Plot, of course, doesn't really matter when it comes to movies like this. The Princess Switch trusts that it can coast by on its premise alone, the fantasy of identical strangers meeting and suddenly having access to the life they've always wanted. It throws several rom-com and holiday movie conventions into the mix: A makeover montage, perfectly positioned mistletoe, a horseback ride through the snow, a magic-adjacent older man who is... maybe Santa? Maybe pulling the strings to all these romantic shakeups? The truth of his identity is never revealed, and again, it’s not like The Princess Switch needs a coherent mythology, but it's an unnecessary detail that just reiterates the fact that the movie throws a bunch of tropes into the mixing bowl and then hits chaos mode.
It's limp in its fantasies, which are lived by characters who could generously be described as cardboard cutouts. Stacy bakes, plans, and fears spontaneity, and that's about as much of a personality as she's given. And yet, her romance with the prince does end up the more compelling love story of the film by default. There's zero chemistry to be found between Margaret and Kevin, mainly because Kevin is walking, talking exposition more than an actual character.
In a sense, though, The Princess Switch is Netflix's content strategy distilled into its purest form: Find the entrenched competitor, and replicate its formulas ad infinitum until the streaming service wins the battle. The Hallmark Channel may have the upper hand in the conservative trope-laden holiday fare, but it's likely no match for Netflix's scale. If A Christmas Prince was already an amalgam of holiday movie and rom-com tropes and clichés seemingly determined by an algorithm, then The Princess Switch is weird mutation of that movie -- a derivative of a derivative. It could still be fun, if it weren’t so lifeless, and the reality is that next year will bring even more derivatives to add to the streaming library.