Hollywood just can’t stop milking a tragedy until every last drop of publicity is squeezed out, and the handling of “Rust” might be the most shameless example yet.
At a Glance
- Joel Souza, the director of “Rust,” continues to profit from the film where cinematographer Halyna Hutchins was killed by a prop gun discharged by Alec Baldwin
- Despite claiming grief, Souza chose to complete the film that led to a woman’s death, conveniently citing “financial benefit” to Hutchins’ family
- Hollywood safety protocols were completely ignored, with live ammunition on a set where it’s universally prohibited
- Baldwin was mysteriously cleared of involuntary manslaughter charges while the armorer faces prison time, showing the industry’s protection of its elite
- Souza has the audacity to present himself as a victim while promoting the very project that killed his colleague
A Director’s Convenient “Grief”
Joel Souza wants you to believe he’s just a tormented artist trying to honor his fallen colleague. The “Rust” director has been making the media rounds, sobbing about his supposedly overwhelming guilt after cinematographer Halyna Hutchins was killed on his set when Alec Baldwin fired a loaded gun. Yet somehow, this guilt wasn’t strong enough to stop him from completing and releasing the very film that got her killed. How convenient that his “tribute” to Hutchins comes with a full theatrical release and potential profits.
“I am gutted by the loss of my friend and colleague, Halyna. She was kind, vibrant, incredibly talented, fought for every inch, and always pushed me to be better.” – Joel Souza.
This statement sounds heartfelt until you realize he followed it up by making sure the show went on. Nothing honors a dead colleague like finishing the project that killed them, right? And let’s remember, Souza himself was shot in the shoulder—the same bullet that killed Hutchins passed through her and lodged in him. Yet somehow, despite claiming he “hoped he would bleed out overnight,” he found the strength to return to set and yell “action” once more. Hollywood’s commitment to “the show must go on” has never felt more ghoulish.
Baldwin Gets a Free Pass
The double standard of justice for the Hollywood elite couldn’t be more obvious in this case. Somehow, Alec Baldwin—who pulled the trigger on a gun he failed to check, violating the most basic firearm safety protocols—has been cleared of involuntary manslaughter charges. Meanwhile, the armorer Hannah Gutierrez-Reed faces an 18-month prison sentence. I’m not saying she doesn’t deserve punishment, but how is Baldwin walking free? Because he’s Alec Baldwin, that’s why. The rules simply don’t apply to the Hollywood elite.
“I remember specifically going to sleep that night and hoping I didn’t wake up the next morning. I hoped I would just bleed out overnight because I didn’t want to be around anymore. It was a very difficult moment. I remember just thinking, Maybe I’ll just sort of bleed to death — that would suit me just fine.” – Joel Souza.
For someone who supposedly wanted to die from guilt, Souza sure found his will to live when it came time to cash in on the completion of “Rust.” And Baldwin, always the consummate actor, played his part perfectly—appearing solemn in court while privately celebrating his charges being dropped. The whole process has been a case study in how the connected protect each other while feeding the lowest-level scapegoat to the wolves.
Hollywood’s Safety Charade
Let’s be crystal clear: live ammunition has absolutely no place on a movie set. None. Zero. Hollywood has strict safety protocols that explicitly prohibit actual bullets anywhere near filming locations. So how did live rounds end up in a prop gun on the “Rust” set? It’s because these safety “protocols” are just window dressing when productions want to cut corners and save money. The incident hasn’t even changed industry practices significantly—reports indicate live ammunition is still being found on other sets.
“I knew that the movie being finished would financially benefit Halyna’s family, which is very important to me. And I know this can sound trite for people who aren’t creative, but her last work matters. People seeing her last work matters. That was the tipping point for me in the decision.” – Joel Souza.
There it is—the ultimate Hollywood cop-out. Hiding behind “the deceased would have wanted it this way” while conveniently completing a project that benefits yourself. Notice how Souza emphasizes the “financial benefit” to Hutchins’ family first, before tacking on the “artistic integrity” excuse. If he really cared about honoring Hutchins and learning from the tragedy, he would have shut down the production and dedicated himself to advocating for stricter on-set safety measures—not finishing a film that will forever be tainted by her needless death.
