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#bill hader – @rustandruin on Tumblr
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Rust and Ruin

@rustandruin / rustandruin.tumblr.com

Please tell your dog I love them.
They/Them
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The insane parallels of Barry consciously trying not to expose John to video games the glorify war and combat to the point where he doesn’t know they exist, to Barry then striding through a Walmart where he buys these assault weapons and carries them out in open sight among all these parents and children not even batting an eye at the sight while they continue their shopping, to Fuches shielding John’s eyes and telling him to look away so he does not have to see the horrors of death strewn around him (to perhaps spare him the way someone should have spared Barry himself), only for all of it to be undone in those final moments as that film both frames Barry as a hero on account of his actions (defending his family) and reveals that he’s been given honours while it’s Cousineau who’s in prison and John sits there, falling prey to the glorification of violence that the show has been critiquing all along. That everyone around him tried to avoid for so long.

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Fuches being the only one to break the cycle and survive the whole series of events because he actually examined himself, saw the truth of who he was and what he’s done and then accepted and embraced it, before consciously choosing not to enact more violence (unless necessary) — to not push another “kid” into the violent path he’s sent so many others into, that he’s sent Barry into repeatedly — by both giving Hank an out if he were just to be honest with himself, and then shielding John with his own body before gently guiding him past the wounded bodies and into his father’s arms before acknowledging Barry one last time and disappearing into the night.

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neil-gaiman

have you met bill hader or just a big fan? in any case, do you have a favourite area of his work or is it just the quote?

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I’ve known Bill for a while. Here’s me and Bill and Doug Jones and Bill in New York, long ago. (From https://journal.neilgaiman.com/2008/04/fair-use-and-other-things.html

We met because of this New York Times article: https://www.nytimes.com/2007/09/23/movies/23itzk.html

WHEN an adult immerses himself in a comic book or a fantasy novel, it’s usually a harmless act of juvenile regression. When Bill Hader does it, it’s more like career preparation.
In 2005 Mr. Hader was rereading “The Sandman,” the supernatural comic-book series by Neil Gaiman, when he learned he was being considered for a spot on “Saturday Night Live.” He decided the two events couldn’t simply be a coincidence.
“I got all superstitious about it,” he said on a recent stroll through the science fiction section of the Chelsea Barnes & Noble. “Like, when I have Neil Gaiman books around me, I just do better.”
At his “SNL” audition Mr. Hader performed with a copy of Mr. Gaiman’s novel “Neverwhere” in his back pocket. Sure enough, he got the job. And on a restless Friday night before his first appearance on the show that October, Mr. Hader reread the final issue of “The Sandman” to calm his nerves.
A few weeks later he was shooting a small part in the film “You, Me and Dupree,” when he struck up a conversation with another bit player, Seth Rogen, about — what else? — their mutual love of Neil Gaiman. After their brief chat, Mr. Rogen, the star of “Knocked Up,” offered Mr. Hader the role of an unruly police officer in a movie called “Superbad” that Mr. Rogen was developing with his writing partner, Evan Goldberg.
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Just thinking about Oscar Isaac fighting for Finn and Poe to become canon and Bill Hader insisting that Richie be overtly gay in It Chapter 2. It’s all crumbs at the end of the day in terms of big blockbuster movies, but it’s worth a lot to have someone look at their character and go, “Yes. This makes sense for them. We need to make it clear, otherwise what are we even doing here?” It’s the bare minimum to understand the value of having aspects of someone’s identity represented on screen, but in 2020 even that remains too tall an ask? Fucking wild.

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alexturner

Barry has entered. Sally, expecting the stiff, wooden idiot she’s been rehearsing with, turns to see: Barry, crying. Real tears of wrenching grief. Frustration. Desperation. Through this squall, with monumental effort, he bravely speaks: BARRY (AS SEYTON) My lord, the queen, is dead. And then he just weeps. All the emotion spills out. The self-loathing, the regret, the guilt, the shame. Barry sobs as he stumbles blindly off the stage. The crowd is stunned and confused. But Sally? She thinks all his emotion was summoned FOR HER. She absorbs it, revels in it - is utterly invigorated by it. His catharsis is fuel to her own sputtered emotional flame. She turns back to the audience with new confidence. BARRY, CHAPTER SEVEN: LOUD, FAST, AND KEEP GOING. Written by Liz Sarnoff.

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