Let It Snow follows several high school seniors in Laurel, Illinois, on Christmas Eve during a heavy snowstorm. Julie meets pop star Stuart when a train stops, but she must choose between Columbia University and staying near her sick mother. Dorrie hides her feelings for cheerleader Kerry while her friendship with Addie falls apart. Tobin tries to tell his best friend Angie that he loves her, and Keon works to save a party at Waffle Town. The tone is bright, sweet, and playful, with some sad family moments.
The clearest woke element is Dorrie and Kerry's same-sex romance. Kerry fears being open about it, but the film ends with her kissing Dorrie in public and starting a relationship. The movie treats this couple as equal to the straight couples, and the romance is a real part of the ensemble story rather than a quick joke. The film also uses a visibly diverse group of young people in key roles, including Julie, Stuart, and Keon. The film presents this broad mix as a normal and welcome picture of modern young people.
Community feedback
Was our 57% Woke rating accurate?
Breakdown
These are the editorial factors and ratings behind our score for Let It Snow.
Woke representation / casting
The movie gives major roles to a Peruvian American actress, a black actor, and a Filipino American actor. The ensemble also includes a same-sex couple and several prominent girls who drive their own choices. Publicity describes the cast as diverse across race, gender, sexuality, and body type. The setting is modern Illinois, so the mix is possible, but the repeated identity framing remains easy to notice.
42%
Woke political dialogue
Not present. The teens talk about love, college, illness, fame, friendship, and a party, not politics or social causes.
0%
Identity-driven story themes
The movie gives Dorrie and Kerry a recurring same-sex romance. Kerry's fear of coming out causes her to hide Dorrie from her friends. The story ends by affirming the relationship with a public kiss and a new commitment. The subplot is one of the film's main romance threads, but the larger story also centers on family, college, friendship, and ordinary teen dating.
48%
Western institutional / cultural critique
Not present. The story does not attack religion, family life, capitalism, or traditional gender roles. It shows personal problems and teen romance without a wider institutional or cultural critique.
0%
Woke character or canon changes
The movie adds Dorrie and Kerry's queer romance to a book that did not include it. The added story gives Kerry a coming-out fear and makes their public kiss part of the ending. The film also joins several book stories and changes other plot details, but those changes are not identity-driven.
42%
Anti-woke backlash and complaints
The Movie Buff review calls the film “a bit too woke” while still saying it is enjoyable. The Film Blog labels it “woke Love Actually.” One IMDb user review calls the changes “forced diversity” and objects to the new romance and rewritten characters. These comments are scattered and mixed, and major news coverage did not show a broad anti-woke campaign.
24%
Creator track record context
Luke Snellin has directed work about fluid sexuality, gender, and queer relationships. Maureen Johnson has written and defended lesbian-focused young adult stories, and Lauren Myracle has defended LGBTQ-inclusive publishing. John Green has LGBT-themed writing and charity work, while Kay Cannon has spoken about feminist angles in comedy. The other listed writers, producers, and casting director have little public activist or DEI record in the cached context.
42%
Production
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