Mimi Avins‘ L.A. Times piece about Nancy Meyers‘ meticulously designed, lushly furnished, emotionally cozy film sets — like that little gingerbread cottage in Surrey that The Holiday‘s Kate Winslet lives in — overlooks a fairly basic fact, which is this: the instant that any half- aware moviegoer sees one of these sets in one of Meyers’ films, the natural response is, “This is a House and Garden, middle-aged-female-with-money- to-burn bullshit interior-design fantasy.” They make the same point in one Meyers film after another, which is that Meyers prefers her own affluent heroin-habit dream world to any semblance of reality — as most of us (including people with money) know it.
