i have been obsessing over this little snippet of the original heathers script ((pls daniel waters,, i’m begging you,, release the whole thing)) and there are just so many things that fell out of place just because so much changed between the script and the movie and i feel the need to share them
heather mcnamara Also hooks up with david from the remington party
there are five suicides. obviously three are heather chandler, ram, and kurt, but since this scripts was written under the assumption that the reader has already read all of the script leading up to this point, it does not expound at all on who exactly the five suicides were. we can only speculate (and i’m guessing heather duke and peter because there are some lines that suggest it)
martha dunnstock is paralyzed up to the legs
it’s implied that veronica killed people because she wanted the other students to learn something
ms fleming attempted suicide five times
instead of the doll, jd hangs the bedsheet noose,, which has even more of an “and then there were none” vibe
jd makes it very clear that when he was planning to kill veronica, he was going to make sure it was quick and painless
veronica’s mom slaps her for faking suicide
jd sits nude while holding a family portrait and admiring the bomb he built and in the next scene veronica sits nude while holding a gun
jd sets up thermals all throughout the school and at one point a hall monitor stops him and asks for a hall pass so jd shoots him and hides the body in the boiler room after stuffing a thermal down his pants
veronica decides to blow herself up after witnessing the typical horrible things that go down in a hallway during a passing period, but what stands out to me is that she also witnesses betty finn holding hands with a guy and heather mcnamara “in melancholic but eerily heroic contemplation” which to me seem like things that would make her not want to die
in her final moments, veronica helps a beetle that got stuck on its back
betty finn and heather mcnamara simultaneously find veronica’s suicide note while everyone else is freaking out
then the prom in heaven sequence starts and shit gets weirder
i think peter and some character that was not in the final movie named shannon have a baby?? (might be worth mentioning that she was a member of the yearbook staff)
there are so many more characters that i feel like i’m supposed to know some of them have descriptions but most do not and i am Confused
there are so many reconciliations between characters going on in this scene and then kurt has his prom picture taken with the cow he tipped
Also! mr. dawson is mentioned in this script and if you keep up with the reboot cast list there is a character there by the same name that i was wondering about a while back. it’s possible that the reboot my draw a bit from this original script (although i doubt jason micallef has the whole thing but he does please share jason)
jd does a guitar solo
leaders of the united states and the soviet union come on stage with big fun and fly their flags
A: “Damn you Sharon and your fuckbag of a kid Kevin. Screw your salty ass dry lemon bars. Don’t talk to my kid or me, we are an independent family. “
B: “You don’t have a kid, you’re 16, unemployed and living with your mother.”
A: “…You my great sir are the widest, most gaping of assholes. Rude.”
thinkin bout hanyuu and takano, like every day of my fucking life (ft. bern for scene context). matsuri was a god damn nightmare i cant awaken from the song is catchy af so im linking it again. Come over here, and let us dance!
Does anyone else ever write down ideas or quotes and leave no context whatsoever? Then when you find it again you’re like “Oh man this is so good but what the hell am I supposed to be using this for?!”
but seriously, slipping people drugs is one of few trademarks that defines an irredeemably shit person
basically everyone knows that slipping sedatives in drinks is horrible, but feeding unwitting people weed-laced food is just as bad, and dropping acid in your friend’s coffee does not constitute a good prank
if you put something in someone else’s body without their consent, it’s the same crime. context doesn’t mean a damn
Kendrick Lamar is his own competition. Not to take anything away from his titanic contemporaries, but you don’t want to be anywhere near a Kendrick Lamar blast radius. With each release, Kendrick Lamar seems to tear into himself a little more and produce gold. To say Damn. is Kendrick Lamar’s most personal record to date would be underselling the nuisances of its context. On Damn., Kendrick Lamar is prophesying his own downfall and the results, are once again, masterful.
Few rappers are as heady as Kendrick. Over time, Kendrick has honed a particularly evocative air to his bars and guidance among his chosen producers. By near universal measurements, To Pimp a Butterfly is a modern classic. Leaving an indelible mark on music in the 21st century, Kendrick Lamar has seen the summit and Damn., suggests that the top is a bit of a disillusioned peak.
There’s a very elemental nature to Lamar’s latest. Damn. seems to be composed of the very amino acids that build the Compton heavyweight we know now. He’s never been afraid to infuse his soul and neuroses into the mic, but a track like “Feel” reveals a different kind of fear. Feel reveals a torrent of paranoia with an impending end that can’t be stopped. How much more does Kendrick have in him? How much more obstacles, guns, media, expectations, race talk, will it take before Kendrick finally cracks? Kendrick doesn’t have the answer himself, but his ruminations create a vivid jiggsaw nonetheless.
At the core of Damn. also lies a fundamental religious conflict and struggle. Repeatedly, Kendrick laments the lack of prayers put on his head. There’s a bitter theological resentment that spreads to people who practice faith. Given his clashes with the perpetual conservative vultures at Fox News as punctuated on the world-beating “DNA”, Kdot is acutely aware of dissenters on his meteoric rise. To Pimp a Butterfly truly was a letter to the black community, but in an age where white society has warped and misinterpreted its black empowerment as black propaganda, Kendrick is understandably dejected. The rabbit holes of his mind lead down the thick, molasses soliloquy of “Yah” and the hypochondria of “Fear” where he’s driven himself deep to cope. The primal urge to look to something bigger than yourself, especially in times existential crisis, is salient on Damn. The ways in which Kdot rebukes God and sardonically emulates God with, well, “God” are interesting tonal shifts that deliver the complexity expected from the most multi-faceted artist in modern hip hop.
As Kendrick Lamar digs deeper into himself, he captures the conflicting, fragmented blackness that seems to define much of the black experience in 2017. The violent loyalty of “XXX” and its somber back half detailing American decay exemplifies what Kendrick Lamar does so well. Kdot’s ability to reframe the use of outright gangbang imagery as tool of Abrahamic justice, proof of love and desperation before turning the corner and breaking down the national American consciousness is masterful songcraft. This may well be Kung fu Kenny’s darkest album, but it’s also his most soberingly honest, psychological effort yet. Kendrick asked people to get their shit together on April 7th for an album announcement, it’s funny that the album details what a mess his mind is, a brilliant, ambitious mess.