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Another moment in which Gosling woos via melody, this time he strums a threadbare rhythm on a ukulele while warbling the Mills Brothers’ “You Always Hurt the One You Love” to his crush Cindy (Michelle Williams).

It’s the most perfectly tidy meeting point of Gosling’s dual screen personae — the tormented, wounded lover and the eager-to-please performer.

As Williams awkwardly tap dances, Gosling connects to her in the language of song, tapping into the same intimacy that animates Chazelle’s spectacle-size showstoppers.

His eyes say, “I know I’m not gonna land the Oscar for Half Nelson, but securing the nomination will provide a crucial bump to my profile and open up a lot of avenues for me in critically acclaimed indies down the road.” He’s so small, but so wise.

The video is a strong start to the case, and moreover, incontrovertible evidence that society started going downhill the moment we abandoned the Hammer pant as an acceptable garment.

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Returning to the boyhood dance routine that brought him reluctant viral traction earlier that year, a humbled Gosling goes through his steps and demonstrates that he’s both got a sense of humor about his career and still retains the fleet-footedness of his tween self.