Ever dreamt of hitting the road with your BFF with just a convertible and some super high-waisted jeans?
If so, you've probably got Thelma & Louise to thank. The ultimate tale of female friendship pushed to the limit from 1991, starring Geena Davis and Susan Sarandon.
Well, there's a new book out called Off the Cliff: How the Making of Thelma and Louise Drove Hollywood to the Edge by Becky Aikman which is giving all kinds of backstage information on the film.
If you cast your mind back, you may remember a little-known absolute sort (sorry, been watching too much Love Island), named Brad Pitt, who played Davis' devilish lover in the film.
It turns out the director totally settled on Pitt for the role, yeah settled.
It was William Baldwin who initially got the role though that fell through, another actor was chosen before they went for Robert Downey Jr., then 25 and already a big deal, however he was seen to be too short for Davis.
The last-minute choices that Davis ended up reading with included George Clooney, Mark Ruffalo and Brad Pitt, she told the casting director to 'go with the blond one' and the rest is history.
More sweat-inducing than the fear of Pitt never getting his break-out role, however, is the horrifying news that the entire film at one point looked like it wasn't going to make it into existence at all.
Aikman explained that although screenwriter Callie Khouri got an agent Diane Cairne on board, it was the studios they struggled with.
Considering how many films struggle to pass the Beschdel test now (which assesses whether two named female characters in a film A) exist and B) talk about anything other than a man), let alone the early 90s and before, you can see why.
Thelma & Louise is the story or two women actively rejecting all things society expects them to be, including lawful.
And no after no meant the script floundered with no traction, one executive even said - this might make you angry - 'I don't get it. It's two bitches in a car.'
Well, damn right it's two bitches in a car, two bad bitches in an effing convertible giving the middle finger to male oppression and the world, to be precise.
Thankfully, Cairn managed to sell the story, so screw you 90s Hollywood exec dude, you suck.