Flamboyant sweaters are donned, perhaps not quite as ironically as people insist, and television shows air Christmas specials with no plot relevance to the rest of the series; viewers stream them sequentially. Watching a lit fireplace on screen has become a December mainstay, with options like Nick Offerman drinking Lagavulin next to it for 45 minutes. And then there’s the litany of Christmas movies. Each holiday custom has its ardent supporters, but the debates around Christmas movies seem particularly heated.
At the center of this discussion is the 1988 action blockbuster, Die Hard, which has become the subject of intense debate about what constitutes a Christmas movie. While Christmas music seems self-evident, with some controversial songs like "Baby, It’s Cold Outside" getting canceled for suggestive lyrics (despite not mentioning the holidays), the case for Die Hard being included among holiday classics remains fierce. I propose we drop the arguing over whether it’s anti-Christmas or not and simply acknowledge it as part of the seasonal syndicate.
There are many arguments made to defend Die Hard’s status, and according to the Denver Gazette, there are seven compelling reasons why it qualifies as a Christmas movie. Director John McTiernan and screenwriter Steven E. de Souza have both proclaimed it to be so. Yet, Bruce Willis, the film's main star, has famously declared just the opposite. The conversation has bubbled up to theatrical performances, with Simon Abbot and Byron Martin’s musical, Die Harsh: A Christmas Musical, making waves as a new holiday tradition in Edmonton.
Even AI language models like ChatGPT refuse to take a firm stance, claiming different criteria for what qualifies as a holiday film are subjective. But don't mention this to academic circles. There’s substantial scholarly backing for including Die Hard within the Christmas film canon. Scholar-practitioner Nathan Scoll, who holds both a PhD in English and screenwriting credits, employs genre analysis to substantiate his claim: "Yes, Die Hard is a Christmas Movie." Scoll asserts it's not about mere taste, but rather reflects effective marketing conventions for consumer audiences.
This fervor over defining cinematic genres isn’t unexpected; I recall when I taught philosophy, my students became most animated discussing whether hot dogs qualify as sandwiches—not some weighty social issue. This season, as we navigate cultural conversations often marked by distancing from the religious essence of Christmas, the idea of maintaining the notion of what constitutes ‘Christmas’ films appears almost quaint.
Let’s shift our focus and rethink how traditions are defined this season. My friend and colleague, Paul Gareau from the Faculty of Native Studies, introduced me to his perspective on what makes Indigenous food traditional. He pointed out hamburgers soup is primarily about the social relationships it fosters, not merely rooted in historical origin or specific ingredients. This soup simmers on the stove as communities gather around it, fostering relationships integral to the Métis cultural identity.
Returning to Christmas, perhaps we similarly evaluate Die Hard as we do with fruitcake. It has its die-hard fans (pun intended) and those who dismiss its merit; both perspectives coexist. But much like the annual return of fruitcake to festive tables, what makes it part of Christmas isn't just its mere appearance after November. It’s about the shared memories and laughter over why it remains tradition—whether loved or loathed.
The essence of celebrating Christmas traditions lies not merely within objective criteria or rubrics but is encapsulated by the relationships woven around them. So if indulging in what some deem excessive violence or inappropriate humor via Die Hard is part of your holiday rituals and helps forge those bonds, why not embrace it? Maybe it’s time we call this cultural miracle what it is, allowing space for everyone’s tradition—especially during this season.
Dr. Joseph R. Wiebe is associate professor of Religion and Ecology at the University of Alberta Augustana and the director of the Chester Ronning Center for the Study of Religion and Public Life. The Edmonton Journal thanks its subscribers for their continued support and encourages everyone to bookmark our page for the latest news and happenings.
