George R.R. Martin's initial plan for his A Song of Ice and Fire books was very different from the story we've come to love in print and on TV—as you can see from the original outline he sent to his publisher. As i09 reports, the three-page outline was posted on Twitter from the account of British bookseller Waterstones. Though the tweet has since been deleted, the outline's authenticity was reportedly confirmed by the HarperCollinsUK account.
Warning: Spoilers ahead!
The document roughly outlines Martin's ideas for A Song of Ice and Fire—which, at that point, was a trilogy—and included 13 chapters of the first book, A Game of Thrones. (Martin warned the publisher, "I see all three volumes as big books, running about 700 or 800 manuscript pages, so things are just barely getting underway in the thirteen chapters I've sent you.")
Martin's initial idea features a much smaller cast of characters, but still includes the Lannisters, Starks, Dothrakis, and Targaryens. From there, storylines get pretty radically different. Sansa, for example, marries King Joffrey, bears his son, and, Martin writes, "when the crunch comes she will choose her husband and child over her parents and siblings, a choice she will later bitterly rue."
Arya, meanwhile, falls in love with her half-brother Jon Snow, a man of the Night's Watch who is sworn to celibacy. "Their passion will continue to torment Jon and Arya throughout the trilogy," Martin writes. But this love affair gets even more twisted: Tyrion Lannister falls in love with Arya, who only has eyes for Jon; this leads to "a deadly rivalry between Tyrion and Jon Snow." At one point, Catelyn, Arya, and Bran go North, beyond the wall, and are captured by Mance Rayder. There, they "get a dreadful glimpse of the inhuman others as they attack the wildling encampment."
Across the Narrow Sea, Daenerys Targaryen still marries Khal Drogo, who has no interest in capturing the throne of the Seven Kingdoms and kills her brother Viserys when he refuses to let it go. Presumably, Viserys is less of a jerk in this version than in the published book, because Daenerys actually kills Khal Drogo to avenge him. Then, she flees "with a trusted friend into the wilderness beyond Vaes Dothrak," where she discovers a clutch of dragon eggs.
One thing that hasn't changed between the outline and now is Martin's willingness to kill off beloved characters. "I want the reader to feel that no one is ever completely safe, not even the characters who seem to be heroes," he wrote. "The suspense always ratchets up a notch when you know that any character can die at any time."
You can read more about it at WinterIsComing.net, which has tons of other interesting and weird details.
The two people standing over the body, Michigan State Police detective Paul Wood told the Hard Copycameras, “had a distinctive-type uniform on. As I recall: black pants, some type of leather jacket with a design on it, and one was wearing combat boots. The other was wearing what looked like patent leather shoes. So if it was a homicide, I was thinking it was possibly a gang-type homicide.”
Wood was describing a puzzling case local police, state police, and eventually the FBI had worked hard to solve for over a year. The mystery began in 1989, when farmer Robert Reed spotted a circular group of objects floating over his farm just outside of rural Burr Oak, Michigan; it turned out to be a cluster of weather balloons attached to a Super 8 camera.
When the camera landed on his property, the surprised farmer didn't develop the footage—he turned it over to the police. Some local farmers had recently gotten into trouble for letting wild marijuana grow on the edges of their properties, and Reed thought the balloons and camera were a possible surveillance technique. But no state or local jurisdictions used such rudimentary methods, so the state police in East Lansing decided to develop the film. What they saw shocked them.
A city street at night; a lifeless male body with a mysterious substance strewn across his face; two black-clad men standing over the body as the camera swirled away up into the sky, with a third individual seen at the edge of the frame running away, seemingly as fast as possible. Michigan police immediately began analyzing the footage for clues, and noticed the lights of Chicago’s elevated train system, which was over 100 miles away.
It was the first clue in what would become a year-long investigation into what they believed was either a cult killing or gang murder. When they solved the “crime” of what they believed was a real-life snuff film, they were more shocked than when the investigation began: The footage was from the music video for “Down In It,” the debut single from industrial rock band Nine Inch Nails, and the supposed dead body was the group's very-much-alive lead singer, Trent Reznor.
In 1989, Nine Inch Nails was about to release their debut album,Pretty Hate Machine, which would go on to be certified triple platinum in the United States. The record would define the emerging industrial rock sound that Reznor and his rotating cast of bandmates would experiment with throughout the 1990s and even today on albums like The Downward Spiral and The Slip.
The band chose the song “Down In It”—a track with piercing vocals, pulsing electronic drums, sampled sound effects, and twisted nursery rhyme-inspired lyrics—as Pretty Hate Machine's first single. They began working with H-Gun, a Chicago-based multimedia team led by filmmakers Eric Zimmerman and Benjamin Stokes (who had created videos for such bands as Ministry and Revolting Cocks), and sketched out a rough idea for the music video.
Filmed on location among warehouses and parking garages in Chicago, the video was supposed to culminate in a shot with a leather-jacketed Reznor running to the top of a building, while two then-members of the band followed him wearing studded jumpsuits; the video would fade out with an epic floating zoom shot to imply that Reznor's cornstarch-for-blood-covered character had fallen off the building and died in the street. Because the cash-strapped upstarts didn’t have enough money for a fancy crane to achieve the shot for their video, they opted to tie weather balloons to the camera and let it float up from Reznor, who was lying in the street surrounded by his bandmates. They eventually hoped to play the footage backward to get the shot in the final video.
Instead, the Windy City lived up to its name and quickly whisked the balloons and camera away. With Reznor playing dead and his bandmates looking down at him, only one of the filmmakers noticed. He tried to chase down the runaway camera—which captured his pursuit—but it was lost, forcing them to finish shooting the rest of the video and release it without the planned shot from the missing footage in September of 1989.
Meanwhile, unbeknownst to the band, a drama involving their lost camera was unfolding in southwest Michigan. Police there eventually involved the Chicago police, whose detectives determined that the footage had been filmed in an alley in the city's Fulton River District. After Chicago authorities found no homicide reports matching the footage for the neighborhood and that particular time frame, they handed the video over to the FBI, whose pathologists reportedly said that, based on the substance on the individual, the body in the video was rotting.
The "substance" in question was actually the result of the low-quality film and the color of the cornstarch on the singer’s face, which had also been incorporated into the press photos for Pretty Hate Machine. It was a nod to the band's early live shows, in which Reznor would spew cornstarch and chocolate syrup on his band members and the audience. “It looks really great under the lights, grungey, a sort of anti-Bon Jovi and the whole glamour thing,” Reznor said in a 1991 interview.
With no other easy options, and in order to generate any leads that might help them identify the victim seen in the video, the authorities distributed flyers to Chicago schools asking if anyone knew any details behind the strange “killing.”
The tactic worked. A local art student was watching MTV in 1991 and saw the distinctive video for “Down In It,” which reminded him of one of the flyers he had seen at school. He contacted the Chicago police to tip them off to who their supposed "murder victim" really was. Nine Inch Nails’s manager was notified, and he told Reznor and the filmmakers what had really happened to their lost footage.
“It’s interesting that our top federal agency, the Federal Bureau of [Investigation], couldn’t crack the Super 8 code,” co-director Zimmerman said in an interview. As for Wood and any embarrassment law enforcement had after the investigation: “I thought it was our duty, one way or the other, to determine what was on that film,” he said.
“My initial reaction was that it was really funny that something could be that blown out of proportion with this many people worked up about it,” Reznor said, and later told an interviewer, “There was talk that I would have to appear and talk to prove that I was alive.” Even though—in the eyes of state, local, and federal authorities—he was reportedly dead for over a year, Reznor didn’t seem to be bothered by it: “Somebody at the FBI had been watching too much Hitchcock or David Lynch or something,” he reasoned.
As Chris Pratt and a gang of prehistoric creatures get ready to face off against some animated superheroes for this weekend’s box office dominance, an old rivalry is brewing once again on Manhattan’s Upper West Side. West Side Story—Robert Wise and Jerome Robbins’s classic big-screen rendering of Leonard Bernstein and Stephen Sondheim’s Broadway musical—is returning to cinemas for the first time in nearly 30 years.
As part of TCM’s Big Screen Classics Series, West Side Story will have special screening engagements at more than 600 theaters across the country on Sunday, June 24 at 2 p.m. and 7 p.m. If you can’t make it this weekend, encores will screen at the same time on Wednesday, June 27. The film—which is being re-released courtesy of TCM, Fathom Events, Park Circus, and Metro Goldwyn Mayer—will be presented in its original widescreen format, and include its original mid-film intermission. (Though its 2.5-hour runtime is practically standard nowadays, that wasn’t the case a half-century ago.) The screening will include an introduction and some post-credit commentary by TCM’s Ben Mankiewicz.
West Side Story, which was named Best Picture of 1961, is a musical retelling of Romeo and Juliet that sees star-crossed lovers Maria (Natalie Wood) and Tony (Richard Beymer) navigate the challenges of immigration, racial tension, and inner-city life in mid-century Manhattan—but with lots of singing and dancing. In addition to being named Best Picture, the beloved film took home another nine Oscars, including Best Director, Best Supporting Actor and Actress (for George Chakiris and Rita Moreno, respectively), and Best Music—obviously.
To find out if West Side Story is screening near you, and to purchase tickets, visit Fathom Events’s website.