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Nothing draws people together like a crisis.
Nothing draws a crowd like a boldface designer.
Nothing draws people like a crowd, virtual or otherwise.
Watching inside the dome, nothing draws focus from the guitars and paint.
Nothing delights the English as much as Aussie haplessness; nothing draws out their masochism as much as, well, English haplessness.
Nothing draws more criticism from both the public and the media than a government project that has gone over budget.
Nothing draws eyeballs like a daringly "counterintuitive" article and it's easy to be counterintuitive if you're willing to back a plainly incorrect position.
Nothing draws them out into the streets – or, as recently, its art galleries – quite like a good European Union agricultural policy dispute.
But nothing drew a reaction quite like the giant doll house behind glass, whose rooms and appliances lit up and whirred while a narrator talked about conserving energy.
For much of the time, their torsos lean down from their pelvises, and — though nothing draws attention to their technique — the control and fluency of both spine and thigh is exceptional.
Even in previews, she said, the show would consistently play to full houses because, as much as most people hate to admit it, nothing draws an audience like a chance to witness a possible disaster.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com