text: Christmas setting In addition to relocating the story from Vienna in the 1900s to New York City in the 1990s, Kubrick changed the time-frame of Schnitzler's story from Mardi Gras to Christmas. Michael Koresky believed Kubrick did this because of the rejuvenating symbolism of Christmas. Mario Falsetto, on the other hand, notes that Christmas lights allow Kubrick to employ some of his distinct methods of shooting including using source location lighting, as he also did in Barry Lyndon. The New York Times notes that the film "gives an otherworldly radiance and personality to Christmas lights", and critic Randy Rasmussen notes that "colorful Christmas lights  ... illuminate almost every location in the film." Harper'''s film critic, Lee Siegel, believes that the film's recurring motif is the Christmas tree, because it symbolizes the way that "Compared with the everyday reality of sex and emotion, our fantasies of gratification are  ... pompous and solemn in the extreme  ... For desire is like Christmas: it always promises more than it delivers." Author Tim Kreider notes that the "Satanic" mansion-party at Somerton is the only set in the film without a Christmas tree, stating that "Almost every set is suffused with the dreamlike, hazy glow of colored lights and tinsel." Furthermore, he argues that "Eyes Wide Shut, though it was released in summer, was the Christmas movie of 1999." Noting that Kubrick has shown viewers the dark side of Christmas consumerism, Louise Kaplan states that the film illustrates ways in which the "material reality of money" is shown replacing the spiritual values of Christmas, charity, and compassion. While virtually every scene has a Christmas tree, there is "no Christmas music or cheery Christmas spirit." Critic Alonso Duralde, in his book Have Yourself a Movie Little Christmas, categorized the film as a "Christmas movie for grownups", arguing that "Christmas weaves its way through the film from start to finish".