I know, I know. I was shocked, too. I took a quick glance at this picture, and I thought it was a long, sleek, tight-fitting dress, and I was like, “Wow, Sharon! Very classic! Very chic! I take it all back — you have an ounce of fashion sense in that cropped little head.”
And then I realized it was a Spandex pantsuit.
She looks like she’s about to run the New York marathon in heels.
She sighs and plops down on the couch. She lights a cigarette and turns a drowsy gaze toward Blender; sheâ€™s ready to talk. We start by asking if sheâ€™ll be recording the follow-up to Back to Black anytime soon.
â€œYeah, weâ€™ve got a couple of more bits â€¦ Iâ€™m writing â€¦ â€ she mumbles. â€œOn the whole â€¦ â€ She trails off.
Um â€¦ Back to Black was such a personal record â€” the songs were clearly about your relationship with Blake. Are you still writing confessionals?
â€œIâ€™m still writing about the dynamics of being in a relationship â€¦ Would you like some wine?â€ she asks, fetching two glasses and beginning to pour. â€œI believe in relationships,â€ she continues, â€œwhether itâ€™s your grandmother or your dog â€¦ â€
Now her words are slurred, her eyelids drooping. Her head wobbles into a nod. She falls asleep for a second, wakes with a start, mutters and drops off again. The smoldering cigarette in her left hand falls to the floor.
â€œOh, God, what is wrong with me?â€ she asks, coming to. â€œThereâ€™s something wrong with me â€¦ â€
We inquire about her brief rehab stint in August. What was it like there?
â€œYou go in and youâ€™re just sat down. They looked at me and said, â€˜Youâ€™re an alcoholic.â€™â€
And are you?
â€œNo â€¦ I donâ€™t know.â€
Are you clean these days?
â€œI take, like, anti- â€¦ I take stuff for my depression. Prescriptive stuff. But I donâ€™t take it.â€
And you donâ€™t do any other drugs?
â€œI donâ€™t have time.â€
You donâ€™t have time?
â€œIâ€™m a really big drinker,â€ she says in response. â€œI used to be there before the pub opened, banging on the door.â€
This is their way of punishing Steve Carrell for refusing to cross the picket lines.
NBC has laid off all the production folks on their hit show The Office — grips, costume folks, make-up artists, drivers, caterers, etc. These are people who make less than the writers and will not receive residuals while reruns air.
This is why Ellen is insisting on crossing the picket lines, people. Because there are lots of other jobs on the line. It’s not just the writers.
Says a key grip on the show: “During the 1988 WGA strike many of my friends lost their homes, cars and even spouses. Many actors are publicly backing the writers, some have even said that they would find a way to help pay bills for the striking writers. When the networks run out of new shows and they air repeats the writers will be paid residuals. The lowest paid writer in television makes roughly twice the salary than the below the line crewmember makes. Everyone should be paid their fair share, but does it have to be at the expense of the other 90% of the crewmembers. Nobody ever recoups from a strike, lost wages are just that, lost.”
Here’s a good video explaining why the writers are striking. [Via PopCandy]