i know the oscars are bs and that something like this happens every year but it's not even exaggeration i make because i personally love the movie when i say NOPE was a pure crystal decanter of cinematic elixir and it getting 0 noms for anything in any category at all is not just a insult but -legitimately- baffling

@jedivszombie dared me to post my top 7 comfort movies in no particular order! as i am a supreme kinofile i regret to inform you i will give you also some synopsis so you guys can see these, please: 1) in the mood for love (2000) [dir. wong kar-wai]: two married couples lived next to each other in 60s hong kong (then occupied by the brits). one half of each couple (tony leung and maggie cheung) starts suspecting that their respective other halves are cheating on them with each other and join forces to get to the bottom of it. perhaps the greatest movie of all time, it's a masterclass on acting from both tony and maggie and the cinnamon tography is exquisite as well. i promise you that once you watch it you won't forget it and keep going back to it as well. the longing. UH! 2) marie antoinette (2006) [dir. sofia coppola]: basically a biopic of marie antoinette's life from her engagement to the dauphin of france, future king louis xvi until the start of the french revolution. clearly, sofia isn't that concerned about the historical subtleties - although since the film is inspired by antonia fraser's biography (very good by the way), so she actually happens to be a bit more accurate than some other interpretations of marie antoinette at least. but mainly, the film has pretty candy colours and lovely gowns, such beautiful gowns. kirsten dunst also kicks ass in the title role. 3) possession (1981) [dir. andrej zulawski]: this is not a comfort movie for most people because it's pure body horror, but i'm so fascinated i don't care. isabelle adjani and sam neill are a couple living in west berlin who go through a Very Bad Breakup, to say the least. sam starts to suspect the separation is motivated by cheating from his wife's side, but when he decides to investigate it... might as well just sat there and ate his food. isabelle adjani just gives a bizarre lesson on how to lose oneself in the character and goes full unhinged in a way i can only admire. trigger warning for every single thing that could be though, so this is def not for everyone.

4) bacurau (2019) [dir. kléber mendonça filho & juliano dornelles]: i can't go through this list without adding at least one brazilian film, and i might just do one because i kinda have a hard time watching those because they hit too close to home, but that's precisely why i like bacurau. it hits so close to home for me as a brazilian (and one who has heritage from the northeast, where the story takes place) that it's incredible. weird happenstances start taking place in the small village of bacurau, located in the sertão, while the townspeople get together for the burial of one of its most influent citizens. soon, the city disappears from all maps online and things start happening. this kinda borrows from western style films, but it's better because it's not american, so. again, it can get bloody. 5) love, rosie (2014) [dir. christian ditter]: since i suggested two weird gory films now, here's a cute rom-com that just hits all the right spots. lily collins and sam claflin have been childhood best friends who are too thick to realise they are into each other, and life forces them to go separate ways as he goes to boston for medical school and she stays in england being a pregnant teenager. the story unravels as they transition from adolescence to young adulthood and mature, still remaining friends (and lowkey in love). it never gets tiring. i love sam's dimples.

6) and then we danced (2019) [dir. levan akin]. here's a banger from georgia! a young man is a dancer trying to get in the national georgian ensemble (a very traditional, very manly occupation in georgia, actually). his best friend, a girl, tries to get with him but it never really works... until he meets another guy who joins the same company and then things just click. this one hurts but in a great way, 7) rope (1948) [dir. alfred hitchcock]: two besties decide they are the ubermensch and because of that they believe they can get away with murder, inviting their closest friends and family to have a kiki right after they kill their classmate. they also call their teacher (james stewart), who basically inspires them and who starts clocking them right early on. the movie is set during the two whole hours between the murder and the ending of the party and it's shot to look like a continuous single shot. alfred was a bitch but he knew. also the guys are gay for sure no way. anyway, these might not be the best movies ever but they are my faves and i go back to them everytime. i need to get a life. hugs and kisses.

what up sluts ive been having to be taken off an ssri cause i got allergic to it or something so ive been kinda fucked up these past few weeks sorry for being so MIA blows a kiss anywya im wanna talk about my hot aqours movie take that i never get to talk about because the only person i know whos as into love live as much as i am is a u’s purist but i am literally thhinking about it 20 four seven and its not hot in the slightest that was a lie its not really cold either its just no one cares as much as i do about this one specific thing but like DAMN the music choices are.....strange

LIKE they start off fantastically with just a very good and very long but catchy broadway esque opening with bokura no hshdjfdaaejgdsnsmfds...  and i personally dont mind that the third years are the only ones who get a specific song just for them (unlike how each year group got a song in the u’s movie) cause the aqours is about saying goodbye to the third years and a sorta passing of the torch for the others to continue on while the the muse movie is about honoka breaking the time stream and also saying goodbye to the group as a whole

anyway i adore bokura no something or other its such a good opening and i love mobius loop something or other (although it wasnt given enough time to breath and really be memorable i found) and hop stop nonstop rules its one of those love like songs that are so painfully catchy they stockholm you into loving them like puwa puwa o or cotton candy ei ei oh and i love its high energy and the visuals for it are very fun (i know its goofy how fast maris mother conflict was resolved but like i dunno i dont expect anything in love live to be necessarily....well written)

and youve got believe again which is great although not my favourite saint snow song (its really hard to beat self control qwq) but man i think they did saint snow a little dirty by following it up with like the best song in the movie brightest melody like WHAT happened there WHY did you bust ur best song nut so FAST theres still like half an hour left of the movie!!! what are you gonna do now!!!!

okay i might be overhyping it but brightest melody is so good tho like i personally wish it was a third years center or even a mari center vocally for narrative and aesthetic (the third years outfits being different) reasons but its so GOOD the outfits rule and i love the quick change, plus not to be like the cinnamon tography but like.....the sin of man tography......... the greatest moment of that movie is right at the first line of the chorus where its like KIIIIIIRA kiRA and theres this loud drum bang and the entire screen lights up as the sun rises.......god it rules, i also think its just a great song with very classic aqours sound with like the emphasize on drum beats and the very going forward into the future oriented tone and lyrics like im biased most of my favourite aqours songs include water blue new world mirai ticket and miracle wave jhkfeasdska i know what i like and its key changes............ anyway that song kinda overshadows believe again which is a shame but then the biggest musical crime the movie commits happens next and im still upset about this

i said brightest melody was the best song but thats not entirely true, its the best song with a visual performance, but kiseki hikaru......kiseki hikaru....its SHAFTED.....RELEGATED TO MONTAGE MUSIC ONLY.......WHADDA HELL like GODDAMN not to be a whore for key changes and lietmotifs but literally its the theme for the past season if you use that you can just make the entire audience cry for free and i cant believe they squandered it just to follow it up with the most boring song in the world next sparkling

im sorry ill try not to be too mean to next sparkling its still a good song i mean its a love live song i dont know what kinda intense secret process these musicians go through to perfectly manufacture the greatest possible idol anime music in the world but they know what theyre doing alright

but man next sparkling just kinda deflates the energy the rest of the movies music was building... i dont really compare a lot of the aqours movie to the muse movie because again the muse movie is about honoka becoming her own grandpa or something and the aqours movie is about saying goodbye to the third years but i will say they shoulda taken some tips from bokutachi wa hitotsu no hikari with how to end off a movie, fitting lyrics and tone (a bittersweet goodbye, we’ll be together in our hearts, that sorta thing) plus the cute lyrics with the girls names in em and the little references to past songs........fantastic

or hell they shoulda taken pointers from the past aqours seasons like mirai ticket rules and water blue new world with wonderful stories is a double whammy of fantastic ways to end off ur anime, but like next sparkling feels like a filler b side off a single this doesnt feel like ur goodbye song it barely feels like an aqours song outside of the drum machines jfsakdsa too much emphasis on guitars and synths (that always felt more like a muse thing, aqours feels more about loud bombastic beats and strong chorus melodies while muse is more into guitar riffs and solos and super good song openers) the chorus too similar to the verses and the energy too consistent throughout where it kinda blends together as a six minute slog to the point where the one fun and creative thing they do, having the third years not appear until the middle of the song, is barely noticeable because of how samey it sounds hhygiurwejfsdsklsjfds although i think the structure may have been more effective if maybe like they started with the third years and they vanished half way through but maybe appears again near the end in the choruses and maybe some fun vocalizations to symbolize that even tho theyre moving on to the next stage of their lives theyre still there in spirit or something jreihrkdnjfs i dunno

what i really think they needed tho was a catchy song more in line with aqours usual running-forward-to-the-future building up sound but with some musical references to both the main themes of the second season (like with kiseki hikaru) but also the main theme of the first season and maybe even a hint of stuff from bokura no hwiurhjekgrsfeajsgrkfed from the beginning of the movie, or maybe a similar tone to it to sorta bookend it with a bit of broadway flare...or maybe references to the third years solo songs???? or hell some refs to mijuku dreamer???? i need references sunrise, i need references to past music so i can remember how far weve come and cry, do you want my tears sunrise? do you want my tears? give me references sunrise. give me references

anyway this literally only matters to me and nobody else feels that strongly but i think next sparkling is such a lame ender for aqours anime run and everyday i have to deal with the fact that their gonna try to use it as aqours bokutachi wa hitostu no hikaru and theyre gonna try to make me feel with it and im gonna feel nothing and be bummed because i wanna feel

oh well like the next thing they released animation wise with aqours after the movie was the music video for mitaiken horizon and today i was watching that and i did start crying so maybe they learned a little too late how to make us feel with aqours hjedgksfndkasjkfdla

its about the key shifts, its always the key shifts

okay so i said i’d write this on friday and then i didn’t but i really wanted to so i’m doing it now

not to be a cinnamon tography nerd on main but i have things to say about vrijdag 21:21, nobody asked for this but here they come:

(spoiler alert this got long so it’s all under the cut, enter at your own risks;))

first off the lighting in the lobby: pure gold (*finger guns*). there is a warm yellow golden light around the door due to the street lights outside, so when robbe walked further, he was in the colder whiter light from the building. Then. when sander came in, the shots of him were in this golden light, which creates such a heavy contrast. i mean look at them side by side, do you see the difference? It could show that the two characters are not in the same head space and that their feelings coming into the scene are very different. Reminder that at this point and time they have not spoken since sander kissed britt and he never answered robbe’s messages either. Sander walks in this scene with the purpose of telling robbe that he chose him, not Britt, but robbe is lost and has “colder” feelings towards sander.

but thennnnn when they both come together in the same frame, the colours fit together so well that robbe blends into the golden light and the background, like he was meant to be there. Whether it’s his hair or his coat he just melts into the set and your focus is instantly drawn to sander who immediately stands out.

also, all of the shots from the beginning are very warm, until we see the “cold ‘robbe’” shot (im calling it that but you know which one i mean i’m bad with words sorry). so not only does it represent their feelings and creates a contrast, it feels very unsettling to the watcher because up until this shot, all of the shots were rather warm and yellow-toned, even the close ups of robbe’s face because the coldness of the shot comes mostly from the white wall behind him. So, having scene all of these golden-lit shots before, when seeing robbe in colder, bluer light it feels surprising, much like robbe felt seeing sander.

sounds in the lobby: not one. there is not one sound but the creaking of sander’s boots and his leather jacket, their breathing and the *yearning noises*, and yet i know for a fact those doors dont block sounds at all, and especially not all the sounds you can hear when robbe is outside walking in, meaning they were cut on purpose. In other clips there is always some background sound to represent their surroundings, to make it feel more real, and cutting that out really shows that this right there is 1) all you should be focused on and 2) all that really matters in the story and in each of the characters’ life at this point. facts also strengthened by 1) the fact that all sounds go quiet the second sander closes the door and is officially in the building and 2) the fact that you see a red light flashing passing by (see picture below) and you don’t. hear. a. thing.

continuing in the sounds in the lobby category is the synchronization of the song with their kiss and most specifically sander’s jaw (because it’s taking up most of the frame). at 1:36 and 1:37 between the lyrics “take it” and “how you want it” there is a cymbal or sound of some sort that resembles a breath in, and that sinks in perfectly with the movement of sander’s jaw that indicates a breath as well (see picture below). If you grew up doing a choreographed sport, you know how important it is for you to do moves on certain cues in the music to show that you were perfectly in harmony with it or else you could get points deducted, and if you didn’t grow up doing those types of sports and you didn’t know music is important, well now you know and it is soooo important because of the harmony. You being in sync with the song you’re choreographed to truly shows that everything is where it’s supposed to be, when it’s supposed to be there, not a second earlier, just like their reunion.

twirling transition from the lobby to the bedroom: *chef’s kiss*

photography in the bedroom: 13/10. they move on to the bedroom with the overhead shot, which is so effective. this shot placed above their heads actually detaches you from the scene because you are placed above them, like an omniscient overwatcher, so yes, you feel like you are intruding, being kind of like a peeping tom, but this shot sold the clip to me because it visually changed things up, but it actually reminded you that you’re just a watcher and that this is something between them, and you aren’t part of the scene. Yes, you feel like you’re intruding, but let me tell you if all the shots we had were ground shots or eye-level shots you would feel the intrusion feels even more.

okay! next! this shot:

this is very much shot with a wide angle lens and you can tell by the disproportion of robbe’s face (how big his forehead is compared to his chin). WA lenses are often used in films and photography to how the surroundings and the world around a certain character or thing. A fairly common shot is a character in the middle of a frame with all of his surroundings to make him/her/them feel small compared to the world around them. Basically, all i’m trying to say is, to me, this shot felt like they were using the WA lens to represent the world around them but it only showed robbe and his chain, or sander’s world in that moment, nothing else matters, it’s just him and robbe, alone, in a universe of their own, much like the outside sound or lack thereof in the lobby.

then when they’re kissing and they intertwine their fingers, the shot goes from having them kissing in focus and the hands out of focus in the foreground to having them out of focus in the background and their hands in focus. I feel like this is pretty self explanatory, but it really shows that they are together, on the same plane, as physical proof. Yes, the lighting and the angles were showing that before in the clip, but in that moment, that physical touch shows that they really are one and in sync.

and then that last overhead shot where it spirals and gets higher and higher plays on that intimacy again, it’s the reminder. Since the last ‘overhead’ (even though it wasn’t *technically* overhead but you get it) shot all that we got were very close, specific or WA shots that made you feel like you were part of the scene. You easily noticed and focused on the details, and that last shot starts like that, focusing on sander’s back and moving to robbe’s hand, bringing your focus from his back that took up most of the frame to robbe’s hand, a very specific element of the frame, until it starts to spiral away, moving higher. THIS REMOVES YOU FROM THE SCENE IN THE MOST PERFECT WAY. Essentially, the focus change from the back to the hand gathers your glances. It makes sure that wherever you were looking before you are now solely looking at robbe’s hand and then the shot moves backwards still focusing on the hand and withdraws you as a watcher from the scene, and basically wraps that scene in a perfect bow. It reminds you that you saw what they were doing, but in the end it really just is all about them and you were only witnessing it. And this is only strengthened by the last two seconds.

After the overhead shot is first moving backwards, it’s lowered again and you’re closer to their heads, and yes you’re still close to them, but not with the level of intimacy you had before because you’re now not part of the scene you’re just a witness floating over them. Fun Fact: it is also the exact same shot that we first get of them on the bed, just lifting up instead of coming down (see picture below) and it just finishes the clip beautifully imo. tl;dr the overhead shots are basically a way to remove you from the scene and imo they were very effective and beautifully done.

geometry in the bedroom: diagonally amazing. As humans, our eyes love geometry, and studies show that if there is some form of geometry in a photo, we’ll tend to like it and appreciate it more. It’s not the geometry from elementary school with squares and triangles, but stuff like the rule of the thirds and multiple lines that all lead to one specific point. What i noticed a lot in this clip particularly was the diagonal lines. First example: sander’s back in the last few shots of the clip: it goes from one corner of the frame and even though it does not reach the other corner of the frame, there is nothing that is particularly blocking it, meaning your eye elongates it and creates a coherent line, which is very appealing to the eye and very easy to follow. It is also part of what makes the shots so ~aesthetially pleasing~, but there are multiple examples of this throughout the clip (see picture below) like the movement of the focus from their faces to the intertwining of their hands, which brings me to my next point.

movement in the bedroom (it sounds so sexual omg i promise it’s not): smooth. One of filmmaking’s golden rule is to not move the camera unless it is absolutely necessary, which is why i was absolutely floored when it happened on three major occasions: 1) at 1:54 when robbe removes sander’s shirt the camera moves along with his hand, essentially keeping robbe’s watch in the centre 2) at 2:09 when the shot goes from sander’s boot up along his leg to robbe climbing sander like a tree and 3) at 3:08 when the focus moves from their faces to their hands holding (but i kind of already talked about that one).

Not going to lie, i have no particular analysis for 2 apart from the fact that it might have been used for contrast because of the black jeans and boots compared to the skin, but it looked so good that i am not mad it was included in the final cut. As for 1, to me, it symbolized their emotional stripping? like they are physically stripping but being in the movement of it meant something more and made it a symbol of how they are committing emotionally to one another after all this time, stripped of anything else, kind of like their first kiss. just them and their *in love noises* and nothing in the way.

All i’m saying is that this clip was so incredibly easy to watch because all of the geometry and movement does all the work for you, it makes your eyes move from one corner of the frame to the other with ease, and the lighting set the mood perfectly with such a warm colour.

and that’s all i have to say! thank you so much for reading up to here haha i am forever thankful🌻 i’m not studying media in any way shape or form i’m just very interested in it so all of this is purely from my amateur point of view but i really wanted to scribble all of my thoughts somewhere so here they are:)

so i was rewatching tbl today and got to the luther braxton conclusion episode and i literally cannot stop thinking about how absolutely divine that scene is, the one where liz is still under the sedative and red is really close to her and looking at her with full attention (while ressler and samar stand next to them) like the way the scene is all slowed down and the LIGHTING is astounding, the angles,,its art so since you make gifs i thought i could share this idea with you in hope youd gif it

Hmmmm yes, that scene is truly beautiful. The cinnamon tography says it all. I might not gif it any time soon though because I'm super busy this week and I feel like there are a million gifs of that scene on tumblr already.

But maybe when I have more time on my hands again or decide to procrastinate the stuff that I should do instead.

The Wheel of Fortune and The Sun with whoever u want :3??

will do with stupid idiot cringe ass evan wolfram. thank you!!

wheel of fortune: Are either of you risk takers? If so, what’s a really big risk either has had to take for the other or other things in their life? evan isn’t a big risk taker, he’s very... pragmatic and won’t make a decision unless he’s almost 100 percent sure of the outcome. he hates outliers/what-ifs so he really just stays in his lane (in a good way, because if you go out of your lane at marrian-eliza, you might die). again i’m not a big risk taker either, so we kinda synergize in that regard!

sun: What is something you and your F/O have experienced together that was positive? Did it make you grow as a couple? OHHHH ive wanted to talk about this idea for like an entire fucking week! so after 1.3 when we move back to primary gracetown (don’t ask me how, because i haven’t figured that out)- after we move back to gracetown there’s a day where we visit the local cemetery and we just kinda spend a few minutes at rebecca’s (his sister for the uninitiated) grave and he doesn’t say much, he’s just kind of thinking... and while this may seem like a negative experience or a strange one i NEED there to be a scene near the beginning of 1.3 where he looks over some stray photos of him and rebecca from their childhood, by himself, and like [tangent], inside marrian-eliza it’s kinda dark and stuff so it’s the like, layers of cinnamon tography so it’s the dark at the beginning vs the light at the end (with me there!!) and it’s like, symbolic of his character development from that ‘hope in hopelessness’ to ‘i finally have a reason to hope’. it’s just really cool. evan’s a great character!

As the preiminent Golden Lovers Scholar I was wondering if you had heard of the Truepenny Conspiracy theory and your thoughts in it? I'm horrifically butchering it but I believe the essence is that one of the reasons Kota went on his NA/European excursion was to allow Kenny the time and space to become huge enough in NJPW to be able to have greater control over how the GL story was told and presented.

(I would not use the word “preeminent” but go off I guess.)

Interesting. You know, I haven’t heard of this theory and five minutes of Googling didn’t net me much. The closest thing I found was a wrestling podcast called Truepenny that has talked about the Golden Lovers, and I wasn’t going to like… listen… to things. I have ADD. Feel free to send me links! Or get me on the horn with whoever has that theory, because tl;dr: I disagree.

Edit: Uhhhh the person with the theory read this post… so that’s a thing. And apparently the original theory has Gedo being involved in this whole thing, which, yeah, if the guy calling the shots is calling the shots… then those shots are all part of a plan. Like if you’re like “this is all part of God’s Plan” and you genuinely believe that God made said Plan, then, yeah, literally everything ever makes sense. So this is an excellent conspiracy theory in the sense that I cannot refute it, as literally any argument could be countered with “but that’s because Gedo planned it that way.” I’m still not sure that Gedo would be like “Kota, get out there and be fuckin’ weird as hell at all times because it’ll make people care about the Golden Lovers, which they will have to do a lot of research to figure out and also it happened mostly in DDT so they’ll have to learn that too and probably watch some DDT to understand the significance of it all,” BUT I ALSO CANNOT SAY THAT HE WOULDN’T DO THAT! GEDO IS A FUCKIN SLICK MOTHERFUCKER! So the theory lives!

It won’t surprise you that this made me write a thing, so I put it under a cut. But there’s also some gifs of Kota’s butt being given the recognition it deserves.

Going off of what you said, I don’t think this sounds very likely. Just logistically speaking, that means they would have had to be banking on Kenny  rising to greater stardom in NJPW, which he was only just starting to do when Kota left due to injury in November 2015. Kenny’s takeover of the Bullet Club and monster push started in early 2016, which is still before Ibushi was even cleared to wrestle again. 

So the timing kindasorta matches up, but Kenny certainly wasn’t at the point where he’d have that kind of control over his own booking. He’d only just moved up to heavyweight. To me, Kenny didn’t really start having that kind of clout until his WK 11 match with Okada helped bring NJPW to a much bigger audience in the west. And that’s definitely not the sort of thing you can plan for.

Not only that, but once Ibushi was cleared to wrestle again, he resigned from NJPW and DDT. If this theory is true, I can’t think of a reason for him to resign from NJPW, let alone DDT. In fact I’d think, if the goal was to have control over the GL storyline, it would make sense for him to also try to gain prominence in NJPW, so they could both exert pressure on their booking directions.

I actually think Ibushi genuinely was burnt out, like he says. And going by interviews he gave around that time, it really seems like the burnout and injury had taken a huge emotional toll on him, and he wasn’t even sure what he wanted to do with himself anymore. So doing random shit like going to the UK and flirting with WWE makes sense to me as something he’d do because all he desperately needed to try something different. 

And Ibushi still wrestled for a bunch of other Japanese promotions here and there, DDT included, between February 2016 when he came back from injury and July 2017 when he entered the G1. Even after the G1, when he was in NJPW pretty regularly, he still made appearances in DDT and other Japanese promotions. And of course there’s the tinhat theory (*wink*) that Ibushi was the man behind Tiger Mask W, who debuted in NJPW in October (??) 2016.

Basically, I’m saying that it makes no sense for Ibushi to utterly and completely derail his career for over a year in hopes that Kenny might become a superstar and help them revive the Golden Lovers. And if he had wanted to do that, he didn’t do a very good job of staying out of Japanese wrestling (which would make him less “loyal” to NJPW). Ibushi seriously damaged his standing in NJPW and risked wandering in the wilderness for a very long time. I know the Golden Lovers story is central to both his and Kenny’s career arcs, but he actually risked ever being able to revisit it by doing what he did.

Right after WK 11, Kenny mentioned in an interview that he and “an old friend” were going to try to do something special in 2017. Ibushi, too, said “I do have plans in Japan” when he talked about declining the WWE contract. So clearly they were trying to do something with the Golden Lovers storyline even back then, but it didn’t come to fruition in 2017 as they’d hoped, even with the clout they both had (my kinda crackpot guess is this is because Jericho threw a wrench in everything).

In kayfabe, I think Ibushi was being erratic and lost because he was unsuccessfully trying to put the Golden Lovers part of himself in the past. His character also got increasingly serious and “professional” during this time, to the point where when he was called upon by Taguchi Japan to do a hip attack on Chase Owens, he looked conflicted and concerned, as if he hadn’t spent 6 years in DDT doing butt stuff of so many varieties.

the cinnamon tography of this moment

I don’t know guys, that seems kind of unprofessional, don’t you think?

God-I-wish-that-were-me.jpg

(This was just an excuse to use these gifs again. I need to re-upload the whole set post-Deletening :/ )

I’m always very curious how much contact Ibushi and Omega actually had post-Golden-Lovers, but I think that when Ibushi was shooting fireworks of his chest and high fiving Vince McMahon, he was genuinely trying to find his own way in the world. Whether that was with the loving support of his friend (?) Kenny Omega, or to the chagrin and concern of his estranged acquaintance Kenny Omega, we’ll never know unless they tell us someday, but either way it had nothing to do with the Golden Lovers IMO. 

Hi, hope you’re doing alright :) just dropping by to say, that I think you might enjoy watching the music video for the good by cynthia erivo. It’ beautifully shot and is centered around a black queer couple, so happy pride I guess and have a lovely Sunday :)

JUST WATCHED NOONIE!!! THE CINNAMON TOGRAPHY!!! it's beautiful noonie, thank you so much for recommending and thinking about me.