
During the holiday season in San Francisco, star columnist Tom Lane is set to star in a new TV show, while advice writer Liz Madison works at the small‑circulation Marin County Voice. Both are single and urged by friends to find love. When the Sun media group buys the Voice, Liz fights to keep the paper alive and preserve its community spirit, sparking a festive clash of careers, romance, and Christmas ideals.
Does His and Her Christmas have end credit scenes?
No!
His and Her Christmas does not have end credit scenes. You can leave when the credits roll.
See current US streaming, rental, and purchase options for His and Her Christmas (2005) via JustWatch.
Explore the complete cast of His and Her Christmas, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Dina Meyer
Liz Madison

Paula Devicq
Vicki Shaw

Alexia Fast
Jacqui

April Telek
Sarah (as April Amber Telek)

Garry Chalk
Anthony Shephard

Karen Khunkhun
Grace Fields

Alistair Abell
Nick

Kyle Cassie
Elliot

David Sutcliffe
Tom Lane

Tony Alcantar
Hayden - Stylist

Scott E. Miller
Clark (as Scott Miller)

Campbell Lane
Harold Lane

Scott Swanson
Billingsley
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Read the complete plot summary of His and Her Christmas, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Two Bay Area newspapers clash in a story of ambition, media power, and a growing pull between rivalry and romance. At the center, the sharp-witted Liz Madison Dina Meyer writes the advice column for the Marin County Voice, a warm, community-focused paper that is fighting to survive in a changing world. Across town, Tom Lane [David Sutcliffe] shines as the star columnist for the San Francisco Sun, a larger paper owned by a powerful media conglomerate that is always looking to raise his profile—potentially through a new television venture built around his persona. The tension intensifies when the Voice learns that the Sun’s owners have quietly bought their paper, with the likely aim of folding it into the Sun’s operations and letting go of the staff.
Liz refuses to roll over. She pivots her column from gentle guidance to a bold editorial that centers on the true meaning of Christmas and the Voice’s role in the community. Her fearless, entertaining stance resonates with readers, and the Voice’s circulation surges. The sudden updraft in popularity makes the idea of closing the Voice lose some of its teeth for the Sun’s owners, who begin to reconsider their plan. But this success comes with a price: keeping the Voice afloat could jeopardize Tom’s carefully crafted path to television stardom, and the balance between their careers and ambitions becomes delicate and personal.
In response, Tom counters with a column of his own, arguing for practicality and a different take on the holiday season. The once-cutting, professional clash between Liz and Tom quickly becomes a personal duel as they spar with words, wit, and a growing, undeniable chemistry that neither can easily deny. Their friends and family weigh in, nudging them toward a familiar adage that there’s a fine line between love and hate, and that the heart might be pulled toward something more than petty rivalry.
As the story unfolds, the battle lines of journalism blur with matters of the heart. Liz’s fervor to defend the Voice and its community impact collides with Tom’s hunger for career advancement, creating a complex push-and-pull dynamic. The film explores how two rival voices can still be drawn to each other, and how the crowded world of news, entertainment, and personal longing can intersect in unexpected ways, all set against a backdrop of holiday spirit, newsroom politics, and the everyday longing for connection.

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