Warning: This post includes spoilers for Barry season 4Barry star and co-creator Bill Hader exposes the original series ending was much darker, detailing the distinctions in a brand-new interview. Ultimately, Barry season 4 left audiences with a variety to mull over. Even though a flash-forward verifies that Sally (Sarah Goldberg) and John (Jaeden Martell) wind up mostly doing fine, the fates of other characters are far less flexible: NoHo Hank (Anthony Carrigan) is shot and eliminated, not able to confess that he contributed in the love of his life passing away. And despite the fact that Gene Cousineau (Henry Winkler) gets his vengeance on Barry (Hader), the previous acting coach and entertainer is blamed for the criminal activities that Barry devoted and illustrated as a bad guy in popular culture.
In an interview with TheWrap, Hader broke down the Barry finale ending and exposed that it was at first considerably darker. Hader, who co-created the HBO program with Alec Berg, describes that the motion picture that Martell’s John sees at the end, which paints Gene as a cartoonish killer, in fact played out in the original draft which the titular Barry Berkman was much more associated with blaming all the criminal activities on Gene. Hader likewise discusses that Jim Moss (Robert Wisdom) was at first eliminated. In the quote below, he information these distinctions and speak about why the “needless bloodshed” was altered:
We understood approximately that he was gonna pass away, and we understood it was gonna be Cousineau. I remember we did have one minute that was really dark where Barry and Sally, they’re not on the outs, they’re all great, and Jim Moss has actually let Barry go. This was an early, early variation, and Barry was far more associated with pinning all the criminal activities on Cousineau. It was an entire thing where Jim Moss lastly captures him and it’s like Barry out-maneuvers Jim Moss in this interrogation fight. He informs him the reality about what occurred however states he was controlled. Basically, the motion picture that you see at the end, in an earlier draft Barry informs Jim Moss that is what occurred. And there was an even earlier draft that as Barry is informing Jim Moss that, Cousineau looks like his acting instructor and it’s this entire thing where you’re seeing Barry utilizing whatever he gained from Cousineau to pin the criminal activities on him. He’s utilizing his performing. So it was this entire scene, and after that Gene decreases, Barry goes to call Jim Moss and the authorities respond to the phone and state, “Jim Moss has just been killed.” And then you hear a door open behind him and he reverses and it’s Cousineau and Cousineau shoots him, so Cousineau shot Jim Moss and eliminates Barry.
I keep in mind in the authors space, everyone’s like, “Why do you have to kill Jim Moss?” (laughs) For some factor in my head, I was considering the Harvey Milk shooting where Dan White went nuts and he shot Harvey Milk and after that he shot the mayor, like when somebody goes crazy like that it’s like these are the 2 individuals who mistreated me so I’m gonna eliminate them both. Everybody was much like, “Don’t kill Jim Moss. This just feels like needless bloodshed.” Emma Barrie is typically the most significant voice of, “Bill, this is needless bloodshed.” So I went, OK, you’re right. It also became very “TV” if that makes sense. I also feel like people said, “I don’t think Jim Moss would let him go. Even if he thought Barry was manipulated, he would bring them both down.”
So that’s when I had that idea about these weird goggles and Jim Moss is completely scrambling his brain. Once Barry became religious, I was like, “Oh, it should be about him being concerned about heaven and hell and sin and where’s he going?” Then it leads to that moment when he’s shot, we simply cut the black. Darkness has been a very big theme throughout the show, and now he just lives in that blackness. A switch is flipped and that’s where he goes. He’s so concerned about heaven and hell when what he should have done is what he does at the very end, which is he realizes my son and my wife are gone and the only way to properly redeem myself is by turning myself in. The only way to properly take responsibility isn’t by dying, it’s by turning myself in. Which if you think about it, is probably what he should have done in the pilot.
Initially, in Episode 8 when he got shot, that was it. He didn’t say, “Call the police.” He comes in and he’s yelling at Tom “Where’s Sally? Have you seen a little boy?” and then pow he’s shot. We were shooting the scene of Stephen Root as The Raven when he’s looking out the window at his girlfriend and her daughter leaving and I was talking to our producer Aida Rodgers and she was saying, “Oh man next week, we’re shooting your death scene. How do you feel?” And it just came to me right then, I was like, “Oh, he should be turning himself in” and she started laughing. She said, “Oh my God, yeah, he turns himself in and if Cousineau had just waited two seconds…” and I was like, “Yeah, exactly,” and we both started laughing. I ran over and I told Duffy [Boudreau] and he was eating something at crafts services and was like, “Oh yeah sounds great.”
Barry Season 4 Was Admirable & Audacious (Even If It Wasn’t Always Enjoyable)
Paired up with the final season of Succession, which took up much of the conversation among critics and on social media, the theories around how Barry season 4 would end were relatively quieter. After a time jump, which revealed how uniquely unhappy Sally and Barry had been for eight years, the series avoided typical paths. For example, after Hank kills Cristobal (Michael Irby) and breaks down in arguably the season’s best moment, the following episodes somewhat leave him to the side until his big death scene. Similarly, the final confrontation between Gene and Barry is knowingly and somewhat amusingly anti-climatic.
But the finale’s most significant distancing move is to end the show not with Sally or Gene, characters that have defined Barry, but instead on the fact of grown-up John as he watches a cheesy movie that paints his father as a hero. It’s an unexpected choice, given that the audience has actually a limited connection to John and the fictional movie isn’t even distinctively bad. Despite some story components that did not land with all audiences, Barry season 4 highlighted Hader’s ability and future as a director.
This appeared in a series he directed where a sleepy Sally is followed around her house by a slim, masked figure, playing like something out of a moody scary movie. These adventurous options indicated that when Barry was shooting on all cylinders, there was absolutely nothing rather like it. Hader’s consideration about the world he developed, which comes through in the interview, is another factor the incredibly dark dramedy will be missed out on.