wyatt johnston talks his sleep schedule — practice — 04.02.24
[what’s it like getting back at six am? i mean, is it like — a day or two, or how do you adjust to that?] i mean, for me, i think it’s … um, i know i can kind of get through it a little easier, i know some guys, you know, have kids and some other responsibilities where they don’t have the luxury of being able to sleep all day, but, um … yeah, i mean, i had — i was able to sleep in as long as i wanted and get as much sleep as i needed, which, um … you know, i think helps a lot for sure. um, obviously, it’s not easy though. uh — so definitely kinda took a little bit, but, yeah, i mean, for me it’s pretty easy just to — i mean, sleep ‘til i don’t need to anymore.
[so how long was that? what time d’you get up then?] um … i think it was around one or so? when i got up? it wasn’t — it wasn’t too bad. you know, obviously you wanna try to sleep at night too. um … so, yeah, i think it worked out, you know, worked out pretty well.
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hi i NEED to know more abt your mermaid au (if you dont mind u.u)
HIIIII THANK U FOR ASKINGGHGG
so basically in this au, everything is prettyyy much the same except that aren is a merman..
after his meeting with kusuo, it becomes painfully obvious that kusuo doesnt belong there but aren still thinks hes just a cool foreign mermaid.. but he keeps asking so many questions about where hes from and kusuo is already in so much shock he cant keep up the act anymore and tells him hes from the land.. (he probably couldve just told him to leave him alone, but truth be told he had a hot merman right in front of him and he literally just found out mermaids exist ??? so why would he do that)
so after learning kusuos secret (which wasnt explained in full, he really just said he has powers and aren thinks its some sort of secret human magic) he begs him to give him human legs, and kusuo has to explain that he cant use his shapeshifting ability on other people, and the only similar thing is hypnosis, which wouldnt work.. SO kuboyasu introduces him to mermaid magic !! which isnt all that powerful at all.. they just have certain minor spells, charms, and incantations that can have small effects.. so they work together and find a way to make his shapeshifting ability work on kuboyasu!! maybe its a thing similar to saikis limiters, but its like a pendant or a pair of earrings infused with a combination of magic+kusuos powers+technology
and soooooo he transfers to PK!! (with kusuos genius+mind control, its easy to cook up a fake ID+birth certificate and all) and everything else is pretty much the same, including even how kusuo attempts to ignore him at school at first+then spies on him without his knowledge.. but theyre also secretly romancing each other outside of school hours in the literal ocean..
it definitely took a while for kusuo to trust him enough to take him on land btw so they also spent a lot of time in arens home but i havent put much thought into what/where exactly that is or about his family and mermaid friends and such..
either way, even when he trusts him, aren still messes up and almost spills various secrets a lot lmao.. it shouldn't be that hard because hes been told his whole life that humans were dangerous because they couldnt handle things they didnt understand (like.. magic) but somehow he still manages to slip up many times on BOTH of their secrets (good thing their friends are DUMB)
"so aren, where do you live??" "in the sea-" gets elbowed by kusuo "sea.. outh.. district??" "huh??"
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After years and years, I admit that my opinions with TVDU have changed a lot. For example, I no longer feel the burning hatred towards Elena when I realize how suck her life is (and she did have her moments). But no one could ever bloody convince me that killing Kol wasn't a selfish hypocritical action on her and the MF gang's part, and only because of plot armor that she (and her friends) survived after pulling that shit. Nope. Not a chance.
Point number 1: "Elena only killed Kol to save her brother, that's self defense."
Like it wasn't her who lured him into her house in the first place. Like it wasn't the point of her whole plan at the very beginning is using the death of his entire sireline to complete The Hunter Mark. To get the damn cure for herself. Let's get a quick reminder of how she was fully aware of the consequences and what she's doing:
Elena: If you kill one Original vampire, their entire sire line will die with them. That's thousands, maybe tens of thousands of vampires.
Elena: Think about it. Kol's sire line must stretch to the moon by now. If Jeremy kills Kol, every vampire that he's ever turned, not to mention everyone that they've turned, will die, which means the hunter's mark will be complete and we'll have our key to finding the cure.
Some would argue that it's after Kol compelled Damon to kill Jeremy. But please don't say that there's no other choice since there's Klaus trying to dagger him! For the girl and people who have deluded themselves into thinking her planning a genocide was to protect her brother, she sure did a good job protecting him by having Jeremy fight an Original with some guns and crossbows (like it could've worked in a making-sense world).
Btw hey, how about using the dagger that bloody Matt stole to use it on Rebekah, how about using it to dagger Kol instead? It's still utterly stupid and reckless to challenge an Original vampire either way, but at least could've "protected your brother" without murdering 10000 and more innocent person who did nothing to you. How about that?
#dontwannakill100letskill10000ppinstead #elenaslogic
Point number 2: “It’s not plot armor, Elena is smart and capable than people giving her credit for”…
Okay that could’ve been debatable... if her plan wasn’t stupid af.
I already read those arguments about how Kol isn’t the greatest fighter out of The Originals squad (can’t blame them since the writers kept letting him get bested ridiculously). About his strength might be numb and his skills might be affected after centuries spending on the coffin. About how Kol was cocky, arrogant and underestimated Elena and co. And you know what, that’s fair. That’s some good point I could get behind to explain why Kol didn’t just tear Elena and her brother apart in a few seconds as soon as he entered The Gilbert house.
But let’s not pretend when you saw with your own eyes, that Kol wasn’t in the upper hand in the whole fight. Even they did prepare themselves with all those hunter equipment, attempted to trap him or attack him with surprise. Kol, with all possible inconveniences listed above, still managed to overpower Elena and Jeremy, throwing them away with no sweats like some rag dolls. Not to mention Kol had several chances to just kill Elena and be done with it, like when he pinned her to the wall, and stabbed her. Why didn’t he just rip her heart out of her chest? When he stated clearly on the phone with Klaus that he was going to kill Elena? Why stopped there? No reason. (And why did he froze like that in the kitchen scene as if he was waiting to be killed? 🤦♀️🤦♂️) Kol didn’t underestimate Elena, it's Elena who underestimated Kol. And now we all agree that she and her brother would’ve eaten sh*t and dead, or been armless if it wasn’t for all plot armor, stop fooling yourself.
Another hole of Elena’s “smart and capable” plan is… HOW? What tf was she thinking how she’s gonna kill him??? Like, we all know the only way to kill an Original is the white oak stake… which they didn’t have. The only ones who knew Kol had it were Klaus and Rebekah. And I doubt they just casually mentioned to their enemies in very short of time that their brother had the murder weapon which could kill them all. And let’s pretend they did for some reason, how could they be sure Kol would just bring the white oak state along to the house? He could've kept it somewhere safe, he could've destroyed it already. And there’re no indication or hint that they knew where it was. They planned to steal a dagger to use on Rebekah, to deal with the aftermath, but they didn’t bother to find the crucial weapon for the plan? And Kol just happened to bring the weapon to their door, how convenient. How clever.
Conclusions? Being with poor Elena and defending her all you want (like I couldn't careless with all other matters) but please don't pull the self defense card in this case or go as far as she really just survived purely on her "skills" or her "intelligence". Like, sure. She made a plan, lured Kol into her house to murder him, planned to kill 10000+ people and dgaf about the possibility of the world ending just because she couldn't handle being a vampire. The entire mess afterwards was because of her doings. And don't get me started on how the hell she thought she could get away with killing Klaus and Elijah's little brother and planned to dagger their baby sister later. But yeah, of course, somehow she did. Plot armor. Pointless.
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I clipped this from your post because it’s easier than trying to inaccurately summarize! But I was wondering what you think about this dynamic. Whether you see it as a core part of his characterization and what you think it says about him, or whether you see it as kind of a visual shorthand in the series that isn’t indicative of anything about his approach to sex? It seems to me to be very consistent over the years and I’m curious about your take.
Yeah I think the repetition/consistency in how they show this makes it a super deliberate and very core part of his character, at least in how I read it – wouldn’t be nearly as fascinated with the story if it wasn’t.
And I don’t think it’s an accidental visual shorthand because of that repetition. I remember reading somewhere CM said that in S6’s TxL hotel sex scene they actually filmed two full sex scenes, one on the sofa and one in the bed – but in the end they only showed the last few seconds in the bed focused on the faces, as better articulating the purpose of that scene. I think they are very particular about how and what they show about Tommy having sex.
The particularity does add to this sense of overly-performative sex (EVERY sex scene feels performative and slightly contrived to me, even Tommy with Grace, even him using passionate sex with Grace in S3 to distract her XD, even him drunkenly/passionately sealing the ‘transaction’ with Lizzie in S5’s My Property scene) but I think they manage to stay on the side of the line that it feels like Tommy being consciously performative/contrived, rather than feeling like I can see the director’s hand. It’s the same sense when looking at Tommy’s various desks: yes his desks absolutely reek of being a contrived stage, but it’s *Tommy* being conscious about setting the stage, not the set designers/directors.
My reading / what I think the sex says about his character:
his ‘thinking mind’ constantly tries to frame sex as a transaction because he sees himself/his labour/his work/doing killings/offering sex – basically any act of his body as the fundamentality/essentiality of labour – as a unit he can trade for something else he wants. There’s some kind of less thought-out complex/trauma background thing here, where he believes that his worth is only what he can bring in and do for the family – labour, killing, smarts, sex, whatever. Mostly that’s his intelligence/schemes/business smarts, or his ability to push through risk/stress for high stake outcomes (stretching to do things they won’t out of fear), but sometimes that’s also his body (if combined with intelligence - trade your goods smartly, not stupidly, for advantage worth more than the momentary loss of bodily boundaries).
his ‘unthinking mind’ does actually want sex physically because it feels good. Physical release/oxytocin/endorphins etc? libido? I assume this, because otherwise they just wouldn’t bother showing him seeking out prostitutes; he’s not doing that for ego because he was satisfied in S1 that people thought he wasn’t having sex even though he was. But he is also sort of scared of sex because it leads to an intimacy that he can be used or hurt through it, hence why he defaults to prostitutes (S1, S2, S4 - or even the Zelda fling/no possible relationship) when he’s most wounded. Could theorise this is due to actual sexual abuse, but seems more like it’s because he hurts so deeply every time he’s connected deeply with someone – he loved Greta and was broken when she died, he loved Grace and was broken when she died - so, this supports his transactional approach because transactions are conditional, negotiated up front, well defined and ‘safe,’ they can’t get intimate or personal. He can use the transactional approach to justify himself seeking sex, while at the same time netting him something which feels good.
But whatever’s in the middle of the above two, is actually madly desperate for personal connection and intimacy. Despite him trying to apply sex transactionally or as a feel-good-only thing, he falls into some kind of intimacy and connection with the people he has transactional sex with, so frequently it’s a definite pattern. (I could write absolute buckets about May right here)
Even when he tries to avoid intimacy/connection – prostitution - returning from war, he sticks with one prostitute and has a very intimate connection with her? All right that's not typical?? And between S3 and S4 when the family’s shunning him, instead of just being promiscuous and anonymous, instead he has a relatively small rotation of regular prostitutes, knowing their names by preference to anonymity? Even the scene we see where he insists on someone new that he doesn’t know, this sparks from Lizzie pushing him about family/intimacy/connection. I read that almost as a “look at me Lizzie I don’t NEED connection stop pushing me” in front of her to try to make a point (to her, who used to be his intimate sexual connection, in a way that hurts her too to put her in her place? to himself?), immediately followed by him handing Lizzie cash/emphasising transactional approaches. And this is then followed by that absolutely hysterical fail of a sex scene with the ‘someone new’ prostitute, which I swear is filmed to show Tommy did not, in fact, have any sex, or if he did, it was so lame they didn’t even muss the bed.
Even S6 and the prostitute in America, it’s fascinating they make the effort of showing that having happened, but then focus so much on all the intimacy/connection in the phone call with Lizzie/kids. He needs sex but he's hungry for connection and made vulnerable by intimacy.
(And I could go on about the number of ‘woman on top’ scenes and why that particular position, or specifically the filming/dialogue with May which is one of the more fascinatingly filmed and verbalised transactional relationships because of her class, or why I think Lizzie, the actual prostitute, has the least amount of flesh/nudity showing at all from all his women while he's often MORE naked/exposed in their scenes -- I’ve only been able to watch properly the once through, but had so many thoughts on how they dealt with the framing/camerawork.)
But all up, it feels like it’s trying to show him as a character who performs sex to get something out of it that’s not sex (transaction/treats self as a fundamental labour unit of exchange), but still needing/wanting/enjoying sex (because otherwise why would he pay for prostitutes/why even put sex on the negotiating table men don't do this??), but also constantly he cannot shut down this tendency/urge of his to more softly want/need personal connection almost more than the sex.
It’s just not a common way to portray a guy ruthlessly heading a gang, and that’s why I think it’s so deliberate. They take the expected image of how a guy heading a gang would approach sex (prostitutes, seduction, sexual prowess etc) but it feels like they’ve turned that expected image/action well on its head (cares for prostitute/s, suffers the Mosley-threat and Diana-rape, sexual prowess is mostly in service of women, attempts to depersonalise himself to a unit of trade), and then they use camerawork and the pre-post conversations to show this intriguing drive for intimacy instead of sex.
I hope that’s answered the question? It’s tricky; some of these thoughts more suited to a conversation/branching dialogue than a single post or I get repetitive XD
Tangentially, there’s more thoughts too on how they weave prostitution through as a theme, or the way he’s often in conflict between those motivators of ‘transaction/physical/intimacy’ -- he trips himself up; he gets hurt by trying to lean into one or two of those, and forgetting the other/s, and can’t really ever get them in balance.
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