I spoke to my dad who's been on strike a few hours ago, and he said this is absolutely true. The studios were still hoping they could starve out the writers, and didn't expect the general public to be so strongly on the union's side still 5 months in.
He's lived through four WGA strikes, and he says the energy and solidarity he's seen both inside and outside the union has been far beyond what has ever been present before. The internet ate Drew Barrymore alive for scabbing, and within days the studios were back at the negotiating table giving in to almost every demand.
Thanks guys. This really was a team effort ❤️❤️ #eatthefuckingrich
santa clarita diet is so fucking criminally underrated. not only is plot a Drew Barrymore and Timothy Olyphant killing nazis rapists and misogynists so drew Barrymore can eat them, plot b is about their daughter becoming an ecoterrorist. like. you can't beat this
drew barrymore's renaissance-style ball costume from the film 'ever after: a cinderella story', (1998).
"It was a tough film to make – as it was filmed in the Dordogne with little access to fabric shops! We made as much as we could in London but still had to set up a studio in France with skilled seamstresses on site. I was given a free reign in terms of design. The costumes were loosely based on early 1500s silhouettes, but I wanted them to be magical rather than slavishly realistic - with more of a fairytale feel. The idea for the wings came from the script. Leonardo da Vinci was Danielle’s sort of fairy godmother and I based them on Leonardo’s drawings of his ideas for man made flight. The wings were made in London by Naomi Critcher had to flown over by plane with their own seat next to me. There were only two pairs made. This pair was intentionally distressed to reflect the character’s dismay as she sits forlorn in a doorway being pelted with rain, nursing her broken heart." - jenny beavan, costume designer