so if you've seen this before that's why

Aubrey tells Beca about Chloe's toner:
  • [BECA is walking out of an elevator and makes her way down the hallway. Her phone begins ringing and she frowns at the caller I.D. before answering]
  • BECA: Aubrey?
  • AUBREY: Hi Beca. How's L.A.?
  • BECA: Um yeah...good...thanks...?
  • *pause*
  • BECA: So...this is a surprise. I mean, you don't often call me. In fact, you've NEVER called me. Ever. And it's, what *pulls phone from ear to quickly check the time*...3am where you are? Is everything ok?
  • AUBREY: *sighs* No, not really. I called about Chloe.
  • [BECA gets to her hotel room and stops, unlocking the door]
  • BECA: Why, has something happened to her? Is she okay?
  • [BECA steps into her hotel room, closing the door behind her]
  • AUBREY: No, Beca, she's not.
  • [BECA freezes]
  • BECA: Oh my god. What happened?!
  • AUBREY: You did.
  • BECA: What?
  • AUBREY: You happened. Chloe was perfectly fine until you happened.
  • [BECA swallows loudly as she walks over to her hotel bed and sits on the end of it heavily]
  • AUBREY: I've known Chloe for ten years. I'd never seen her look at anyone else the way she looked at you. The way she STILL looks at you.
  • BECA: I don't-
  • AUBREY: *sighs* -Beca, I know you and I haven't always seen eye-to-eye. But there IS one thing that's important to both of us and that's Chloe's happiness, right?
  • BECA: Um...yeah.
  • AUBREY: So why is it since you left I've been having to take care of a mopey Chloe?
  • BECA: Um...
  • AUBREY: She barely eats, barely talks, NEVER laughs...
  • BECA: Aubrey, I-
  • AUBREY:'s been three days and you've barely texted her!
  • BECA: Woah Aubrey, I asked her if she was alright with me going and she said yes!
  • AUBREY: Oh WAKE UP Beca!! She never wanted you to leave but she told you you should because she wanted to support you!
  • *pause as AUBREY catches her breath*
  • AUBREY: *sighs* Beca, I promised Chloe I wouldn't tell you this but I can't bear to see her unhappy anymore so...
  • *BECA strains her ears, desperate to know what AUBREY will say*
  • AUBREY: ...Chloe broke up with Chicago before you left.
  • BECA: What? Why didn't she say anything?!
  • AUBREY: Because she believed that this LA thing was your big break. She didn't want to risk telling you and for you to decide not to go and miss out on your dream.
  • BECA: Oh...
  • AUBREY: I just thought you should know because *sighs* Beca I'm not an idiot. I've seen the way you've looked at her during this tour. When she's been with Chicago? That's not the look you give your friend when you dislike the guy she's seeing. BELIEVE me I know, I never liked Chicago either. But not because I was jealous of him.
  • [BECA brings a hand to her face and pinches the bridge of her nose, closing her eyes as she tries to process what has just been said]
  • AUBREY: Beca this is your life. I'm not going to tell you what to do or how to live it. Just...remember what's important okay?
  • [AUBREY hangs up and BECA places her phone on the bed, looking down at her feet.]
  • ---------------
  • [14 hours later. AUBREY is in her hotel room gathering final strands of her hair to place in an already established 'up-do'. There is a rumble of thunder and heavy rain sounding from outside the window. AUBREY hears a fast knock on the door. She opens the door to see BECA stood on the other side, soaked from the rain, clearly cold, gasping to catch her breath.]
  • AUBREY: Beca wha-
  • BECA: -Where's Chloe?
  • AUBREY: She's gone down to the dressing rooms alrea- hey, wait!
  • [BECA has already begun running off and AUBREY watches as BECA dashes down the hall and through a door that leads to the stairwell.]
  • ---------------
  • [CHLOE stands in front of a long mirror in the dressing room that is situated at the side of the stage where they will be performing their final show of the tour, smoothing down the front of her black dress with her left hand, then glances at her phone in her right. She sighs as she sees she has no message from BECA.
  • FAT AMY clears her throat beside her and CHLOE furrows her brow, looking to her right at FAT AMY and CYNTHIA-ROSE. She sees them nod to the mirror, their eyebrows raised expectantly, presumably to make her look in it's reflection.
  • CHLOE looks back at the mirror and sees in it's reflection BECA stood in the doorway, soaked and breathless. CHLOE turns on the spot and is clearly speechless.]
  • CYNTHIA-ROSE: and Fat Amy have somewhere we need to be.
  • FAT AMY: We do?
  • [FAT AMY sees CYNTHIA-ROSE's facial expression and clocks on]
  • FAT AMY: Oh RIGHT. Yeah. Let's...go to that place...that we have to go to.
  • [FAT AMY and CYNTHIA-ROSE make their way out of the dressing room, grinning at BECA who gives them both an awkward polite smile before they close the door behind them.
  • BECA begins to slowly walk towards CHLOE who is clearly nervous and surprised.]
  • BECA: broke up with Chicago?
  • CHLOE: Uh...yeah...who-?
  • BECA: Aubrey called me.
  • CHLOE: I told her not to say anythi-
  • BECA: I know. But I'm pleased that she did.
  • [BECA pauses a couple of yards from CHLOE, not bothered that she is still soaked from head to toe.]
  • CHLOE: Your job-?
  • BECA: -Doesn't matter. None of it matters. LA. My dream. None of it. Not really.
  • [BECA slowly takes a few steps forward so she is now mere inches from CHLOE]
  • BECA: But you...
  • [BECA and CHLOE hold eye contact, but it isn't weird. They have looked at each other this intensely before. In that shower cubical at Barden six years ago when they sang 'Titanium' together.]
  • BECA: ...Chloe you matter. You REALLY matter to me.
  • [Tears appear in CHLOE's eyes]
  • BECA: On the flight over here I realised I could live my life just fine without ever becoming a Music Producer. But my life wouldn't be worth living if I didn't have you in it. And I'm sorry I didn't tell you sooner-
  • [BECA's sentence is interrupted as CHLOE brings her hands to BECA's face and pulls her into a deep kiss. BECA immediately wraps her arms around CHLOE's waist pulling her tighter to her. Their faces rock gently from side to side as they intensify the kiss, inhaling deeply. Before long CHLOE opens her mouth wider, inviting BECA's tongue into her mouth which takes CHLOE by surprise and elicits a small squeak from the redhead when BECA begins rolling her tongue with hers. They mutually, reluctantly, break the kiss, grinning. CHLOE bites her bottom lip. BECA keeps her hands in CHLOE's hips.]
  • CHLOE: I...don't know what to say.
  • BECA: Have I mastered the impossible and made the great Chloe Beale speechless?
  • [CHLOE lets out a small giggle then her face turns serious as her blue eyes inspect BECA's face nervously.]
  • CHLOE: I don't want to say how I'm feeling in case I freak you out.
  • BECA: Chloe...?
  • [BECA smiles softly, leans her face closer to CHLOE's face, and keeps CHLOE's eye contact with her own eyes.]
  • BECA: *whispers* I love you.
  • [A smile spreads on CHLOE's face as she takes a deep breath]
  • CHLOE: *whispers* I love you too.
  • [BECA and CHLOE kiss again, this time gently.]
  • FAT AMY: *outside the closed door* Can we come in yet?
  • [BECA and CHLOE part their lips, holding each other's hands as they lean their foreheads against each other. BECA closes her eyes clearly frustrated with FAT AMY's timing.]
  • FAT AMY: *outside the closed door* It's just...Aubrey's out here and really wants us to finish getting ready - OW!!
  • [BECA and CHLOE pull their faces apart. CHLOE giggles quietly as BECA rolls her eyes at FAT AMY getting into trouble with AUBREY.]
  • FAT AMY: Okay FINE, Aubrey says take as long as you need - OW!!
  • *pause*
  • FAT AMY: Look, can we just come in before I get battered again? - OW!! Aubrey what now?!
  • [BECA looks to CHLOE apologetically and CHLOE gives her a wink with a sweet smile. BECA quickly leans back to CHLOE and places a brief kiss on her lips before turning her head to the door of the dressing room.]
  • BECA: Alright Amy, you can come in.
  • [The door of the dressing room swings open and FAT AMY, AUBREY, and CYNTHIA-ROSE stand in the doorway with expectant looks on their faces, the rest of THE BELLA's stood behind them with similar expressions. They all squeal in excitement at the sight of BECA and CHLOE grinning whilst holding hands and everyone outside the door tumble into the dressing room to congratulate BECA and CHLOE.]

runrundoyourstuff  asked:

So here's a question--and I apologize if you've answered it before--but what's your rational for putting Zuko in Hufflepuff instead of Gryffindor? (That's not a criticism. Genuinely interested in your thinking!)

I have talked about why I sort Zuko into Hufflepuff, but only in bits and pieces.  Those bits and pieces can be found at these links: [Link], [Link], [Link] and [Link]

Hufflepuff is often seen by Harry Potter fans as the sunshine house, but that’s not how Hufflepuff has been defined in text, and the sorting hat says nothing about cheerfulness or optimism when it talks about Hufflepuff House.

What the sorting hat has to say about Hufflepuff:

“You might belong in Hufflepuff,
Where they are just and loyal,
Those patient Hufflepuffs are true
And unafraid of toil”

-Harry Potter and the Philosoper’s Stone

“For Hufflepuff, hard workers were
Most worthy of admission”

-Harry Potter and the Goblet of Fire

“Said Hufflepuff, ‘I’ll teach the lot
And treat them just the same.’"

-Harry Potter and the Order of the Phoenix

The defining traits of Hufflepuff House are hard work, loyalty, and a strong sense of justice and fairness.

Zuko, angry, reckless Zuko, whose plans never work out because he struggles to think things through is nothing if not a hard worker.  Abused, cast aside, and forgotten about by his father, Zuko refuses to give up.  He refuses to quit, even in the face of seemingly impossible odds.  He takes the advice “Never give up without a fight,” and transforms it into “Never give up at all.”  This is something even his enemies remark on.  After Aang is kidnapped by Zuko, and carried off into a blizzard, Sokka assures his sister that they won’t die, because, “If we know anything, it’s that Zuko never gives up.”

In the same episode, Zuko gets to the heart of the Hufflepuff values of hard work and determination when he compares himself to his sister: “I don’t need luck though, I don’t want it. I’ve always had to struggle and fight and that’s made me strong. It’s made me who I am.”  Zuko has come to take pride in his hard work and determination as the one thing that sees him through.

Later, Zuko will again beautifully articulate this core value of Hufflepuff House, at the Boiling Rock. In this scene, Zuko has come to terms with who he is. His identification as someone who works hard and keeps at it in the face of misfortune and failure is no longer a defense, used to salvage some sense of pride. Instead, he has accepted it as a strength and a virtue. Or as he tells Sokka, “Look… you’re going to fail a lot before things work out. Even though you’ll probably fail over and over and over again… You have to try every time. You can’t quit because you’re afraid you might fail.”

Zuko is intensely loyal, to his father, a loyalty that fuels his three year long quest to find and capture the Avatar, and leads to his siding with his sister to conquer Ba Sing Se, to his people, a loyalty that first reinforces his loyalty to his father as the Firelord, and then later helps lead to his defection, to his uncle, his loyalty to whom and betrayal of tears him apart after he helps his sister conquer Ba Sing Se.  Zuko’s loyalty leads him to make some of his worst and most decisions as well as some of his most noble.  It is a major motivating factor for him, and an essential part of his world view and personality.

Zuko’s sense of justice and fairness is what leads to his exile in the first place.  He is revolted and horrified by the Fire Nation generals’ willingness to throw the lives of soldiers away in a fight they cannot win to bait a trap.  Although during the course of his banishment, Zuko convinces himself he was in the wrong, this sense of justice is what will ultimately break his loyalty to his father.  The conflict between what Zuko’s father tells him is right, and what he knows at his core to be right fuels his anger and misery in Book Three until he makes the choice to follow his sense of justice and break away from his father.  Until then, Zuko had subsumed his sense of justice and fairness into his notions about honor, and fought hard against his own conscience to take his father’s view of honor as his own.  Later, he will build a new concept of honor, based around his willingness to to what he knows is right.  Honor is a thing he gives himself.

None of this is to say that Zuko isn’t brave.  He is incredibly brave, just has he can also be clever, cunning, and even ruthless.  However, he brings all of these traits into the service of his determination, his loyalties, and his sense of justice.

There is one last trait of Hufflepuff House.  Helga Hufflepuff refused to turn a student away.  Zuko, who has faced some of the worst rejection imaginable, whose own father banished him when he was still a child, would appeal to Helga Hufflepuff’s wish to take in those unwanted elsewhere.  Likewise, Zuko carries that desire in his own heart.  You can’t tell me that Zuko doesn’t see the rejection of a child as a moral evil and even a personal affront.  This trait too is one of deep resonance for Zuko.

I would like to note that a young canon Zuko would be horrified to be sorted into Hufflepuff.  Hufflepuff is strongly implied to have gained the reputation of being full of the people unworthy for any other house.  Zuko would see it as a rejection by the other three houses, instead of a welcoming by a house that he embodies the values of.  It’s a tremendously sad fact that Zuko has thoroughly internalized the idea that everything he is, is wrong and inadequate.  It would take him a long time to come to appreciate Hufflepuff House, just as it takes him a long time to come to appreciate himself.

  • Listener: In the C-Part when Rin-chan said, "We're going to Australia!" my mouth dropped open.
  • Miyano: Yeah, he said "We're going to eat some Aussie beef!"
  • Shimazaki: No, that wasn't it! Everyone's already seen the episode! By the time this radio is aired, everyone would have already seen episode 12!
  • Miyano: No?
  • Shimazaki: No Aussie beef, that's not why they went there!
  • Miyano: They COULD have eaten Aussie beef!
  • Shimazaki: They COULD have, but that wasn't the purpose of the trip, right?!
  • Miyano: I see, I see. But he could have said, "I'll show you a beef you've never tasted before."
  • Shimazaki: I would want to eat it, but Haruka is all about mackerel. So maybe if it was a mackerel that he'd never seen before, he'd be okay with that.

anonymous asked:

How do you feel about the ASOIAF series? I know you've discussed YA series involving a war before, but this is an adult series that's supposed to be all anti-war and realistic.

Oh Song of Ice and Fire... To quote an anonymous IMDB reviewer for Ben Hur: I admire it more than I enjoy it.

And to be clear, I do admire the hell out of George R.R. Martin.  I’ve only read Game of Thrones and Storm of Swords but I’ve seen the entire show (more on why in a second) but I have had so much admiration for what I’ve seen.  Mostly because Martin calls J.R.R. Tolkien on his bullshit.  

And I’m very sorry to all the hardcore LOTRers of the world, but J.R.R. Tolkien is chock full of bullshit.  The Lord of the Rings is 1,500-odd pages of masculine white-normed cishet gender roles, a story where there are entire races of people (hint: they’re the ones with dark skin) who are portrayed as barbarically evil, while entire other races of people are ranked on a scale of superiority according to how tall and “civilized” they are.  The female characters are almost entirely nonexistent, but when they do exist it’s primarily as prizes for the male characters to win.  Aragorn is a Mary Sue who never gets called on his Mary Sue-ness, and my skin always crawls with the colonial attitudes that underpin the depictions of bygone days When Men Were Men and Technology Didn’t Exist.  Maybe the greatest offense in my book is the fact that J.R.R. Tolkien became the code-setter for pretty much every work of high fantasy to follow for the next 50 years (Wheel of Time, Eragon, Sword of Truth, and the Kingkiller Chronicles all take most of their settings and tropes and RAGINGLY SEXIST WHITE SUPREMACY from Tolkien, just to name a few).  Tolkien is also not subject to the however-flimsy excuse of being a product of his time; C.S. Lewis literally attended write-ins and did beta reading for Tolkien (even though they presumably didn’t use those terms) and he writes stories in which women narrate books, fight in wars, act as both heroes and villains, and hold equal partnership with men throughout their adventures.  The Chronicles of Narnia might be infamously Christian, but they also have positive portrayals of other religions, depict heroes of color saving their kingdoms, and outright state that it doesn’t matter which god one worships as long as one vows to be humble and help others.  

ANYWAY, I could go on and on about my hate-on for Tolkien (and oh look I already have), but where I love what Martin is doing is that he shows exactly why the portrayal of Middle Earth is full of crap.  In ASOIAF, the main characters simply go about getting things done regardless of gender—they kill, fight, rule, have sex, etc.—and the only difference is that the female characters have to work around (or work with, or use to their advantage) the fact that no one ever respects them.  Martin simply shows us that women have to be twice as good as men to get any respect, without falling into the trap of vaguely-condescending, vaguely-masturbatory declarations of “This is so feminist!  Look at how feminist I’m being!” the way that shows like Agent Carter and Supergirl tend to do.  (Disclaimer: unlike LOTR, I actually really like Agent Carter and Supergirl.  They just both get my back up every time a character goes “… it’s because I’m a woman” or “how could some little lady like you do a thing like that?” only to knock over those straw men and pat themselves on the back for having done so).  Martin neither ignores historical sexism nor falls into the Tolkien-trap of romanticising it.  He instead shows how it affects all of his characters, regardless of gender.  He doesn’t assume (as so many modern writers do) that women simply stayed at home because they were “supposed to;” he does his homework and makes use of the fact that women have been leading armies for as long as there have been armies.  

Of course, it’s not just Tolkien’s sexism that Martin deconstructs.  He also does not flinch away from portraying the fact that (shockingly) people die in wars, and most of the time those people are individuals who had several loved ones at home.  In ASOIAF, battles are not just a matter of mowing down opposing forces who aren’t even human anyway so we get to have uncomplicated glory for our protagonists; they’re a matter of showing both sides of the conflict, justifying both points of view, and then allowing the reader to appreciate the full horror of the mass murder that results from two lords’ egos clashing and seven thousand commoners paying the price.  Martin shows that the idea of going out and winning glory for one’s kingdom is the kind of privilege afforded to the mainstream, well-born, able-bodied, cishet, traditionally masculine few.  He heroicizes the other 75% of the population who aren’t talked about in the historical epics, and casts a stinkeye on the idea that things were sooooooo great back when the typical life expectancy was about 45 years.  The Lord of the Rings could easily take place in Westeros, but not only would it be a drop in the bucket of like eight other wars, it would also be a disturbing tragedy about the senseless slaughter of orcs rather than an uncomplicated heroic epic.  There are hundreds of other authors doing the good work of moving the fantasy epic out of Whitewashed HeteroMasculine Medieval England (Tamora Pierce, Garth Nix, Nancy Farmer, Ursula K. LeGuin, Patricia Briggs, and Octavia Butler, just to name a few), but G.R.R. Martin actually speaks directly back to J.R.R. Tolkien and for that I admire the heck out of him.

Given the extent to which I just all-but licked the ground GRRM walks on, this is probably going to come as surprise… but I don’t actually like his books that much.  As I said, I admire his writing but don’t enjoy it.  High fantasy is one of those genres that I find only moderately appealing at the best of times, and at the worst of times I throw at a wall because it’s just Lord of the Rings fan fiction that claims not to be.  I find ASOIAF to be too slow-moving and dreary for my tastes—I prefer my books to have cinnamon-bun-eating aliens and jokes about cockatiels pooping on celebrities’ desks, not mass suicides and survival cannibalism.  I admire the vast interconnections of Martin’s enormously intricate web of human politics, but I find it obnoxious trying to keep track of that many characters and usually disengage before I have to go pull out an encyclopedia of fictional genealogies.  I’ve watched the entirety of Game of Thrones because I have an awesome group of friends who spent this whole summer having weekly cookouts where we’d have historically-authentic sausages and grog (AKA eating hot dogs and getting drunk) while watching each new episode, but I would probably quit the show if I didn’t find the process of watching it to be so socially rewarding.  So I wish Martin all the best in the world, but I’ll probably be checking out a novel with less resemblance to a cinderblock the next time I visit my local library.  

robin-mask  asked:

Hi, sorry to bug you! I was just curious, as I've been seeing your posts on a blog and couldn't quite understand. You've been saying that the spideypool fandom is toxic? That's completely fair, if that's your opinion, but it's confusing - and somewhat unfair - in that I haven't seen *why* you think that. I've not seen any examples, other than accusations of ableism and homophobia, etc. You don't have to answer, if you don't want to, but why does it feel that way to you? :-S

okay so i left this so i could calm down a bit before i answered so i could actually say something constructive instead of telling you to go fuck a duck.

there’s a lot of stuff here that i’ll probably forget to add, but i’ll give it a shot.

spiderman is ableist towards deadpool:

  • he regularly calls him insane, for a start
  • he thinks deadpool is completely and utterly incapable of any morality, any decent strategy, OR changing for the better
  • he doesn’t have a lot of direct evidence of this, he believed it right form the get go; presumably because wade has a reputation, which is largely clouded by ableism (yes he is a bad person, but ableism exaggerates his misdeeds)

the spideypool fandom is ableist towards deadpool:

  • they often coddle wade like a poor, innocent child who’s done no wrong – despite the fact that he is a bad person who does kill people and peter dislikes him because he kills people, same as he dislikes wolverine
  • they excuse peter’s ableism, or erase it, rather than addressing it in fanfics or discussing it within the community

the spideypool fandom also seem to have a habit of completely erasing peter’s personality – as a bossy, sarcastic, opinionated, somewhat selfish, heroic, intelligent arse of a man – which says to me that they’re fetishizing him, objectifying him.

and no, just because that happens to cis women far more often than to men, does not fucking mean you get to do it to men of a minority status, as christy (fuckyesdeadpool) tried to claim. jesus fucking christ, cis white women, you do not have it ‘worse’ than we do, it’s not the fucking oppression olympics.

spideypool is usually one sided, as it is in canon, and a major trope of the ship involves wade harassing peter until he gives up or wade forces himself on him. that’s rape culture. anons have claimed that the AO3 tag is only a small percent of non-con, but need i remind you that “dub-con” and a lot of rape culture gets left untagged because, surprise surprise, rape culture normalises it?

fuckyesdeadpool is probably the most vocal and the most popular spideypool blog on the internet, certainly on tumblr. her opinions, no matter how wildly they diverge from actual canon, are treated as gospel by her followers because mos of them are A) ignorant and B) conformists, as most of the human race are.

spideypoolers also routinely shit on cablepool, taking panels and events out of context for ‘gotcha’ liberal-style rebuttals, instead of making an actual coherent argument. christy is massively guilty of this, in fact she shits on a lot of characters this way not just cable – she does the same to siryn, and conveniently omits the fact that wade was very fucking gross and misogynist towards her, and conveniently omits how ridiculously kind and patient terry actually was, given how he treated her. nathan summers is a disabled, neurodivergent, complex character and christy reduces him to a few fucking pages worth of him fucking up, and calls it abusive despite the fact that context is what separates problematic behaviour from abuse, and despite the fact that he acknowledged he screwed up and stepped the fuck down. cable is by no means perfect, i will never make that argument, but he is one of the best x-men around and he is one of deadpool’s greatest friends/allies/maybe-lovers.

the double standard, of course, is that the same people who call nathan abusive are the same people who don’t even acknowledge parker’s ableism and wade’s stalkerish obsession with him. why? because he’s young and pretty? because he’s abled, unlike cable? it’s interesting to me how abled characters can get away with so fucking much, but the moment a disabled character makes a mistake, he’s demonised. 

a lot of my anger over spideypool is because of how spideypoolers treat cable, and because of how christy’s “”funny”” (dismissive, derailing, ignorant, offensive) rebuttals are eaten up by the fandom like some fucking carnival. it’s a conformist neo-liberalist dance and it’s bullshit.

(ps: i also have some personal shit with it, spideypool reminds me of a fling i had that got complicated and i probably rage more than i should over spideypool because i’m venting blind feelings over that bc frankly i was in the wrong in that situation so?? i need?? somewhere else to vent it?? …yeah, okay, i’m an asshole. sue me, i’m only human.)

So I was fangirling at the eye doctors today...
  • Me: *opens up photo of Misha on Laptop*
  • Me: See? That's misha.
  • Eye Doctor: I've seen him before! He's got blue eyes.
  • Me: Yeah he does.
  • Eye Doctor: They're very piercing blue you know? He's the dreamy one.
  • Me: *laughs* yeah he is. I love him.
  • Eye Doctor: I could see why. I think I even like him a little.
  • When a married man with grandchildren 'likes you a little' you know that you've won life.
a pizza story
  • delivery person: uh i have a cheese pizza and a pepperoni pizza here?
  • jack: well, well, well, according to my watch it's 6:48, exactly 35 minutes after i called in my order... which means these pizzas should be free
  • delivery person: my watch says 6:30
  • maxine: *coughs* according to einstein's theory of relativity *glances at note cards* uh, when you move at high speeds you like... witness time slower than people who are relatively stationary? so like um... from your perspective you tried to get here as fast as possible so it's been less than 30 minutes for you, but for us it's been more? please give us the pizzas
  • deliver person: *glances at jack* wait do i know you from somewhere?
  • jack: n-no you've never seen me before! i'm just a regular ol' nobody with one of those faces
  • jack: i lied, i'm an internet meme and that's why you recognize me