Over the holidays, the odds that you watched a Nancy Meyers movie are high—and practically guaranteed if you regularly follow Over The Moon, as we’re huge fans. The Holiday is as much a part of required seasonal viewing as National Lampoon’s Christmas Vacation, It’s a Wonderful Life, and Home Alone.

Meyers has also been a part of the cultural conversation recently, because earlier this month, while celebrating “Nancy Meyers Week,” Vulture posted an interview with the director and writer Rachel Handler, that caught our attention when Meyers’s daughter director Hallie Meyers-Shyer took to social media to post her displeasure with the writer’s critique of her mother’s work. Meyers-Shyer was offended by the way Handler reduced her mother’s characters to stereotypes in her taxonomy of the Nancy Meyers universe. She also didn’t appreciate the reference to the fact that she only “technically” directed Home Again, a film that her mother produced—or that each film’s “Nancy Meyers-esqueness” was based on a rating system that involves glasses of white whine.

Other outlets have tried to explain exactly what transpired and lots of celebrities including Reese Witherspoon, Mindy Kaling, and Tavi Gevinson weighed in, leaving our heads slightly spinning. No matter what though, one thing is for sure—Nancy Meyers is a genius, and the perfect cure for dissecting family drama is to watch one of her iconic movies.

So now, with New Year’s upon us, we’re, of course, thinking about that final scene in The Holiday where Cameron Diaz, Kate Winslet, Jack Black, and Jude Law celebrate stylishly at home for inspiration on how to spend what’s traditionally a big night out in. With this cute moment in film and freshening our spaces (a.k.a. trying to Nancy Meyers-ify our surroundings) top of mind, we reached out to OTM bride and interior designer Ariel Okin for her recommendations on the the best home items to transport where we now spend all of our time into spaces worthy of an It’s Complicated, Something’s Gotta Give, or The Holiday set, just in time for a clean slate in 2021.

For Jane Adler’s California Kitchen

“I think there’s an overall timeless quality to Nancy’s interiors–neutral palettes, elements of traditional furniture blended with more contemporary, a slightly feminine bend to reflect the protagonists, that continues to resonate 20 years later because it’s simply good taste!” Okin explains.

For Erica Barry’s Hamptons Aesthetic

“There’s such an attention to detail in the way each character lives–whether it’s the iconic kitchen in Something’s Gotta Give, complete with leftover Coq Au Vin in the fridge and Stonewall Kitchen pancake mix (not to mention the chicest little white ceramic egg cartons, because Erica Barry would never keep them in plastic), or the lived in East-meets-West-Coast ease of the center hall colonial in Father of the Bride, with the shaker cabinets in the kitchen and the white picket fence and the basketball hoop in the driveway; Nancy uses her sets as a visual vehicle to help propel her stories along,” Okin says.

While timeless and forever aspirational, Nancy Meyers creates a sense of relatability in every movie avoiding anything grandiose. There’s a reason why the Something’s Gotta Give Hamptons estate led to one of the most copied kitchens of all time. “I actually have paused the dinner scene in the beginning of Something’s Gotta Give so many times to look at the way that room is set up. It’s a simple clams and linguine dinner, in this insane estate on the ocean, and she’s just using plain white dishware, Simon Pearce glassware, simple white candles, woven wicker placemats–a set of white plates that may or may not be an inherited hang beautifully on the wall–it’s the ultimate example of simple things being exquisite, and that one scene alone is such a testament to the refined elegance of the sets,” Okin, who also registered for the same Simon Pierce wine glasses seen in this scene, reflects.

For Rosehill Cottage in Surrey

No matter how many decades pass, all the sets carry an overall aesthetic that is cozy, inviting, and warm—especially Iris’s cottage in The Holiday—and we all need a dose of that right now!” Okin says. “I wish I could crawl into a Nancy movie and live there for at least a year, if not eternity.”

Written by Mary Welch