You know I’ve tried so hard to stay neutral on the whole Lou/Tommy of it all. But he did another cameo, which he apparently upped the prices the 145 a video?? But he did another one and he dismissed all of Tommy’s past behavior as being corny and teasing which…does not sit right with me. Like racism, misogyny, toxicity, silent compliance of it all….is not just being corny and teasing. And then he ends the video by talking about Tommy came in at the last minute to save the day and save Bobby and Athena so everyone should be good with him now….. like now we’re taking credit for Hens stuff too?

Idk none of that sat well with me at all and if he is sticking around for any of season 8 I think I need the show to just be like no more cameos from you or something.

Hi Nonny, hope the rest of your day was great. Don't allow things like this to get to you too much. If you feel you need a break from social media, make sure to take it. There is already enough stress in real life, don't let it seep into your fandom life as well. Take care of yourself first. You deserve only the best.

Now on to your ask:

I haven’t seen the cameo you are talking about. I have no desire to see that cameo either. I’ve watched one of Lou’s cameos, way back in the beginning when he started doing them. I found it funny, if a little weird that someone would pay for that, but to each their own.

I’ve been hearing about these cameos more and more lately. And yes, they have started to bother me. Mostly because it seems that Lou is charging these people up to 125 dollar (I’ve even read 145 dollars) to talk about the things ‘he’ thinks or believes to be true about Tommy or Buck/Tommy. Basically he’s talking about his own headcanons as an actor. Which again, is fine, because if it helps him to act better, why not?

The problem lies in the fact that some people have started taking Lou’s headcanons for reality. They hear what he says and see it as ‘canon’ because (right now) Buck/Tommy is a canon couple. While it is true that Buck/Tommy is canon, Lou’s headcanons are just that, little fanfictions he made up in his head. It’s a dangerous road to go down, because where does it end? When Buck/Tommy eventually break up, a lot of people will feel misled by him. It won’t be pretty.

So therefore, I’ve decided to never watch any of his cameos. I’m not really interested in his fantasies for the guest character he plays on my favourite show. I’d much rather be focusing on what 911 is actually showing us on our screens. I focus on the nuances and little details that they want us to pick up on.

Sometimes there are small things that seem inconsequential, but turn out to be very important episodes later. Everything matters on television. There are no coincidences. The writers craft the story, every single thing is planned out for the scene, the actors act it out and we watch on in complete fascination. There is no room for a guest actor’s headcanons or fantasies in a prime time show like this.

That being said though, if he truly dismissed Chimney and Hen’s plight under Captain Gerrard as mere ‘teasing’, that is factually wrong. If you go back to watch the scenes in question, there is bigotry, blatant racism and sexism. It makes me wonder if he even remembers the scenes in question. Did he rewatch them before he came back for season 7? We’ll never know.

But it does highlight, once again, that it isn’t smart to give this guy a platform to talk about his personal headcanons. He was always bound to say something dumb that would piss people off at some point. And here we are today, pissed off and annoyed.

I also want to remind everyone that it wasn’t Tommy who is the real ‘hero’ in the story of saving Bathena on the cruise ship. It was Hen Wilson, who had a bad feeling in her gut and decided to follow that feeling. She got the ball rolling, then Chimney jumped to her aide, because he always will. Buck and Eddie decided to join in, without hesitation, because again—they always will. Tommy was merely the helicopter pilot who flew them all in.

By that definition they are all the heroes in this narrative, which is why they all get medals next episode. But it is only Hen who was smart enough to follow her gut. If all the others are ‘heroes’? Hen Wilson is the only ‘big damn hero’.

I do believe Tommy might be sticking around for the beginning of season 8, because I’m not sure there will be enough time to deal with a proper break up in two episodes. Unless Tim surprises me and actually does manage to pull it off.

But yes, someone should just tell him to stop doing those cameos if his character is to carry over to season 8. It’s starting to get a little worrisome at this point. Charging people to talk about your own fantasies for your character, feels a little exploitative.

Whatever happens with him in season 8, ultimately I’m not really worried about Tommy to be honest. Lou’s stint on 911 is coming to an end pretty soon, one way or the other.

Consider this topic closed for me now. I’ve said all I wanted and needed to say. I don’t feel like wasting any more of my time thinking about or writing about this man and his cameos. I’d rather spend my precious fandom time on the things that matter: the amazing people I’ve met, watching the show and crying copious amounts of tears over these characters I’ve come to love so much, theorising and speculating about what might happen in the next episodes and next season, and above all talking about Buddie—my favourite pastime. 😊

John Lurie, Tom Waits, and Roberto Benigni in Down by Law (Jim Jarmusch, 1986)

Cast: Tom Waits, John Lurie, Roberto Benigni, Nicoletta Braschi, Ellen Barkin, Billie Neal, Rockets Redglare, Vernel Bagneris, Timothea, L.C. Drane, Joy N. Houck Jr. Screenplay: Jim Jarmusch. Cinematography: Robbie Müller. Production design: Janet Densmore. Film editing: Melody London. Music: John Lurie.

As he did with Memphis when he made Mystery Train (1989), Jim Jarmusch imagined the city and wrote his screenplay before he ever set foot in New Orleans, and the resulting film is a kind of fleshing out of his imagination. Jarmusch's New Orleans is a construct of legend and myth, then, not to be taken literally any more than one would a fairy tale -- which is what Jarmusch has called Down by Law.  He imagines New Orleans as a city of musicians, prostitutes, and tourists, and he casts his three central characters in the mode of each: Tom Waits as Zack, an out-of-work disc jockey; John Lurie as Jack, a small-time pimp; and Roberto Benigni as Roberto, or Bob, an Italian wandering the city to soak up American idiom, which he dutifully writes down in his notebook. But if Jarmusch's New Orleans is an imaginary construct, it is grounded in a kind of visual reality, provided at the film's beginning by Robby Müller's camera as it roams the streets of the city, which show the signs of decay. And the scenes that establish Zack and Jack are rooted in a sordid poverty, as Zack is kicked out of their apartment by his girlfriend, Laurette (Ellen Barkin), and Jack is lured into a trap in which he is arrested with an underage prostitute he has never met before. (Bob makes a kind of cameo appearance in a scene with Zack, thoroughly stoned and out on the street, who tells him to "buzz off" -- a phrase Bob records in his notebook.) After Zack is tricked into driving a car that has a body in the trunk, he joins Jack in the Orleans Parish Prison, where things look like they can't get any worse. But then Bob joins them in their cell, having been arrested for killing a man with a billiard ball in a pool hall fracas, and the film turns on a dime from a noirish study of the underclass into an off-beat comedy that, among other things, validated Benigni's Italian reputation as a comic genius. Here he's a catalyst, stirring Waits and Lurie into performances that raise their characters from sleazy to endearing. But the real star of the film for me is Müller, whose black-and-white cinematography also elevates the sordid into the beautiful. It becomes a film of textures, from the silken skin of a nude prostitute to the etched graffiti on a prison cell wall to the layer of duckweed on the surface of a bayou. In an interview, Müller has commented on how black-and-white has an effect of subtraction: Color gives you more information than you need, while black-and-white helps you concentrate on particulars. Down by Law has been criticized for its slowness, and Jarmusch certainly lets the tension slack a little, but even when there's nothing much going on, Müller's images keep the pulse of life steady.