At least that seems to be Nancy Meyer's intention in most of her more recent films.

Something's Gotta Give, Baby Boom, The remake of Father of The Bride, It's Complicated, all have the requisite successful female, love on the loose, love reworked, happilyish ever after. The women, Diane Keaton (clearly the poster girl for these roles) and Meryl Streep (who came to her age appropriate senses, after her romp in Mamma Mia) are the women we want to be.

I particularly admire that Nancy's heroines appear to be unbotoxed, uncollagened, and nonliposucked. Or, alternatively, the magic of filters is at work. 

But the real thing I covet in her films is not the homage to the middle aged, or how happy the endings end, it's wanting to have, as my very own, her set designer.

The near perfect (out there on the east end) beach house. The Vermont money pit, (but it does come with Sam Shepard), the perfect Californian home for Steve Martin and Diane Keaton to hold the wedding of their daughters' dreams. Want to take a wild stab at the budget for, oh I don't know, the flowers? Think about it, those kleig lights give off an enormous amount of heat during filming. Could they have been fake? Horrors ! Never.

I imagine if there was a citywide blackout, I would manage to root around and find, oh I don't know, maybe a dozen misshapen nubby looking candles. Never quite clear why I save them after having them burn down to half their beginning size, they are dutifully put back into drawers never to be seen again. 

So how come, when the blackout (or some semblance of prolonged darkness) occurred in Diane Keaton's beach house, she was able to light her entire (possibly 300 to 400 sq foot) kitchen with perfect, assorted sized white candles. I ask you, where does one keep such a stash?

If there is a sequel, and I really hope there is, it isn't to find out whether or not Meryl Streep and Steve Martin become a dynamic duo. It's to see what the extension and renovation of her kitchen looks like. 

Agree?