The Necklace Is the Villain
There is a specific kind of cinematic horror that unfolds midway through Love Actually, and it is not the Portuguese subplot, it is the necklace.
You remember it. Alan Rickman, embodiment of tasteful marital disappointment, purchases a delicate gold necklace, intimate, considered, unmistakably romantic. Emma Thompson’s character, his wife, later opens a gift she believes will be that necklace and instead finds a Joni Mitchell CD. The necklace, we learn, has gone to his office flirt. Cue quiet devastation, Christmas music weaponized, and an entire generation learning what emotional betrayal looks like wrapped in velvet.
Which brings us, unavoidably to Elriel.
Elriel is the ship that asks us to believe that a man silently pining, emotionally withholding, and privately gifting jewelry to a woman who is already entangled elsewhere is somehow romantic, rather than a narrative red flag with a Tiffany receipt. And if that sounds harsh, I assure you: the necklace started it.
Because here is the thing Love Actually understands with surgical precision and Elriels resolutely refuse to: a secretly gifted necklace is never what you think it is. It is not innocent. It is not “just a gesture.” It is not “symbolic.” It is a confession that has decided to accessorize.
Jewelry is not like soup. You cannot casually bring it over. You do not gift a necklace unless you have already crossed the line in your head. It is chosen, intimate, designed to be worn close to the body. It is not a thought; it is an action disguised as restraint. And when an emotion requires secrecy to exist, it is no longer innocent. A necklace does not say I feel something, it says I acted, quietly.
Alan Rickman didn’t need to kiss his coworker for us to understand the betrayal. The necklace did all the work. Similarly, Azriel does not need to declare himself or act overtly for the implication to clang loudly enough to wake the entire Night Court. The secrecy is the point. The restraint is not noble.
And Elriels will say, earnestly, valiantly that it’s about longing. About repression. About yearning glances across rooms. To which I say: yes. Exactly. That’s the problem.
Longing is not neutral when it is aimed. Yearning does not become virtuous because it is quiet. And secrecy does not become romantic simply because it is aesthetically pleasing. If Love Actually taught us anything, it’s that emotional fidelity matters as much as physical fidelity and sometimes more.
Emma Thompson’s character doesn’t cry because her husband slept with someone else. She cries because she realizes she is no longer the recipient of his most careful thoughts.
That is what the necklace means.
So no, I do not like Elriel. Not because it lacks chemistry, or tension, or pretty fanart potential. But because I have seen this movie before. I know how it ends. And I refuse on literary, moral, and seasonal grounds, to root for the necklace.
History, after all, has already judged it.