[7.7/10] Emmet Otter’s Jug-Band Christmas is a film that thrives on, as the kids say, “the vibes.” The story isn’t much to write home about. And the choices the characters make are even a little baffling in places. But the special is also peak Muppety coziness, with a warm and inviting world that beckons viewers to come spend their holiday in, if only for forty-five minutes or so.

Much of that comes from the incredible production design. Jim Henson and company imagine a world of woodland critters mixed with a quaint town, and the blend is gorgeous and rich with detail. From the autumnal sunset that sees mother and child rowing down the river, to the snowy wonderland that covers simple homes in the countryside, it’s easy to wish you could visit Frog Hollow and join in the fun. The use of miniatures for overhead shots is impressive, and tidbits like realistically moving birds overhead and ducks in the bond help add a sense of living detail to this elegantly-crafted setting.

The same goes for the Muppets’ greatest songsmith. Paul Williams, who would go on to pen the tunes for The Muppet Movie and Muppet Christmas Carol writes the songs for Jug-Band Christmas as well, and they’re as catchy and/or heartstring-tugging as you’d expect. “Mama’s Barbecue” is a toe-tapping bop. “When the River Meets the Sea” is spiritual and melancholy. “The Riverbottom Nightmare Band” would give Spinal Tap a run for its money. And the closing combination of Emmet’s titular jug-band harmonies with Alice Otter’s ballad makes for a beautiful mix. The muppet performances have long been connected to all things musical, and Williams realizes the mix better than anyone.

Granted, the plot here is a little simple and a little silly. Various woodland critters trying to enter a talent show to win the big prize and have great presents for their loved ones on Xmas isn’t necessarily enough to sustain a forty-five minute special. There’s a lot of what could be considered fluff here, with various shenanigans or extended set pieces that seem there just for the hell of it.

But that's the benefit when you have exquisite texture to fall back on. What could otherwise be considered filler in the story makes for a welcome cul de sac when it’s just fun to see these puppets move around this intricate and inviting little ecosystem. The melodies are sweet, and the playtime and neighborly interactions of the various animals are fun to watch, even if they don’t move the ball much.

That said, the character’s decisions are a little odd. It’s sweet that Emmet wants to earn enough money to get his mother a piano again. But putting a hole in her washtub, thereby ruining their last minor luxury, for the slim chance to win the contest, seems pretty foolish. At least (a.) Emmet is a kid, (b.) his motives are good, and (c.) he insists on scrupulously practicing with the jug bang to make sure they’re pitch perfect for the talent show.

The same can’t be said for Alice. She “hocks” the toolkit Emmet uses to perform odd jobs around town to provide the funds for her performance. And while her intentions are good -- she wants to buy Emmet the fancy guitar he’s been eyeing in the music shop -- she’s a grown-up and should know better. I guess you could write it off as her just hoping so hard that she gets a little blinded by the thought of doing something lovely for her son on Xmas. And the fact that she married a snake oil salesman suggests she may not have been especially discerning about these things. But the fact that she pawns the tools so she can buy a costume for the performance seems especially odd, rather than something strictly necessary to be able to pull off her act.

And yet, it’s the sweetness between Alice and Emmet Otter that buoys the special most of all. The O. Henry-esque tale is as sympathetic as it is foolish. The mom and son otter duo are cute in the jaunty tunes they sing together, fun in the way they laugh and play with one another, and sad in the way they can barely make ends meet and are clearly still grieving the loss of the family patriarch. There is some heft to this story, in the way two family members are struggling financially and emotionally in the wake of a death in the family, and trying with all their might to put on the best holiday possible despite that.

Hell, I appreciate the chutzpah it takes to have both of them lose the talent show to the raucous, ungovernable Riverbottom Boys who caused so much trouble earlier in the story. A sappier story would have simply seen them impress the judges, win the prize, and pay for it all. The extra twist of the parent and child combining their acts for fun, and it earning them the regular pay and warm meal from an admiring local shop-owner needed for a merry Xmas, gives this one a little something extra. The win isn’t automatic, but comes from the same source of their day-to-day joys, the wonderful harmonies of a child and his caring parent making the best of things.

How could you not want to spend an hour during the holiday season basking in that sort of loving sentiment? Emmet Otter’s Jug-Band Christmas is a triumph of craft. From the intimate and detailed sets, to the creative designs that give us a fish muppet and other distinctive personalities, to the inventive blend of puppetry that allows the wiggling dolls to dance and slide and mug with the best of them, the style alone is worth the price of admission. But it’s the coziness of the friendships and relationships at play, between Alice and her son, Emmet and his pals, Doc Frog and the music-makers he recognizes something special in, that make the vaunted vibes here so welcoming, warm, and comfortable ‘round the holidays.