Week Three of Recipes

I consider myself to be a creative cook: Although my family has a number of favorite dishes that I make often, I have enough trust in my cooking skills that I enjoy experimenting with new recipes. This week's menu was a combination of new recipes and old favorites. As always, my choice of dishes is based on a combination of requests from my family, my own personal tastes, and what was on sale that week. Here is what I've been cooking this week, including lists of what I bought fresh, what I used from my pantry, and what I used from my fridge and freezer. Happy cooking!

What I Bought

Pork tenderloin (on sale) 
Chuck roast (on sale)
Veal scallopini
Celery
Baby potatoes (on sale)
Russet potatoes
Sweet onion
Farmer's cheese
Cream cheese (store brand 2-pack on sale)
Heavy cream
Fresh mozzarella
Angel hair pasta (I had some on hand, but it was on sale so I bought another box)
Italian bread (it was cheap and I didn't have time to bake some)
Jarred pasta sauce (I had some on hand, but it was on sale so I bought another jar)

What I Had in My Pantry

Rice pilaf mix
Applesauce
Olive oil
Cider vinegar
Tomato paste
Canned pumpkin
Flour
Brown sugar
Sugar
Panko
Cornstarch
Vanilla extract
Graham crackers
Panko
Pecans
Smoked paprika
Italian seasoning
Parsley
Basil
Chili powder
Cumin
Thyme
Rosemary
Cinnamon
Nutmeg
Ginger
Cloves
Allspice
Pumpkin pie spice (I'd made some for a cookie recipe a month or so ago)
Onion salt
Garlic powder
Salt and pepper
(Instant Potato Flakes: can use instead of whole potatoes)  
Strawberry preserves
Blueberry jam
Nutella

What I Had in My Fridge and Freezer

Baby carrots
Minced garlic
Lemon juice
Butter
Eggs
Milk
Sour cream
Shredded pizza cheese (on sale 2-for-1 a few weeks ago)
Refrigerated biscuit dough (on sale)
Ground beef (bought in bulk at Costco and frozen in 1 to 1-1/2 lb portions)
Frozen corn

What I Cooked

Sunday: Spicy Beef and Cheese Empanadas

I had made this recipe once before and although they looked terrible, they tasted delicious. This time I was more careful to incorporate the butter into the flour so no large chunks remained, which made the dough much easier to work with. I also used shredded cheese rather than the "chunks" called for in the original recipe. 

These are the actual empanadas I made!

3-1/4 cups flour
3/4 cup butter
2 tsp salt, divided
3 eggs, divided
1/2 cup ice cold water
1-1/2 Tbsp apple cider (or white) vinegar
1 lb ground beef
1/2 onion, diced (can use frozen)
1/2 Tbsp olive oil
2 tsp minced garlic
2-3 chipotles in adobo (optional; I omitted)
1 Tbsp adobo sauce (I substituted tomato paste; save the rest of the can for later in the week)
1-2 Tbsp chili powder
1/2 tsp cumin
freshly cracked black pepper, to taste
1 cup shredded cheese (Monterey Jack, mozzarella, or a blend - I used a pizza cheese blend)

In a large bowl, whisk 1-1/2 teaspoons of salt into the flour. Cut the butter into slices and add to flour. Use a pastry cutter or your fingers to blend the butter into the flour until it's an evenly crumbly texture. 

In a small bowl, combine 2 eggs, vinegar, and cold water.  Add to the flour and use a fork or rubber spatula to roughly combine, just enough to form a cohesive ball. Do not knead. Cover tightly with plastic wrap and chill in the refrigerator for at least two hours.

For the beef mixture, saute the onion in oil over medium-high heat for a few minutes. Add ground beef and cook until browned. Drain fat. Add minced garlic and saute briefly. Add chipotles (if using), adobo sauce or tomato paste, chili powder, cumin, 1/2 teaspoon salt, and black pepper to taste. Add a splash of water and let simmer over medium heat for a few minutes, stirring well. 

When ready to bake, divide the chilled dough into quarters and use a rolling pin dusted with flour to roll out one quarter at a time to a 1/4-inch thickness or less on a floured board. Use a large biscuit cutter or narrow-edged bowl to cut out 4-inch circles of dough. Fill each round with 1-2 tablespoons of the beef mixture and top with a generous pinch of shredded cheese. Lift both edges of the round and pinch edges together using your fingers. Lay flat and use the tips of a fork to completely seal the edges. In a small bowl, whisk the remaining egg with a splash of water and brush over the top of the empanadas. 

Bake at 400 degrees for 20-25 minutes or until golden brown. Let cool for a few minutes before serving

Serve with a side salad or vegetable of your choice. 

Monday: Oven-Baked Pork Tenderloin

Chicken plays heavily in my meal rotation, since it goes on sale often, but my kids admitted recently that they don't always love chicken and they wanted pork more often, so when I found this tenderloin on sale I grabbed it. Most of my pork tenderloin recipes are cooked on the grill (we eat more pork in the summertime), so I searched for one that roasts in the oven instead, and the flavor profile on this recipe looked appealing. Both my kids and I were fans of the result! It came out juicy and tender, with just a hint of spiciness. 

2-lb pork tenderloin, silver skin and excess fat removed
1/2 tsp smoked paprika
1 tsp Italian seasoning
1 tsp salt
1 tsp black pepper
1 Tbsp olive oil
1-2 Tbsp lemon juice (fresh or bottled) 
4 Tbsp butter

Preheat oven to 400 degrees. In a small bowl, combine paprika, Italian seasoning, salt, and pepper. Pat tenderloin dry with a paper towel and lay on a baking sheet lined with a large piece of non-stick foil. Drizzle the meat with oil and rub it in with your fingers. Sprinkle with the spice mix on all sides and press in gently so it adheres. Drizzle the lemon juice over the top. Cut the butter into pieces and dot over the top of the meat. Wrap tightly with foil. Bake at 400 for 35-40 minutes, until internal temperature reaches 145 degrees. Do not overbake. Carefully unwrap foil and transfer meat to a broiler pan. Broil for 3-4 minutes to create a golden, caramelized crust. Remove from broiler and allow to rest for 5 minutes before slicing and serving.

I served the pork with rice pilaf and corn. 

Tuesday: Crockpot Chuck Roast and Biscuits

I asked my son if he had any requests for dinner and his reply was, "Something beefy. Not chili." I had picked up a chuck roast on sale so I searched for a recipe I could throw in the crockpot in the morning and forget about, since I needed to drive the kids to various appointments and rehearsals after school and wouldn't have much time to prepare dinner. This recipe reminded me of the pot roast my mom often made for Sunday dinners after church when I was growing up. 

3–4 pounds chuck roast
1 Tbsp olive oil
2 cups beef broth
2 Tbsp Worcestershire sauce
1 Tbsp minced garlic 
1 large onion, sliced
2 Tbsp tomato paste (left over from earlier in the week)
Salt and freshly ground black pepper, to taste
1 tsp thyme
1 tsp rosemary
4 medium carrots, peeled and cut into chunks (I used a bag of baby carrots that I had on hand)
4 medium russet potatoes, cut into quarters (I used baby potatoes that were on sale this week)
2 celery stalks, sliced
1 tsp cornstarch (optional)

Heat the oil in a large skillet over medium-high heat. Season chuck roast generously with salt and pepper. Sear roast for about 4 minutes per side until a deep brown crust forms. Place sliced onions at the bottom of the crockpot. Add carrots, potatoes, and celery. Place seared roast on top of vegetables. Pour in beef broth, Worcestershire sauce, and tomato paste. Sprinkle minced garlic, thyme, rosemary, salt, and pepper evenly over everything. Cover and cook on low for 8-9 hours until roast is fork-tender. 

When ready to serve, carefully remove roast and vegetables. Shred or slice meat. Pour cooking liquid into a small saucepan, add cornstarch if desired, and simmer until thickened. 

This recipe is pretty much a one-pot meal, but I baked up some refrigerated biscuits as an extra side to sop up the gravy. 

Wednesday: Potato and Cheese Pierogis with Leftover Pork Tenderloin

Note: I had bought the ingredients because my son and a friend were planning on making pierogis for Culture Week at his school, but they changed their mind and made pumpkin cheesecake instead (see recipe, below), so I decided to make them as a side for the leftover pork tenderloin. 

These are the actual pierogis I made!

2 cups flour
1 egg
1-1/2 tsp salt, divided
1/2 cup water
2 russet potatoes (about 1 lb), peeled and cubed
1 cup cottage cheese or farmer’s cheese
1/4 cup sour cream
Freshly ground black pepper to taste
2-4 Tbsp butter, for sauteing

[Note: I had much more filling than I could use, so I would recommend doubling the dough recipe if you want lots of leftovers, or halving the filling recipe, if you prefer a smaller batch. The single recipe of dough made about 16 pierogis cut with a 3-inch cutter.]

In a large mixing bowl, whisk together the flour and 1/2 tsp salt. Make a well in the center and add the egg, salt, and water. Mix until a soft dough forms, then knead on a floured board for about 5 minutes until smooth and elastic. Wrap in plastic wrap and let rest at room temperature for 30 minutes. (You can make the dough ahead and refrigerate immediately after wrapping for up to 24 hours. Allow to sit at room temperature for 30-45 minutes before using.) 

Boil the cubed potatoes in a pot of salted water until tender, about 15-20 minutes. Drain and let cool slightly, then mash until smooth. Transfer potatoes to a large bowl and add 1 tsp salt, farmer's cheese, sour cream, and pepper, stirring and folding until well combined. Taste and adjust seasoning as needed. Allow to cool completely.

While the filling is cooling, roll out the dough on a floured surface until it’s about 1/8-inch thick. Cut out 3- to 4-inch circles using a biscuit cutter or thin-edged bowl. Place a teaspoon or so of the filling in the center of each circle. Fold in half and pinch the edges together tightly to seal in filling. 

Bring a large pot of salted water to a gentle boil. Add pierogis in batches, ensuring not to overcrowd the pot. Scoop up from bottom to prevent sticking. Once they float to the surface, cook for an additional 2-3 minutes. Remove with a slotted spoon and saute in butter until golden brown.

I served the pierogis with the leftover pork from the day before, which was slightly spicy, so I didn't add any sauce. You can serve the pierogis with a white sauce or top with caramelized onions, if you prefer. 

Thursday: Shepherd's Pie

Sometimes I make real shepherd's pie from Gordon Ramsey's recipe, with lamb, gravy, mixed vegetables, and fancy additions to the potatoes. But this recipe is a family classic that my mom made regularly. I always have the ingredients on hand and it's very quick to make, so it's my go-to whenever I'm struggling with inspiration (or time). It's also one of the few recipes I have memorized and never need to look up (the other two being my Triple Threat Broccoli Salad and my 1-Hour French Bread). 

Disclaimer: This is actually cottage pie, since it's made with beef rather than lamb, but we always called it shepherd's pie and the name has stuck. 

4-5 medium potatoes, peeled and cut into chunks (or use instant potato flakes)
Milk
Butter
1 tsp salt
1 to 1-1/2 pounds ground beef
Onion salt
Garlic powder
Black pepper
2 cups frozen corn
2 cups shredded cheese

Boil the potatoes in salted water until tender, about 15 minutes. Drain; mash with milk, butter, and salt, adjusting amounts to desired consistency and taste. (If using potato flakes, prepare 6 servings according to package directions.) Set aside. 

In a skillet over medium-high heat, brown the beef, breaking it up as it cooks. Season with onion salt,  garlic powder, and black pepper to taste while browning. Drain fat. Transfer beef into a casserole dish. Top with corn, then spread potatoes on top. Layer shredded cheese evenly over top. Cover with foil and bake at 375 degrees for 25 minutes, then remove foil and bake for an additional 5 minutes, until cheese is melted and browned. Let sit for 5 minutes before serving. 

Friday: Crispy Veal Parmesan

My kids rarely request specific meals, so when my son asked if we could make veal parmesan, I decided to splurge. Fortunately, although the veal wasn't on sale, it was reasonably priced, so I bought enough that we would have leftovers for sandwiches.

1 lb veal cutlets or scallopini (if using cutlets, pound to a thickness of 1/4 to 1/8 inch)

Kosher salt and pepper

1/2 cup flour

2 eggs

3/4 cup bread crumbs or panko

1 cup shredded Parmesan cheese, divided

1 teaspoon parsley flakes

1 teaspoon garlic powder

1 teaspoon dried basil

2 Tablespoons olive oil

1 cup jarred pasta sauce (I used a whole 23-oz jar)

4 thick slices fresh mozzarella cheese (or more, if desired)
Angel hair pasta

Season the veal with salt and pepper on both sides. Set out 3 shallow bowls or deep plates to bread the veal. Add the flour to one and the eggs to another. Whisk the eggs. In the third bowl, whisk together the breadcrumbs, 1/4 cup Parmesan cheese, parsley flakes, garlic powder, and basil. Dip each piece of veal in the flour, pressing to coat on both sides, then the egg, then press into the breadcrumbs, and transfer to a plate.

Preheat the oven to 375 degrees. Heat the olive oil in a large skillet over medium heat. Cook in batches for 2-3 minutes per side, or until browned and crispy. Transfer to a greased baking dish or baking sheet lined with nonstick foil. Top each cutlet with the remaining Parmesan. Spoon the spaghetti sauce over top, followed by a slice of mozzarella cheese. (I used a slice and a half on most of the slices.) Bake for 15 minutes. While the veal is baking, cook the pasta according to package directions. Serve over pasta.

I also served buttered Italian bread on the side. 

 

Saturday: We do leftovers for dinner at least once a week so I can take the night off from cooking, and this week we have plenty of leftover pork tenderloin, chuck roast, and veal parmesan to go around, as well as some of the pierogi filling, empanada filling, and carrots and potatoes from the chuck roast. 

In addition to cooking dinners, my son and I both did some dessert baking this week! Here's some bonus recipes for sweets. 

 

Bonus Treat #1: Instant Pot Pumpkin Cheesecake:

This is the recipe that my son and his friend ended up making for Culture Week. Cheesecake in the Instant Pot is practically foolproof, and both the taste and the texture were fantastic. For best results, make sure your ingredients are all at room temperature and do not overmix the filling. 

For the crust:
1 cup graham cracker crumbs (can use whole graham crackers: place in a Ziploc bag and crush with a rolling pin, or use a blender or food processor)
1/2 cup ground or finely chopped pecans (use a blender or a food processor; we used a Slap Chop)
2 Tbsp brown sugar
1 tsp cinnamon
1 tsp nutmeg
1 tsp ginger
5 Tbsp butter, melted

For the filling:
2 8-oz packages cream cheese, room temperature
1/2 cup sugar
1 Tbsp cornstarch
2 eggs, room temperature
1/2 cup heavy cream, room temperature
1/2 cup canned pumpkin
1 tsp vanilla extract
1/2 tsp cinnamon
1/2 tsp nutmeg
1/4 tsp ginger
1 tsp pumpkin pie spice (make your own using this recipe)
pinch cloves
pinch allspice

Whipped cream for garnish (optional; we didn't bother)

Lightly coat a 7×3-inch springform pan with nonstick spray and set aside. In a large bowl, combine all the crust ingredients and stir until well combined. Press the mixture into the prepared springform pan. Using a measuring cup, press the crust evenly flat and push the crust up to the middle of sides of the pan. Freeze for 20-30 minutes.

In a large mixing bowl, beat cream cheese and sugar on medium-low speed using an electric mixer, until light and fluffy. Add the remaining ingredients and continue beating until well combined and creamy but do not overbeat. Scrape the sides and bottom of the bowl with a rubber spatula. Remove the crust from the freezer and pour the filling into the prepared pan.

Place a metal or silicon trivet into a 6-qt Instant Pot and add 1-1/2 cups of water. Carefully transfer the cheesecake pan onto the top of the trivet (bottom of pan should be above the level of the water). Cover the top of the cheesecake pan with foil. Pressure cook for 40 minutes, then allow pressure to release naturally for about 30 minutes. Release any remaining pressure and carefully remove pan and place on a cooling rack. Cool for one hour, then run a paring knife around the edges to loosen. Refrigerate for 6 hours to overnight, then remove sides of pan, slice, and serve, garnished with whipped cream, if desired. 

Bonus Treat #2: Hamentaschen

I didn't love the recipe I used (the dough was too dry) and I ended up adapting it somewhat, so this is a recipe I found that was fairly close to what I ended up using. Many recipes add orange juice, but I dislike orange juice so I found one without it. 

They're not the prettiest cookies I've ever baked, but they were delicious!

2-1/2 cups flour
1/2 cup sugar
1 cup butter, cut into pieces
2 egg yolks 
2 Tbsp ice water
Jams, preserves, and/or Nutella for filling (I used strawberry preserves, blueberry jam, and Nutella; prune or apricot preserves are also popular)
Powdered sugar (optional, for sifting over cookies before serving - I didn't bother)

Add flour, sugar, and butter to a mixing bowl and blend with an electric mixer on low speed. Blend in egg yolks. Add ice water, one tablespoon at a time, until dough forms a ball. Cut dough into four pieces, wrap each in plastic wrap, and refrigerate for 30 minutes. 

Line two baking sheets with parchment paper. Roll out the first part of the dough on a floured board to a thickness of about 1/8-inch. (Leave remaining dough in fridge until ready to use.) Use a 3-inch biscuit cutter to cut into circles. Use a spatula to lay the circles on the prepared baking sheet, leaving 1 inch between circles. Add a teaspoon of the desired filling to each circle, then pinch together at the top and both sides to form a triangle (i.e., 12 o'clock, 4 o'clock, and 8 o'clock). Return any dough scraps to the refrigerator. Chill cookies on baking sheet in refrigerator for 15-20 minutes. Preheat oven to 375 degrees while first batch is chilling. Bake for 11-13 minutes, until just beginning to brown. Let cool for 5 minutes, then transfer to a cooling rack. Repeat with remaining dough, combining all scraps into a single dough ball and rolling it out at the end. 

If desired, use a small sifter to sprinkle cookies with powdered sugar before serving. 

The Quicksand of Grief

Everyone's experience with grief is different, but for me, grief is like quicksand. It pulls me down, miring me in one place, preventing me from moving ahead. 

Those of us who grew up in the 1980s saw endless depictions of heroes being sucked into quicksand. Any motion would pull them down until they vanished, never to be seen again. 

In reality, due to the relative densities of quicksand and the human body, it is essentially impossible to drown in quicksand. It is very possible, however, to get stuck. Fast movements, such as those of someone who is struggling or panicking, change the viscosity of the quicksand, which causes the person to sink to a certain depth. Only by slow, calm movements and rotating the body into a supine, horizontal position will the person begin to float and be able to escape. 

That's what grief feels like sometimes. The more you struggle to escape it, the more it sucks you back down. It is only when you can bring yourself to relax and accept where you are that it begins to release you. 

The zone between the two extremes can be the hardest of all. You have stopped fighting against it, but you're not yet relaxed or free, and any movement feels like you are weighed down by a heavy anchor, in danger of slipping deeper into the mire. Getting started on anything, from complicated tasks like paperwork and financials to the basic daily work of running a load of laundry or vacuuming the house or making an appointment, feels next to impossible. All you want to do is freeze in place. I am reminded of the sad, haunting song "Losing My Mind" from Stephen Sondheim's "Follies":

The sun comes up, I think about you
Coffee cup, I think about you
I want you so, it's like I'm losing my mind

The morning ends, I think about you
I talk to friends, I think about you
And do they know it's like I'm losing my mind?

All afternoon, doing every little chore
The thought of you stays bright
Sometimes I stand in the middle of the floor
Not going left, not going right

These lyrics so perfectly depict where I'm at right now. I'm going through the motions the best that I can, but truly, sometimes I do stand in the middle of the floor, completely paralyzed, with no idea which way to go. I still feel so lost, like part of me is missing and I can't go on alone. And part of me is missing, but I can go on alone. I just have to get started. 

The positive thing is that I've reached the point where if I can just get started, more often than not I can keep going. If I can get myself to open the folder of paperwork and start filling out the form, there's a pretty good chance I'll finish it. If I can get myself to bring the vacuum cleaner up from the basement, I'll probably be able to vacuum most of the house. If I can get myself to look up the phone number, chances are I'll make the call. If I can get myself to agree to going out with a friend, I'll genuinely have a good time once I get there. 

But with grief, like with quicksand, it's important to go slowly. To carefully feel out each step. To pause when you feel yourself sinking. And most importantly, to reach out for the hand of a friend. 

The 2026 Actor Awards Red Carpet Review: Who Understood the Assignment

The SAG Awards have been renamed the Actor Awards beginning this year. In addition, they had a "dress code" this year - or, more accurately, a theme: "Reimagining Hollywood Glamour from the ’20s and ’30s." A few people followed it, a few hinted at it, and a lot ignored it completely. Here are some of the stars I thought did a nice job embracing the theme, along with the celebrities (and designers) from the '20s and '30s whose style they seemed to be emulating. 

Jenn Ortega's distressed white slip dress with a plunging lace bodice and chiffon skirt, custom designed by Christian Cowan, reminded me of Jean Harlow's white chiffon dress, likely designed by Adrian, in this 1935 publicity photo. Clinging, floaty, and feminine, with plenty of sex appeal. 

Gwyneth Paltrow's ankle-length black Givenchy gown featured a lace bodice with a plunging neckline, fitted to mid hip with an A-line skirt, which had a lot in common with the plunging bodice and tiered ruffle skirt worn by Colleen Moore in the 1923 film, Flaming Youth.

 

Jessie Buckley wore a black Balenciaga column with a white shoulder wrap that reminded me of the dress in this photo of Mary Pickford, circa 1925 (center photo), combined with Jean Harlowe's white stole from the 1933 film, Dinner at Eight (lower photo).  

 

Emma Stone's clinging, sparkly lavender column custom designed by Louis Vuitton reminded me of the 1930s trend of clinging, sparkly columns, like this one (center photo) worn by Carole Lombard in a 1931 photo shoot, likely designed by Travis Banton, or this one (lower photo), worn by Joan Bennett in the 1935 film, She Couldn't Take It, designed by Robert Kalloch. 

Teyana Taylor's surrealist Thom Browne design, with painted-on bodice, flared metallic silver skirt, and trailing ribbons had the same risqué feel as Gloria Swanson's racy showgirl costumes in the 1922 film, Her Gilded Cage.

 

Demi Moore wore a custom Schiaparelli Haute Couture ankle-length black column with tiny diamond straps and an elaborate white marabou train with black ostrich tips that could have stepped off the stage at the Ziegfeld Follies in the 1930s. The look felt inspired by both the puffy ruffles at the back of this 1939 Schiaparelli design and the many feather "tail" looks worn by burlesque dancer Sally Rand throughout the 1930s. 

Michelle Williams wore a delicate pink floral print sleeveless Prada apron gown with a boat neck. The straight silhouette was vaguely 1920s, but the floral print was pure vintage, as in these vintage 1920s chiffon day dresses.   

Kirsten Dunst wore a black ankle-length Khaite apron dress with a flat panel front, open-backed bodice, dropped waist with a front bow accent, and full skirt. The flat front and dropped waist had a very 1920s flapper aesthetic, similar to this 1928 photograph of actress Leila Hyams (center photo). Hyams also later favored the open-backed look, as in this undated studio photograph (lower photo). 

Rose Byrne wore a slim white ankle-length sleeveless Chanel dress with a slightly flared skirt and zigzag silver sparkles across the hips. Actress and model Alden Gay wore a black-and-white dress with a similar design - not surprisingly, also by Chanel - in 1924. 

Mindy Kaling wore a mostly sheer black peplum gown designed by Yara Shoemaker. The peekaboo look was similar to a sheer black gown with strategically-placed embroidery worn by Mae West in this publicity photo for her 1936 film, Go West, Young Man. 

 

Quinta Brunson's custom Gabriela Hearst two-sided black and white gown had hints of the two-toned gown that Joan Crawford wore as Flaemmchen in 1932's Grand Hotel, plus the ubiquitous puffed shoulders of the 1930s, such as in this polka-dot dress worn by actress Margot Grahame in an early 1930s photo. Brunson's hairstyle, however, is unmistakably Josephine Baker circa 1931. 

 

Odessa A'Zion wore a Giorgio Armani Privé deep blue velvet fringed jumpsuit. Although jumpsuits for women had begun to emerge in the 1920s, they generally featured flowing fabrics and wide legs that mimicked skirts (center photo). But the plunging neckline and all-over fringe is pure flapper, as typified by Joan Crawford in this 1920s photo (lower photo). 

Sarah Paulson wore a vintage Saint Laurent design with a plunging neckline and a full tulle skirt, with silver polka dots from the shoulder to the hip. It reminded me of this dress worn by Claudette Colbert in the 1938 film, Bluebeard's Eighth Wife, which featured a long black tulle skirt with a hip-length polka dot peplum.  

Jayme Lawson's Zuhair Murad ivory chiffon gown featured a halter neckline and elaborate beading all over the bodice. It was clearly inspired by early 1930s designs, such as this satin halter gown with beaded bodice worn by Carole Lombard in the 1932 film, Sinners in the Sun.

 

Claire Danes wore a simple black dress with an elaborately beaded collar that dropped to the waist at the back. It reminded me of this 1929 dress by designer Jeanne Lanvin, which also featured a dropped back collar, probably silver, beaded and spangled. 

 

 

Chase Infiniti wore a champagne-colored, long-sleeved, high-necked, body-hugging mermaid dress, paired with a sheer Juliet-style cap. The silhouette of the dress was very similar to the "slinky" dresses favored by Mae West in the 1930s, such as the one in this 1933 photograph (center photo), and the cap was similar to one worn by Greta Garbo (lower photo) in The Temptress in 1926.

Chase Sui Wonders wore a black strapless column with a scalloped sweetheart neckline and pink and silver metallic embroidery, designed by Miss Sohee. Although straight fitted columns were somewhat unusual in the 1920s and 1930s, the shape of the bodice and the gorgeous embroidery are very similar to a gown that Anna Mae Wong wore in the 1931 film, Daughter of the Dragon. 

Kate Hudson wore a custom Valentino ivory gown with a bandeau top, a high waist with a wrapped sash leaving a triangular keyhole opening, and an attached cape that fell to form a train. Capelets and shrugs over sleeveless gowns were popular in the 1930s and often fastened above the neckline of the gown, creating a triangular keyhole opening. Examples include Joan Crawford (in red) in a dress with a capelet in the 1937 film, The Bride Wore Red, and Bette Davis in a white gown with a cropped jacket in the 1933 film, Ex-Lady. 

 

Parker Posey wore a pale pink peignoir style Gucci dress, trimmed with marabou feathers at the hem and wrists. Often referred to as "wealthy widow robes," feather-trimmed satin or chiffon peignoirs and chiffon dresses were popular in films from the late 1920s through the 1940s, worn by actresses such as Clara Bow in Her Wedding Night in 1930 (center photo) and Carole Lombard in a publicity photo for the 1934 film, Bolero (lower photo), both designed by Travis Banton.

 

Viola Davis wore a metallic green pleated Gucci gown with a portrait collar, a short train, and long swaths of fabric trailing from the shoulders. Myrna Loy wore a metallic gown with a similarly pleated skirt and silhouette in 1938. 

 

Sheryl Lee Ralph wore a strapless, body-hugging, black and white gown by Saiid Kobeisy, accessorized by a white boa. It reminded me of a similar gown and boa combination worn by Mae West in the 1933 film, She Done Him Wrong (center photo). Her slicked-down hairstyle with a center spit curl is clearly inspired by Josephine Baker during the same era.

Mia Goth wore a custom Dior raspberry gown with black beading and a tulle ruffle on the side. Although I've seen many articles likening it to the flapper dresses of the 1920s, I found it most similar to this dress worn by Carole Lombard for a photo shoot in 1932, which has a similarly-shaped bodice and skirt silhouette, and a side ruffle. 

Kristen Wiig wore a black Christian Cowan column with deeply open sides and a jewel neckline. Super-straight shift dresses (no waist seam) were popular in the late 1920s, such as in this photo from a 1928 fashion catalog (center photo), and Hollywood stars occasionally wore gowns with fairly revealing side openings, such as Myrna Loy in this 1925 photo (lower photo). 

Yerin Ha wore a custom Balenciaga ensemble with wide-legged, high-waisted black pants topped with a cropped white top covered in feathers. Marlene Dietrich and Greta Garbo started the trend of women wearing pants in 1932, but many women in Hollywood soon followed suit, including Katharine Hepburn, Bette Davis, Joan Crawford, Rita Hayworth, and Ginger Rogers (center photo, above). They likely wouldn't have paired pants with a cropped top on the red carpet, but Ha's top is very reminiscent of the top of the feathered dress worn by Ginger Rogers in Top Hat in 1935 (lower photo). 

Host Kristen Bell walked the red carpet in a sheer silver beaded gown by designer Georges Hobeika that featured a plunging neckline, angled waistline, and flared overskirt. The silhouette and some of the details reminded me of a 1926 Jeanne Lanvin design featuring a beaded plunging neckline and angled waist and a similarly flared skirt. 

Michelle Monaghan wore a two-toned Prada gown with a black velvet sleeveless bodice with a boat neck, which extended to mid-thigh, then ended in a full, tiered, gold satin underskirt. It had a similar feel to the tiered Chanel dress worn by Joan Bennett in this 1930 photograph. 

Jean Smart wore a custom Laura Basci design that combined a champagne-colored satin blouse with a surplice top and a slightly raised collar, with a slim black skirt. Katharine Hepburn frequently wore separates, pairing a shirt or blouse with a nicely tailored skirt, as in the 1938 film, Holiday. 

Amy Madigan wore a dark Dior suit with a long jacket and wide-legged pants over a white collared shirt with a long white scarf tucked under the jacket. It was very reminiscent of the women's pantsuit trend of the 1930s, led by Greta Garbo and Marlene Dietrich (lower photo, 1933). 

Fran Drescher wore a black sequined column dress accessorized with a pink feather shawl, and a black top hat set at a rakish tilt, a look put together by her longtime stylist, Brenda Cooper. The look was an obvious tribute to Marlene Dietrich, who frequently wore a tuxedo and top hat to formal events in the later 1920s and throughout the 1930s. This famous photo was taken by photographer Alfred Eisenstaedt in 1929. 

Lisa Ann Walter wore a kelly green taffeta mermaid gown with oversized shoulder bows and ribbons that trailed to the floor. Oversized shoulders were  popular in the 1930s, likely inspired by Joan Crawford's famous white organdy gown in the 1932 film, Letty Lynton, designed by Adrian. 

 

Kathryn Hahn wore a long-sleeved, round-necked, black Lanvin ballgown with a full a narrow hot pink belt and two attached panniers. The exaggerated skirt and contrasting loops at the waist reminded me of this 1925 Lanvin design, worn by French actress Jane Renouardt. 

Isa Briones chose a 1920s look that layered a vintage sheer black Blumarine dress with black floral appliqués over a vintage coral Roberto Cavalli slip, accessorized with a black lace sash over one shoulder. The resulting look was similar to the dress worn by blues singer Bessie Smith in this 1925 photograph, with a sheer beaded and embroidered overlay atop a solid colored slip, accessorized with a spray of flowers at the waist. 

Alexandra Metz wore a chartreuse silk dress with a deep beaded v-neck and criss-cross beading at the waist. It reminded me of Louise Brooks' dress in this 1927 publicity photo, which has a similar beaded neckline and waist details.

There were certainly other notable looks on the red carpet, but these were the ones that struck me as most fitting the theme. They understood the assignment!