text:
The Male Sentimental
by Liz Kinnamon
The "sensitive guy" should be understood through the lens of what pop psychologists call emotional manipulation, and his proliferation is the result of two things: the rise of feminism and the rise of immaterial labor.
At Cannes 2015, a crowd of hundreds competed for entry into a midnight screening of what was called "the most titillating movie of the year": Gaspar Noé's Love. Noé earned a reputation as "world's most dangerous director" and "cinema's L'Enfant terrible" due to graphic depictions of rape, violence, and sex in his previous films (Enter the Void, Irreversible, I Stand Alone). But his newest work reputedly sidelined violence in favor of a more intimate portrayal of sexuality, and specifically between people in love. In the words of the lead character, who Noé says is fashioned after he and his friends, this was to be "a movie that truly depicts sentimental sexuality."
Since its release, Love has predictably gotten the most attention for its explicit sex, which constitutes about fifty percent of the film's screen time. The opening scene features the central couple engaged in mutual masturbation and culminates in the male partner's ejaculation (multiple reviewers write that they masturbate each other to orgasm when in fact there is no indication that she reaches orgasm during the film: it centers fellatio, intercourse, cunnilingus as foreplay); the couple visits a sex club in Paris and enjoys a threesome with a girl neighbor; and viewers are subjected to a penis ejaculating directly at the camera—all of this in 3D (1). Recalling outraged responses to Blue is the Warmest Color (2013)—whose producer is also Love's—the movie was controversial at Cannes, with some claiming that the 2 hour and 14-minute film never graduates from pornography to art and others walking out.
The synopsis goes like this: Murphy (Karl Glusman), an aspiring filmmaker from America who now lives in Paris, wakes up to a woman lying beside him and the sound of a baby crying from another room. A voiceover narrates his thoughts upon waking: his life is a nightmare, his house is a cage, he hates this woman he ended up with. Through the fog of a hangover he listens to a voicemail from the mother of an ex-girlfriend he had a falling out with two years before. Electra (Aomi Muyock) is missing, have you been in touch with her? She frantically asks. As his current girlfriend Omi inquires about who called—or rather tries to talk to him at all—he ignores her while the voiceover lashes back, "I wish she'd just shut up," and later when she asks again, "I'm sick of this bitch. Go take care of the baby and leave me alone."
He then begins to spiral into a sinkhole of nostalgia about his relationship with Electra. After a series of painfully hampered domestic moments, Omi finally departs with the baby and leaves Murphy to his dejection. As he walks from room to room half-alive, he recalls the day Electra handed him some opium and told him to save it for an occasion when something bad happened and she wasn't there. Deciding this was the day, he walks over to a shelf, pulls out a baggy stashed in an empty movie case (which happens to be Noé's I Stand Alone), and swallows the pill. The entirety of the film is based on the present tense setting of that apartment on that day, as Murphy cycles through various flashbacks of their relationship from the beginning to its tempestuous end. The flashbacks are interwoven with scenes of Murphy moping about in the apartment—in bed, on the telephone calling around about Electra, and finally crying in a bathtub doused in red light.
Murphy is tormented by the memory of Electra and the thought that they might never have another chance. Their relationship dissolved because Murphy secretly continued sleeping with the neighbor they invited over for a threesome. When Electra found out by learning that the neighbor was pregnant, she cut ties with him and turned to drugs, leaving him bereft and desperately seeking reconciliation with a person who was now unavailable. But while many cinematic portrayals of suffering tend to soften characters' unlikable choices, or make the way they hurt others more understandable because they themselves are hurting, Murphy's pain never quite succeeds at inspiring compassion. In fact, the viewer is not gripped by the conviction that Murphy merely made a mistake, neither is one moved to identify with him—a critique leveled by reviewers from the NYT, Indiewire, and Telegraph. The flashbacks picture him in bed showing a different ex the same puppy-like devotion, and this destabilizes the audience's faith in the singularity of his feeling for Electra. Viewers also learn that Omi was not his only infidelity. One gets the sense that his "love" could land anywhere and that he'd betray whoever fills the position because of that cocktail of easiness and detachment.
One of the most unsettling parts of the movie is a flashback of a party scene about two-thirds of the way in. Murphy grips a beer bottle by the neck and performs a drunken monologue for a female partygoer while Electra stands by. "Do you know what my biggest dream in life is?" he emphatically asks the girl. "My biggest dream is to make a movie that truly depicts sentimental sexuality."
MURPHY: (Gesturing toward Electra) She doesn't care, she's heard this a million times before.
GIRL: Yeah, I like it.
MURPHY: You like it?
GIRL: Yeah.
MURPHY: Why? Why haven't we seen this in cinema?
GIRL: Yeah. Right, I agree.
MURPHY: I'm sentimental. We should be like babies.
ELECTRA: Are you an actress? (Pointing toward the girl)
GIRL: Yeah, I agree with you.
MURPHY: You're an actress?
MURPHY: What's your name?
GIRL: Paula.
MURPHY: Lola?
PAULA: Yeah, Paula, I'm French but I love to speak English.
MURPHY: Yeah well it's very good. What's the best thing in life?
PAULA: Love!
MURPHY: (hesitation) Love…And then after that?
PAULA: Sex! (laughter)
MURPHY: Yes, and then you combine the two, and sex while you're in love. That's the best thing.
Directly after this dialogue, a stranger asks Electra for a cigarette and Paula takes the opportunity to whisper into Murphy's ear. "I need to show you something." He complies and follows Paula, turning to shrug at Electra and leaving her to fend off the stranger's advances. When they get to the bathroom Murphy gestures at his nose to hint at cocaine, but the girl pulls out a condom from her bag. As she approaches he feigns protest and they fuck on the edge of the bathtub to the sound of Electra knocking on the door. He even reaches up to cover Paula's moans for fear they will travel, signaling his awareness of wrongdoing; he then subsequently rewrites that gesture by slipping his fingers into her mouth.
When Murphy exits the bathroom he approaches Electra and rubs her arm. "Hey," he says warmly. She swats at him, "Don't touch me," because she knows. But even in the face of her knowledge he persists with his clueless performance by asking her in a concerned tone, "Are you okay?"—mystifying the fact of his infidelity and transferring fault onto her accusatory disposition. He continues to lie to her, not even caving when she inserts her own infidelity as retribution. "I cheated on you with Noé," she fires back, referring to her ex (a gallery owner who is not only named after the director but played by him as well). This would have been a perfect opportunity for admission and mutual absolution, but at this, Murphy becomes irate and verbally attacks her on the taxi ride home, calling her a whore, an untalented artist, a venomous cunt, and telling her that she's incapable of being a mother.
Because Murphy is difficult to identify with, a schism is formed between the viewer and Murphy's plight, and the effect of this distance is that the lead character becomes less of a subject and more like an object whose subjectivity is on display. Midway through the screening I attended, many viewers walked out either offended or bored, but when something is boring it is often a signal to pay closer attention. Noé presents the banal of male dominance in an unflattering and rather arduous light, and Love's most prominent aspect is not sentiment but the way patriarchy operates through sentiment itself. Noé and Murphy use the term "sentimental" to refer to sensitivity and feelings generally, but a handful of scholars—from Sarah Vap to Lauren Berlant and Saidiya Hartman—zero in on a definition of sentimentality that is constituted by manipulation (2). For Vap and other writers in A Symposium on Sentiment (2012), something is sentimental when it attempts to provoke feeling that is not merited by what is happening; when it is contrived or unrealistic; and when it is "the enemy of emotional complexity."
Fittingly, a recurrent critique of the film is that the characters lack depth. The New York Times wrote that the movie might be 3D but "in every other respect, it's exasperatingly one-dimensional." BBC wrote that Murphy is "all bluster and no depth." And Indiewire observed, "Noé's screenplay falls short of offering much dimensionality to Murphy's laments." They level these critiques as if the shallow quality of the characters is a failure on the director's part. While attributing a critical ethic to Noé might be overgenerous, he was not unaware of Murphy's character; in an interview he described Murphy as a "redneck" who is "more obsessed with partying than doing anything else in life," in addition to noting that Murphy "pretends he's sentimental but the guy is not as sentimental as he thinks he is." What none of the critics entertain is that Murphy's emptiness might be precisely what is worth focusing on. His dialogue throughout the film is so bromidic and immature, his wretchedness so self-imposed, and his wallowing so unwarranted—and all of it ironically happens at the same time he continues the disregard that led to his initial problems. Even more interesting is that the director simultaneously identifies with his lead character, admitting to Indiewire, "More than half of my friends are in the film industry, because I hang out with directors or visual effects makers, so I decided that I would do a movie about the kind of people that I am or I know." Noé recognizes himself in Murphy but stops short of any meaningful insight—as if awareness of criticism amounts to exemption from it.
What Love ultimately brings into focus is not love but a twisted and entirely commonplace masculine subjectivity: what I am calling the Male Sentimental. The Male Sentimental is an overarching genre bracketing a variety of characters that have proliferated over recent years: the fuckboy and the softboy; the manchild and Kay Hymowitz's video-game playing, basement-dwelling, extended adolescent; 2015's explosive hashtag #masculinitysofragile; "the creative type"; male feminists (see porn actor James Deen, who, when confronted by his girlfriend Stoya regarding rape, called her tears "abusive"); Drake; the manarchist and his variations; the New Man (a la Martin Amis); and what Laura Kipnis calls "the victim." It is a genre that describes a general mode of patriarchy wherein "feeling [is used to secure] domination" (Hartman) (3). The Male Sentimental operates through a version of sentimentality that is definitionally manipulative, contrived, and simplistic. He wields sensitivity to escape responsibility, disorients others by dissolving their feelings into a smoky haze, and trades in guilt. Rather than emotional, he exists in a constant state of emotional fugitivity. One way of thinking about the Male Sentimental is as a kind of masculinity one dips into or out of—not so much a fixed identity as a method or a practice.
Taking a step further, the tactics utilized by the Male Sentimental are nearly identical to those wielded by—in the lexicon of pop psychology—emotional abusers, manipulators, and blackmailers. The reason Murphy's behavior at the party is so instructive is because in this single scene, he engages in prototypical behaviors of emotional manipulation from Susan Forward's 1997 book Emotional Blackmail—from feigned innocence (shrugging as he walks away, retorting "What are you talking about" when Electra calls him out); gaslighting (making her doubt her knowledge by acting confused); the spin (shifting focus from his betrayal to hers and attacking her character and self-worth); and what Forward calls "brandishing anger" (when the sheer intensity of Murphy's rage overwhelms Electra and the conflict at hand).
Ultimately I am suggesting that a better way of thinking about patriarchy is as emotional manipulation. Characterizing it as misogyny, or "hatred of women," increasingly misses the mark because it fails at descriptive precision (4). Hatred seems vague, outlandish, or unrelatable and this makes the accusation easy to dismiss. With the rise of feminism's influence, patriarchy has sought different techniques, echoing Foucault's belief that politics use a "sort of silent war to reinscribe that relationship of force." The Male Sentimental can ultimately be seen as the result of a bargain with feminism: one can be a man with feelings, pass the feminist test, and still keep power. Patriarchy operates at the register of emotion where it can't afford to operate through violence or coercion. In this light it also becomes quickly apparent that the appeal of the sensitive male subject is subtended by his potential for violence. As Eve Sedgwick's therapist once described her father, "someone who could punish but doesn't, or whom you can relate to so that he won't."
Those who deal with this kind of character—in media representations, op-eds, and narrative tropes—often respond by expressing surprise at the realization that his softness is coverture for misogyny. Some remain undecided as to which aspect of his personality prevails, because the shady jerk and the thoughtful guy couldn't possibly be the same. But isn't the Male Sentimental an open secret? Or does he still enjoy success because his very category is one defined by deception? The genre of the Male Sentimental helps us think about the methodology of patriarchy, and in eking out a genre my effort is to constitute "an aesthetic structure of affective expectation" (Berlant).
While one explanation for this shift in patriarchy is the influence of feminism, another concerns the rise of so-called immaterial labor at the turn of the century. Just two years prior to Forward's book, Daniel Goleman published the now-famous text Emotional Intelligence — which he quickly adapted for the business world as Emotional Intelligence in the Workplace in 2001. With these publications, Goleman inaugurated an explosion of emotional intelligence in organizational literature that began in the 1990s and constituted a multi-million dollar industry by 2004. Even though many credit him as the concept's founder, he admittedly drew on a 1990 essay by Peter Salovey and John D. Mayer, who defined the term as "the ability to monitor one's own and other's feelings and emotions, to discriminate among them and to use this information to guide one's thinking and actions … the ability to regulate and alter the affective reactions of others."
Going back even further, one finds that these authors relied on the early intelligence researcher E. L. Thorndike, whose 1920 essay broke up the homogenous category of intelligence into three different types: mechanical, abstract, and social. His definition of social intelligence had "feminine" built right into it, as this type "shows itself abundantly in the nursery"; in fact, what is common to the work of Thorndike, Salovey and Mayer, and Goleman is that emotional intelligence is mostly the domain of women, and that the motivation for their work is to translate it for men.
From Emotional Intelligence, Peter Salovey and John D. Mayer, 1990.
For Salovey and Mayer, part of emotional intelligence was what Erving Goffman called "The Arts of Impression Management," or the ability to control the impressions formed by others. "The skilled impression manager knows when not to attend to the behaviors of others," they wrote, in an uncanny resemblance to the ethos of institutional risk management (RM) today. Of course, RM exploded during the 1990s too, and was shaped by the simultaneous growth of emotional intelligence. The risk manager, in other words, is emotionally intelligent. Like Murphy in the party scene, risk managers are less concerned with preventing original mistakes than they are with managing others' responses to them and ensuring their own strength as individuals or institutions. They are tasked with managing the "secondary effects" of primary risks, like reputation and effects of popular protest—as is evident in the hollow administrative speech in recent incidents of sexual assault, racism, and political protest at US universities. The parallels with emotional manipulation are unmistakable here. Risk management is the logic of the Male Sentimental at an institutional level. If one were to place the bullet points on emotional manipulation from Forward's text alongside those detailing the techniques of risk management, one would be shocked at their resemblance. As patriarchy became more emotionally intelligent, its targets were burdened with wading through emotional manipulation. No wonder The Guardian published an essay in 2016 titled "'Women are just better at this stuff': is emotional labor feminism's new frontier?" Neither naturalized female emotional skill nor the existence of emotional labor are new, but perhaps a structure of feeling is giving way to something emergent.
If we take the 1990s as a point of proliferation, we might indulge a slight detour past two examples of the Male Sentimental at the institutional level—moments from both Bush presidencies. The first involves a list TIME published in 1994 of instances when George H. W. Bush cried, titled "Annals of Blubbering." On this list was the occasion that Bush Sr. had invited Paula Coughlin to the Oval Office. Coughlin was the Navy lieutenant who blew the whistle on what is known as the Tailhook Scandal, in which 140 U.S. Navy and Marine Corps officers were accused of sexually assaulting 90 victims at an annual conference. At Coughlin's testimony in federal court in 1994, she explained, "[Bush] said he had just found out what happened to me and he was very, very, very upset. He said he had a 31-year-old also and (then) he started to cry. I really didn't know what to do…I didn't know if I could cry any more." According to the fascinating last sentence of Coughlin's testimony, Bush Sr. effectively stole something from her by adding something else: his tears. His display amounted to something like a primitive accumulation of emotion, as this was no longer about Coughlin's experience but about his ability to feel. He made many promises of repair, including a full investigation, but interestingly, what resulted from this "scandal" was not criminal prosecution of any of the officers involved or any significant overhaul of sexual assault policy in the military. Rather, the outcome was greater access for women into the armed forces. The display of national empathy for survivors in this case enabled the nation to re-up its military capacity by enlisting more women in combat, setting into motion an expansion of the military's roles for women that that finally became complete in 2015.
In 2008, Bush Jr. presented a Medal of Honor to the parents of a Navy Seal who died in Iraq during the War on Terror. After giving a brief overview of the Seal's heroism, Bush paused, contorted his face, and made a clunky gesture for the parents to come onstage and accept the medal. He was attempting to visualize his grief in that delay and he continued to do so when the parents arrived onstage. As the mother stood next to him in a pastel pink suit and they waited while a female voice announced the award, Bush made a theater of empathizing with her. Within the space of a few seconds, Bush can be seen tapping her on the leg so that she turns to him to make eye contact. Directly after she smiles and then turns away to face the audience, Bush turns back and takes a finger to the corner of his eye in what looks like the wiping away of a tear (1:19). Bush had gotten her attention to flaunt his emotional reaction to the loss of her son. A few moments later someone hands Bush the medal, and when he passes it over to the parents, they look down soberly at the wooden box that now stands in for their son. These two brief anecdotes of U.S. presidential action by a father and a son call attention to the way in which a peculiar legacy of male sentimentality is woven into the fabric of U.S. Empire, colonialism, and war.
Speaking of legacies, Love has one of its own. Critics balked at Noé's self-referentiality, since at least three characters in the film directly reference him: Noé the gallery owner (an older, married man), Murphy (the director's mother's maiden name), and Murphy's unplanned son—unsubtly named Gaspar. When Murphy cries in the bathroom toward the end of the film, his son enters and Murphy brings him into the bathtub while the both of them cry. "Forgive me," he melodramatically sobs to his toddler. The image conjures something like a family lineage. Gaspar Noé, the director, is the baby and the father who asks for the baby's forgiveness. (Noé actually confessed in an interview that he expected his father to be moved by that scene in the screening, and instead his father said "you went too far.") Likewise, because the gallery owner is played by Noé, one is prompted to ask about the director's identification with the older married man who cheats on his wife just as much as his identification with Murphy, who has been betrayed. Sure, the film is a house of mirrors, but perhaps more important than Noé's particular case of narcissism is what Noé shows us about legacies of masculinity. Each of these characters are ethically bankrupt but their choices, from father to son, are entirely consequential. The Male Sentimental might be a cipher, in the words of the NYT, but his emptiness can destroy the world—whether at the level of generational inheritance or on a global political scale.
Critiques of Noé's self-referentiality recall charges against "female confessional" writers like Dodie Bellamy and Chris Kraus. The Buddhist and I Love Dick are the kinds of accounts by female writers that are typically considered to be narcissistic, banal, and abject, but because the works interrogate those very accusations, the texts are known for the way they "expose" the machinations of patriarchy at the level of intimate relationships. "Life is not personal," Kraus wrote. And Bellamy:
To reveal or not to reveal—this is a core question for many writers. This business of women not suffering in public, of having a gag order when it comes to personal drama, such as a break up, connects back to larger histories of suppression, such as the literature of victimization, women not daring to speak of rape or incest [… ] and somewhere buried in there is the history of the wife being owned by her man and therefore she better keep her trap shut, and bourgeois notions of suffering with dignity—or dignity itself, how oppressive a value is that?
Surely with a little rearranging one could suggest that Love is similar in form; the film is a piece of endurance art that asks its audiences to watch the accumulation of male wrongdoing in messy slow-mo, albeit from the perspective of a male protagonist. But what is different about Love and female confessional lit, aside from the fact that the "confessional" piece in the former is written by the one responsible for exploitation, by the one placed at the helm of power? Can a feminist male confessional lit possibly exist?
I want to suggest two major differences. First, consider an argument by Saidiya Hartman in Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America. She examines the writings of John Rankin, an abolitionist who argued against slavery by appealing to the white audience's capacity for empathy. He wrote that he grew indignant at the thought of himself and his family as slaves, urging other whites to imagine themselves in place of the enslaved in order to feel the wrongness of slavery. But Hartman questions whether this process of empathy "ameliorate[s] indifference or only confirm[s] the difficulty of understanding the suffering of the enslaved." By substituting himself for the black suffering body, what Rankin did was to perpetuate the unfathomability of black sentience. In this case the subject who empathizes merely feels for oneself but fails to "expand the space of the other." Hartman's problem with empathy is useful here for the fact that descriptions of suffering are always in relation to the question of empathy, and one could consider whether works of literature that describe male dominance like Kraus and Bellamy's are attempting to create empathic effects. I would argue, however, that readers would deem the endeavor ineffective if they think these texts attempt to mobilize change through empathy. Alternatively, Kraus and Bellamy are "expanding the space of the other," they are expanding the space of female subjectivity. The difference between their work and Love's male confessional lit, in this case, is that masculine subjectivity is already everywhere all the time, and Lovedoesn't expand it in the sense that it opens up masculinity to better possibilities.
Second, Love differs from female confessional lit because it never imagines another relationship to power. In The Queen of America Goes to Washington City, Lauren Berlant coins the term "diva citizenship" to describe the testimonies of Harriet Jacobs and Anita Hill. For Berlant, diva citizenship is when
a member of a stigmatized population testifies reluctantly to a hostile public the muted and anxious history of her imperiled citizenship. Her witnessing turns into a scene of teaching and an act of heroic pedagogy, in which the subordinated person feels compelled to recognize the privileged ones, to believe in their capacity to change; to trust their desire to not be inhuman; and trust their innocence of the degree to which their obliviousness has supported a system of political subjugation.
It might be a stretch to extend the possibility of diva citizenship to a white male character like Murphy. After all, he doesn't belong to a stigmatized population. But the leap I want to make is that perhaps both Murphy's character and Love could have been acts of a sort of diva citizenship or at least a variant of parrhesia if they had spun male sentimentality in the light of renouncement. "The real threats," Elizabeth Gumportwrites about Kraus, "are artists who refuse to stop there—who move from confession, which describes a situation, to analysis, which seeks to explain it." Noé and Murphy's sentimentality could have been problematized in such a way that it hailed the appropriate viewers, "trust[ing] their desire not to be inhuman" and offering something other than intransigence. They could have been draft dodgers or deserters. But insteadLove portrays a character who is unwilling to change, both representing and embodying the well-worn masculine mantra "don't try to change me." Kraus, Bellamy, Hill, and Jacobs—though very differently from one another—implore society's dominant actors to change, to learn. They offer information that amasses an archive available to those who are willing. But the lesson and the condition of Love is that power entails a positionality that continues despite consciousness of destroying people and things, of causing suffering. A willed unwillingness. The film lingers on the emptiness at the center of power.
[The title flashes in quotes at the end of the film, as if to mock its own naming.]
The purpose of establishing a genre may be to form a compendium of information and resources for those who choose otherwise, for those who want to change. Is knowledge never corrective? What is its purpose? In the words of Virginia Jackson, genres are "modes of recognition—complex forms instantiated in popular discourse, relying on what we could or would recognize collectively, in common—and so subject to historical change and cultural negotiation." Forming a genre offers opportunities of attachment and detachment—the way a climber ascertains the next possibilities when scaling a wall. The Male Sentimental might work through negativity, such that one more easily recognizes it or can arrange oneself in relation to it. It at least lays bare the willingness at the start of change.
Piece crossposted with mixed feelings.
1. Mike D'Angelo of The Dissolve is one reviewer who projected mutuality onto the opening sex scene); Nick Schager from The Daily Beast is another. Schager writes: "[Love] opens with a man and a woman pleasuring each other, to completion, in one long, static, unbroken take."
2. It has been difficult to find much on patriarchy's use of sentiment as manipulation. Saidiya Hartman writes about the way sentimentality functions in the reproduction of racism, as well as the role of "feeling" in the context of U.S. chattel slavery. Lauren Berlant writes about sentimentality to elucidate its role in national politics. Sarah Vap et al. write about sentimentality's multiple valences in the realm of poetry, and Vap offers a variety of meanings in The End of a Sentimental Journey that do touch on its connections to gender, though mostly in an effort to challenge female writing as "sentimental." The co-editors of Sentimental Men (1997) argue that feeling was not always relegated to a feminine realm, but they are interested in breaking down the immediate association of women and feelings. They do not explore the role of sentiment as a technique of manipulation.
3. The mechanism by which white subjects detract from their own racism by retreating into feeling is similar to the Male Sentimental, so the absence of #whitefragility might seem peculiar here. To quote David L. Eng, "liberal white guilt eschews ethical responsibility toward the native other precisely by psychically colonizing its suffering" (2016). But the structures for liberal white guilt and patriarchal sentimentality are not identical. For accounts of the way feeling is mobilized with regard to race, see David L. Eng's "Colonial Object Relations," Social Text 126 34 (1), 2016 and Robin D'Angelo's "White Fragility," The International Journal of Critical Pedagogy 3 (3): 54–70, 2011.
4. To the contrary, a common maneuver is to emphasize worship of women: claiming to identify with them, exalting them, or being drawn to strong women in what amounts to a deferral of emotional responsibility and viewing women as sites of respite, what I might shorthand as a womb wish. Beautifully, one reviewer wrote of Love: "as an example of its writer/director's obsession with rewinding time—back to more blissful early romantic days, if not all the way back to the womb (note its, and Enter the Void's, views from inside a woman's birth canal)—Love employs carnal centerpieces for candid self-expression. It's another step in Noé's continuing cinematic reversion therapy."
Film, Gaspar Noe, Liz Kinnamon, Love, Male Sentimental, Psychology
Two Visual Tropes = Love by Masha Tupitsyn
Masha Tupitsyn	Arts & Culture Film
Pale Youths in Love by Masha Tupitsyn
Masha Tupitsyn	Culture
They Love Love-Songs Too
Essays Literature
Masha Tupitsyn	Philosophy
No one can love anymore because of an overabundance of reaction formation. No one wants to owe anything to their desire(s); to other people's desires. Hence why Žižek (who I normally can't stand) warned, "Don't be afraid to really want what you desire" at an Occupy Wall Street rally in the fall of 2011. Melancholy is being/becoming used to things not working. Mourning fights against resignation.


How do you like it? You were trading it recently I think?
I'm at a phase where I like relic'd guitars, hence i prefer to play my PRS SC that has massive buckle rash and lots of chips around the body edges over this nearly perfect Knaggs! lol I'm also relic'ng my most recent Tele I got from mr oleg.
But it's not blue (like Opsguy's one).
Hopefully that will soon pass.
Excellent, should be easy as most parts are already dulled and it has a thin, matt paint job.
Do you want to trade the Knaggs for your old Doozy?
I've played KNNZ's one. Lovely guitar.


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Naturally Sweet Sisters: It's Our Anniversary and We'll Cry If We Want To….Just For A Minute And Maybe Not Even Today.
Diaversaries are a weird thing, aren't they? Like, why would we want to mark the date of when something like diabetes entered our lives?
I know we're all different. I choose to celebrate mine with a pat on my back and a nod to all of the hard work I've done over the past year to take good care of myself. Knowledge and experience gained, and another year of working hard.
That's worth a little something in my book.
Sending you guys all my love and support.
It is an odd moment isn't it? I like how you celebrate and I think it is great to take a moment to allow all of the satifisfaction of being an AWESOME artificial pancreas for one more year... It also makes me smile knowing that YOU are the one celebrating. I hope my girls take that same care and pride someday. Thanks for being such a great friend!!!


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அபா யமற் ற சூ ழலி ல் சி. IForex was founded by a group of bankers and forex dealers in 1996.
I don' t even think it' s worth investing $ 100 into this platform. 31 மா ர் ச்.
நடவடி க் கை அந் நி ய செ லா வணி வர் த் தகம், இரண் டா வது செ யல் பா டு forex மெ ன் பொ ரு ள் உள் ளது. 85% of retail investor accounts lose money when trading CFDs with iFOREX.
Forex Report award. IFOREX invites you to learn about the exciting world of trading with the aid of our educational packages and one on one training.
IFOREX was founded in 1996 by a group of bankers and Forex dealers and is now one of the largest and most respected firms in the industry. Mar 25, · Same thing happened to me about 5 months ago.
To get the most precise exchange rates available, take advantage of the iFOREX trading tools to stay updated at the click of a button. Jun 19, · iFOREX Group, the group that iCFD Ltd ( brand name Iforex) is part of, was founded in 1996 by a group of bankers and Forex dealers.


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Comic Creator Ken Broeders
Ken Broeders
(b. 1970, Belgium)
Ken Broeders was born in Antwerp in 1970. He has been fascinated by drawing, history and reading his entire life. He got his degree in Applied Arts from the St. Luke Institute in Antwerp in 1993. He further developed his exam project into the full-fledged comic 'Tyndall' with Luc Van Peborgh, that was published by Arboris. His historical series 'Voorbij de Steen' was also published by Arboris in 2001.
Broeders has illustrated the comics version of Edmond Rostand's 'Cyrano de Bergerac' for the Classix series of Standaard Uitgeverij. Broeders, an artist who works in direct colors, writes and draws the mystical adventure series 'Apostata' for Standaard since 2009.
In 2020 he joined 75 Dutch & Flemish comics artists to make a graphic contribution to the free collective comic book 'Striphelden versus Corona' (Oogachtend, Uitgeverij L, 2020). The book is intended to support comics stores who had to close their doors for two months during the lockdown at the height of the COVID-19 virus pandemic.
In 2010 Broeders' 'Apostata' won the Stripvos for Best Dutch-language comic book album.
Voorbij de Steen
Artwork © 2021 Ken Broeders
Series and books by Ken Broeders in stock in the Lambiek Webshop:

redpajama_set_name: RedPajamaCommonCrawl


The UK and EU laws on collecting and storing personal data are changing on 25 May 2018, headlined as 'GDPR' – the General Data Protection Regulations. We've always followed good data privacy practice, however we now have be more formal and rigorous about how we collect and use your personal data.
If you're an AtLAS member most of your personal data we hold was collected when you joined AtLAS. It's needed for us to administer your membership. In GDPR-speak we're holding it on a 'legitimate interest' basis. This means we won't be able to run your membership effectively without it. If you object to us holding it we may not be able to continue your membership.
However we do need your active 'consent' to continue to send 'marketing' information. e.g. for offers like the Cineworld Vouchers included in our Newsletters and other emails. If you don't consent, we'll only be able to send you basic information about AtLAS in future (e.g. AGM Notices, about your membership) – no offers or opportunities. IMPORTANT: We do not and will not share your personal data with third-party businesses or organisations for marketing.
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The veterans' benefits claims backlog has been steadily increasing as more and more troops return from the Iraq and Afghanistan deployment areas. In 2011 when the backlog was totaling nearly 900,000 pending claims, the push for new initiatives was greatest.
In July of this year new processing protocols were implemented, including the segmented processing which allowed the simple claims to be processed faster, and serious disability claims to be to be handled by a highly trained team. The claims backlog is now sitting stagnant at about 600,000 veterans' benefits cases.
The next initiative being implemented to reduce the claims backlog has the Department of Defense (DoD) giving assistance to the Department of Veterans Affairs (VA). The DoD will not only provide additional staff to help in the VA regional offices where disability benefit claims are handled, but also help improve the documentation necessary for a disability claim to be filed.
The DoD has announced that more thorough exit physicals will be required for departing. This may result in improved medical exams that are used to provide evidence of service-connected injuries or conditions that can qualify a veteran for veterans' disability benefits.
In the past, the DoD has worked closely with the VA on other similar projects designed to help improve the transition from active duty servicemember to veteran. Mental health screenings, transition services, and suicide prevention initiatives are among the projects currently in progress between the departments.
The VA currently handles about one million veterans' disability benefits claims annually. With more troops returning to the U.S. and filing disability claims, the number of incoming claims has surpassed the one million mark – complicating the effort to reduce the backlog.
Even with the new segmented claims processing model, the VA is in need of additional staff to process both simple and complex claims. The DoD is stepping in to provide an undisclosed number of military personnel to be trained to process veterans' disability claims.
The goal is to provide more thorough medical exit exams which will allow veterans to file their veterans benefit claims with more complete paperwork, thus reducing processing time. With the additional staff, more claims should be able to be handled and help keep the VA on track with their goal of eliminating the claims backlog by 2015.
The current average wait time for a veterans disability benefits claim is around 125 days. To make sure your veterans' benefits claim doesn't get unnecessarily delayed and add to the wait time, a veterans disability benefits attorney in South Florida can help you with the application process. Contact the Law Offices of Veterans Help Group for help with the VA benefits application and process – 1-855-855-8992.


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Recently widowed mom Brenda fights to protect her family during a harrowing road trip when a murder and a missing bag of cash plunge them into danger.
Director: Anastasia M. Cummings, Ben Burt, Denise Harkins, Jennifer Josephson, Millicent Shelton, Scott Rorie, Susan E. Fiore
Actors: Ludacris, Mychala Lee, Queen Latifah
Keywords:cross country Driver Escape Killer Murder
Two homicide detectives try to find just the facts behind a mobster's brutal murder.
Genre: Action, Adventure, Crime, Drama, Film-Noir, Thriller
A young man and his lookalike team up to fight injustice and settle their personal scores with the evildoers.
Genre: Action, Drama, Romance
Vampire Cop
Cop who just happens to be a vampire goes after the drug dealer who killed his partner with the help of a news reporter.
Genre: Action, Horror
Four American friends, badly needing money, decide to make a commando-like raid into a South American drug lord's compound.
Based on Gordon Korman's book 'Swindle,' this movie is about a boy named Griffin who finds a valuable multi-million dollar baseball card. After accidentally selling the card for a million…
Genre: Action, Adventure, Comedy, Crime, Family
Bikini Royale
Special Agent Tanya X attempts to unmask enemy agents who are passing top secret missile plans via high stakes poker games.
Genre: Action, Comedy, Thriller
Featuring kick-ass action and super powered throw downs, Enhanced is an intense sci-fi action thriller set to delight fans! A group of mutant outcasts including a young woman with enhanced…
Genre: Action, Sci-Fi
The Deadly Art of Survival
Real-life kung fu master Nathan Ingram stars in this gritty, low-budget martial arts epic as a local karate school owner who clashes with a gang of drug traffickers posing as…
Monster Island
Gigantic monsters threaten to destroy everything in their path as mankind remains defenseless
Genre: Action, Science Fiction, TV Movie
Frank Martin puts the driving gloves on to deliver Valentina, the kidnapped daughter of a Ukranian government official, from Marseilles to Odessa on the Black Sea. En route, he has…
Genre: Action, Adventure, Crime, Thriller
Arctic Apocalypse
A massive influx of glacial melting triggers a new ice age in the Northern Hemisphere, forcing a family to make their way across the ice-covered landscape before they are frozen…
Genre: Action, Sci-Fi, Science Fiction
Outlaw King
Forced into exile by the English after being crowned King of Scotland, legendary warrior Robert the Bruce fights to reclaim the throne.
Hit man Cleve approaches writer/cop Dennis about a story for his next book: How Cleve made a living, working for one of the most powerful politicians in the country. To…
After discovering he has powers, 11-year-old Jonathan Kent and assassin-turned-Boy-Wonder Damian Wayne must join forces to rescue their fathers (Superman & Batman) and save the planet from the malevolent alien…
Genre: Action, Animation, Science Fiction
Follow three professional video game players as they overcome personal adversity, family pressures, and the realities of life to compete in a $1,000,000 tournament that could change their lives forever.
Genre: Action, Documentary
The Cannonball Run
A cross-country road race is based on an actual event, the Cannonball Baker Sea to Shining Sea Memorial Trophy Dash, organized by Brock Yates to protest the 55 mph speed…
Genre: Action, Comedy, Sport
Another 48 Hrs.
For the past four years, San Francisco cop Jack Cates has been after an unidentified drug kingpin who calls himself the "Ice Man". Jack finds a picture that proves that…
Trailer: End of the Road


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Kung Fu Wing Chun – Review
The fascination with the art of Wing Chun Kung Fu continues with this China production from our old favourites Seasonal Films who produced such classics as Drunken Master and Invincible Armour.
Yim Wing Chun is a young vibrant girl, a tomboy in her attitude and always getting into trouble in and around the restaurant which her father owns and she works.
A local villain, Gao Shing want to marry Wing Chun and after a fight which he almost wins, sets a date on which to return and claim his bride. Also in town is Shaolin nun Ng Mui, who has fled the temple after it was destroyed by the government. The two women meet, become friends and after witnessing her fight with Gao Shing she decides to teach Wing Chun her style of Kung Fu and help with her upcoming challenge. On the big day she wins, but there is a new threat in town as government officials track down Ng Mui and there follows a fight to the death, with Wing Chun trying to save her teacher and family.
Directed by Joe Cheung, Kung Fu Wing Chun is a strange hybrid of a film, solid cinematography and an ok budget the film does tend to have the look of a tv movie at times and some of the CGI used is very obvious (mainly for scenery as opposed to the fight scenes).
Bai Jing is excellent as Wing Chun (she was trained in the art for the film by Ip Chun, Ip Man's son), feisty but beautiful she brings a sense of fun to the movie and I hope we see her in more roles in the future. Its great to see some old faces return to the screen, Kara Hui plays nun Ng Mui and she still looks as she did in the old Shaw Brothers classics My Young Auntie and Martial Club! There is a small cameo by Yuen Wah and the main villain is played by Colin Chou from Bodyguard From Beijing and The Matrix sequels. He still has some great moves and almost steals the show.
The choreography is very good, ground-based with very little wirework and the Wing Chun style depicted is mostly genuine with some theatrical moves used for cinematic effect. What does detract is the sudden shift in tone from the jovial comedic first half to the bloody and very violent finale.
If you enjoyed the recent run of Wing Chun based movies then you should enjoy this too, a slightly different take on the Kung Fu legend and its origins.
There is only one out of print DVD which has been released in Taiwan which does have English subtitles. If you enjoy Wing Chun themed movies then this is recommended if you can find it.
A sad footnote to this film is on 28 February 2012 Bai Jing was murdered by her husband Zhou Chenghai, who took his own life shortly after the murder.
Bai Jing and Ip Chun, son of Ip Man
Prev Ip Man – The Legend is Born – Blu Ray Review
Next Bruce Lee My Brother – Review


SUMMARY: Astronomers have directly observed a hot disc of dust and gas surrounding a protostar using the twin W.M. Keck telescopes in Hawaii. This is the first published science observation using a technology called interferometry, which combines the light from several telescopes to act as a larger observatory - the twin 10-metre Keck telescopes act as a virtual 85 metre telescope. The observation was of DG Tau, a T-Tauri object which is so young its centre star hasn't begun burning hydrogen; it's surrounded by a disc of dust and gas that could form planets.
I think that combining telescopes from different locations is definitely the way to go, isn't that part of the plan for the new telescopic system in the sky to replace Hubble? Correct me if I'm wrong, which I likely am, but does that have anything to do with the James Webb Telescope slated for launch in the next few years?
No, JWST has a mirror made up of separate components, but so far as I know they're not planning on doing interferometry with it.


Detective Annie Ng of our Special Victims Bureau was honored by the Board of Supervisors yesterday, April 9, 2019, for the caring and compassion she demonstrated for our most vulnerable victims during one of her investigations.
Detective Ng spent countless hours examining claims of sexual molestation of underage victims. During her investigation, Detective Ng was able to build a special bond with these vulnerable victims and show the compassion and care these victims need in such a difficult time.
Detective Ng had support from Chief Pat Nelson, Chief Dennis Kneer, Captain Valdez, and Sergeant Hudson. Great work Detective!


as of October 27, 2009, less 100 shares of Common Stock owned by Biogen Idec Inc., and multiplied by $17.50 (the increased offer price per share), and (ii) 641,000 shares that may be subject to issuance pursuant to the exercise of stock options reported by the Company to be exercisable as of September 30, 2009, multiplied by $17.50 (the increased offer price per share).
Filing Party: Biogen Idec Inc./FBC Acquisition Corp.
Form or Registration No.: Schedule TO.
Date Filed: Sept. 21, 2009 and December 3, 2009.
This Amendment No. 7 amends and supplements the Tender Offer Statement on Schedule TO (the "Schedule TO") initially filed with the Securities and Exchange Commission on September 21, 2009 by Biogen Idec Inc. ("Biogen Idec") and FBC Acquisition Corp., a Delaware corporation and a wholly owned subsidiary of Biogen Idec, and amended by Amendment No. 1 filed on September 22, 2009, Amendment No. 2 filed on October 7, 2009, Amendment No. 3 filed on October 16, 2009, Amendment No. 4 filed on December 3, 2009, Amendment No. 5 filed on December 11, 2009 and Amendment No. 6 filed on December 15, 2009.
The Schedule TO relates to a tender offer by FBC Acquisition Corp. to purchase all outstanding shares of common stock, par value $0.01 per share (the "Common Stock"), of Facet Biotech Corporation, a Delaware corporation (the "Company"), including the associated preferred stock purchase rights issued under the Rights Agreement, dated as of September 7, 2009, between the Company and Mellon Investor Services LLC, as Rights Agent (the "Rights" and, together with the Common Stock, the "Shares"), for a purchase price of $17.50 per Share, net to the seller in cash, without interest thereon (and less any applicable withholding taxes), upon the terms and subject to the conditions set forth in the offer to purchase dated September 21, 2009 (the "Offer to Purchase") and in the related letter of transmittal filed as exhibits (a)(1)(A) and (a)(1)(B), respectively, to the Schedule TO, as amended.
The Offer expired at 12:00 midnight, New York City time, on December 16, 2009. At the expiration of the Offer, a majority of the outstanding Shares were not tendered into the Offer and Purchaser had not waived this condition. No Shares were therefore purchased pursuant to the Offer, and all Shares previously tendered and not withdrawn will be returned promptly.
* Previously filed under cover of Schedule TO on September 21, 2009.
** Previously filed under cover of Schedule TO on September 22, 2009.
*** Previously filed under cover of Schedule TO on October 16, 2009.
**** Previously filed under cover of Schedule TO on December 3, 2009.
***** Previously filed under cover of Schedule TO on December 11, 2009.
****** Previously filed under cover of Schedule TO on December 15, 2009.


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Oil & Gas / Asia
East Timor rethinks flawed Greater Sunrise LNG plan
By Damon Evans
09/09/2020, 6:00 am Updated: 09/09/2020, 7:14 am
A mural on a wall in Dili, East Timor. Photo by Damon Evans
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East Timor is reassessing its ambitious petroleum development plans, which include the Woodside Petroleum-operated Greater Sunrise project, after discovering the economic analysis behind its proposed schemes is inaccurate.
The country's new minister for petroleum and mines, Victor Soares, who assumed his position two months ago, has questioned the previous government's development plans for an LNG export plant and associated infrastructure, to process oil and gas from Woodside's undeveloped Greater Sunrise fields.
In an interview with Portuguese news agency Lusa, the minister said that the previous leadership in both the government and state backed TimorGAP put "the cart before the horse" with their strategy for the petroleum sector by making political decisions prior to carrying out economic feasibility studies.
The development of Greater Sunrise, which straddles Australian and East Timorese seabeds, has stalled over the past decade as East Timor's government insisted the gas be processed at a yet-to-be built LNG export facility on its southern shores. This development option was considered commercially unviable by Woodside and its joint venture partners. As a result, investors considered Greater Sunrise to be politically stranded and of negligible value, which saw ConocoPhillips and Shell eagerly sell their project equity to East Timor in 2019. Significantly, in July this year, Woodside wrote down the carrying value of Sunrise to zero dollars.
Soares said the previous government's purchase of Sunrise project equity was a big mistake as it was purely a political decision not based on technical analysis or feasibility studies.
Xanana Gusmao, the country's de facto power broker at that time, hoped the buyout would put more impetus behind its plans to build a greenfield onshore LNG export facility on its south coast, rather than use an established plant in northern Australia, to monetise the gas. The Sunrise project was the centrepiece of East Timor's strategic development plan formulated in 2011 by Gusmao and his political party National Congress for Timorese Reconstruction (CNRT).
Ironically, East Timor caused the value of the field to be devalued by making it extremely difficult to develop, but then paid full price, totaling $650 million, to Shell and ConocoPhillips for their equity. East Timor's development concept is now stranded as its proponents failed to find an investor or lender ready to share the costs and risks.
Soares said that the Fretilin-led government is now considering doing an external audit of the whole project to see what has been done, how it has been done, what is right or not right.
"If it (the Sunrise project) is not feasible, we will not lose money. That is the principle of business. This is what we will defend. What has happened so far, has been putting the cart before the horse. The politicians have decided, and the technicians have gone after the politicians. We have to reverse that," said the minister.
In office for just two months, Soares has already carried out a wide restructuring in the leadership of various institutions in the petroleum sector, including the national oil company TimorGAP.
The former chief executive of TimorGAP, Francisco Monteiro, who was removed by Soares, claimed the new minister was ignorant about the petroleum sector and about how crucial the Sunrise project was for the country's social and economic development.
In response to Monteiro's comments, TimorGAP issued a press release on 2 September stating that there was never a proper feasibility study in the years leading up to the whole Sunrise scheme, as the government at the time, along with Monteiro at the helm of TimorGAP, came up with a project, and "then tried to justify it with flawed economic data and predictions".
Various independent assessments by external consultants have also supported this view in recent years. Independent assessors jointly appointed by the governments of East Timor and Australia during Maritime Boundary talks also found fault with TimorGAP's economic assumptions for Sunrise during Monteiro's leadership. In fact, their assessment found that East Timor's development plan would require billions of dollars in direct subsidies to work.
In the press release, TimorGAP, added that Monteiro's economic numbers were "wrong" and at "best wildly speculative". "The proof that he (Monteiro) uses false data is demonstrated by the banks, and even the Chinese government who refused to fund this project because they cannot see the real economic numbers," added the NOC.
Meanwhile, in a report published in May, Dili-based thinktank La'o Hamutuk said that no serious, comprehensive, unbiased published analysis has evaluated the financial, economic, social and environmental costs, benefits and risks of the East Timor petroleum projects, or alternatives.
Indeed, it seems that after almost a decade of idealism regarding the development of Greater Sunrise, East Timor is now potentially taking a more pragmatic approach towards the project. Soares said that the policies of the past ten years have failed and that a new strategy is needed.
However, Gusmao, a towering figure of Timorese politics who has served as president and prime minister in the past, and Monteiro, have raised unrealistic expectations of employment opportunities and economic benefits from piping Sunrise gas to East Timor for processing. Presenting, a contrary version to the country's largely impoverished nation could have a political or electoral cost for the Fretilin party with its term due to end in 2023.
Woodside revisits Timor LNG concept for Sunrise after bullying accusations
Greater Sunrise
Woodside Petroleum
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Royal Navy jet crash: images of debris from site in Cornwall
Emergency services remain at the scene of the incident at St Martin near Helston
Pictures from the scene of a Royal Navy jet crash in Cornwall show debris from the aircraft strewn across a field and woodland. Emergency services are currently at the site in St Martin near Helston after being called out at around 9.40am today (March 25).
The Ministry of Defence confirmed that two pilots on board a Royal Navy Hawk jet from the 736 Naval Air Squadron which had taken off from RNAS Culdrose had managed to eject themselves before the crash happened.
Devon and Cornwall Police added that the pilots have been taken via air ambulance to Derriford Hospital in Plymouth after receiving treatment from paramedics at the scene.
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A large cordon is still in place at the site of the crash while police, firefighters and other emergency service officers deal with the aftermath of the incident.
However, they have allowed photographers, including CornwallLive's Greg Martin, to take a closer look at the wreckage.
A Royal Navy Hawk jet crashed at around 9.20am on Thursday, March 25 (Image: Greg Martin/CornwallLive)
A huge emergency response was sent to the scene (Image: Greg Martin/CornwallLive)
Two Royal Navy pilots ejected from the Hawk Jet (Image: Greg Martin/CornwallLive)
Images from the scene show part of the jet strewn across the field along the border with a woodland area.
It is unclear which part of the jet it is.
The cordon which has been set up is also clear to see along with several fire engines which are still at the incident.
Police are continuing to urge members of the public to stay away from the site.
A tweet from the force said: "Police are urging members of the public to continue to avoid the area of St Martins at this time.
"Officers have highlighted that there may be debris in the surrounding area and emergency services are still working at the scene."
Crews remain at the scene making the area safe (Image: Greg Martin/CornwallLive)
Fire crews remain at the St Martin crash site (Image: Greg Martin/CornwallLive)
(Image: Greg Martin/CornwallLive)
Catch up on the full story and follow the latest updates in our live blog here.
Everything we know about the Royal Navy Hawk jet crash
Follow our live blog for constant updates here


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Saturday Closed. Viewings by Appointment.
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I wish you all the success.
Kamilla Deen
Davidson Estates have been quite superb in the way they have managed my properties, fixing the very complex legal and structural legacy issues as a result of poor management by a previous property company.
Ben and his terrific team worked so hard to help me resolve some big issues and have completely restored my confidence in the property management system. I now have peace of mind knowing I'm in capable and reliable hands. I'm so pleased they were recommended to me.
Julie Currier
Efficient, professional from start to finish.
Gareth Cruse
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text:
export function makeNumberPrecise(num: number) {
  /**
   * NOTE(motss): Different browser will use different precision in CSS `transform`:
   *
   * * Edge 17/ FF63 - use 2 decimals
   * * Safari 10.1/ Chrome 41 - use as many decimals as possible
   * * Chrome 70 - use 3 decimals
   *
   */
  return (num - Math.floor(num)) > 0 ? +num.toFixed(3) : num;
}

redpajama_set_name: RedPajamaGithub


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Teams are set for ECS finals at Wembley Arena
Four European and four North American top teams are ready to ascend upon London at the end of the month.
Rasmus Lund-Hansen
The finalists are set for ECS, the Counter-Strike league co-held by FaceIt and streaming service Twitch. Eight teams will head to London to duke it out in the Wembley Arena, a venue that can seat more than 10,000 people.
From Europe, Astralis and G2 have both auto-qualified for the finals as they finished in the top 2 of the ECS group stage. Joining them are Fnatic and Ninjas in Pyjamas, who earned their spots by winning the qualifier pracket held for for the teams that placed 3rd-6th in the group stage.
Similarly, Luminosity Gaming and Cloud9 finished top 2 in the NA division of the league. They'll be joined by Team Liquid and Team SoloMid, who made it through the qualifier bracket.
Details about prize money distribution haven't been revealed yet, but back when ECS launched, the league promised payouts of $3.5 million in prizes and team support. That figure covers more than just the first season, though.
The season 1 finals will play out on June 25-26. If you're in London or close enough that you want to travel to see the finals, tickets are available on wembley.csgoleague.com. That site also has seating details and other info.
REVIEW. Written by Rasmus Lund-Hansen on the 27th of August 2012 at 18
"Like Americans going to Japan only to eat at McDonald's when they could have been eating the same burgers at home."
FugLy benched from Envy, claims he was kept in the dark
ESPORTS. Written by Sam Bishop on the 16th of January 2020 at 07
The player has released a statement criticising Envy's handling of the situation and Nifty's role in all this.
Envy reportedly set to add Calyx to CS:GO team
Legija is also in talks with the organisation to become the head coach, according to a recent report.
We caught up with SJK's captain after their win in our CS:GO league
ESPORTS. Written by Sam Bishop on the 9th of January 2020 at 08
Lari Isohella explains why his team were successful, and what makes for a good captain in CS:GO.
Cloud9 picks up ATK's CS:GO roster
This new roster will represent Cloud9 for the first time during the IEM Katowice closed qualifiers.
First teams revealed for IEM Katowice 2020
We have a first glimpse at the players who will be bringing the best of CS:GO to Poland this year.
F0rest, Xizt, and Friberg reportedly on Dignitas CS:GO team
Dignitas is allegedly bringing a squad together, recruiting players from Fnatic and NiP to do so.
Developer: Valve, Hidden Path Entertainment
Publisher: Valve


Save 25% off the RRP price when purchasing the i1Display Pro and Atomos calibration cable as a bundle, instead of purchasing both products separately.
i1Display Pro is the leading professional solution to calibrate your monitors for the most accurate colour. It's compatible with Atomos Ninja and Samurai Blade for HD, Ninja Assassin and Shogun for 4K and the new Ninja and Shogun Flame series, as well as your mobile, laptop and desktop monitors.
The Atomos USB to Serial cable is used for connecting Atomos monitors to an i1Display Pro calibrator. Once connected, the i1Display Pro will ensure a precise, accurate and consistent colour representation for a more streamlined workflow from shoot to edit.
3 - Place X-Rite i1Display Pro on the Atomos LCD display, connect serial cable into Atomos Serial port & USB into your Mac/PC.
4 - Start calibration process using the software.
Colour Perfectionists shouldn't guess when it comes to on-screen colour accuracy. The colour you see on your monitor or projector is the colour you should expect from your printer. Once you take the guesswork and frustration out of calibrating and profiling your displays, you'll save time and money while gaining full creative control over your images.
And now, with the ability to change the colour grading of video footage growing by leaps and bounds the necessity for accurate colour representation on screen is even more paramount. The only way to edit video accurately is to view your footage accurately. With the newly included video colour standards you can also make sure that what you see is what you'll get throughout your digital video workflow.
i1Display incorporates new technologically advanced filter and optical systems, amazingly fast measurement speed, and unrivalled colour accuracy on all modern display technologies including LED & Wide Gamut LCDs. It's also spectrally calibrated, which makes it field upgradeable to support future display technologies.
The next generation of our top of the line colour management software offers the ultimate in flexibility and control. "Basic" mode offers a wizard driven interface with predefined options for the quickest path to professional on-screen colour. "Advanced" mode offers user-defined options for more sophisticated profiling workflows to deliver the highest quality colour results on monitors and projectors, as well as display testing and quality assurance tools. No matter which mode you use, you'll be able to attain professional colour results for a more perfect match between your display and printer.
Product registration is required to receive X-Rite technical support during the warranty period. Register directly through www.xrite.com, or via phone. Users are encouraged to register their product within the first 30 days of use.


The Philips Avent trainer handles help independent drinking at every stage. Find out which bottles and cups fit the training handles.
The handles are compatible with the bottles of the Advanced and Classic range, not with the bottles of the Natural range. The handles are compatible with the magic cups.


SERVPRO of Binghamton West has the training, experience, and equipment to handle large commercial flooding or water damage emergencies. Whether your water emergency occurs in a small office building or big box store, we will respond quickly to mitigate the damage and manage the restoration project through to its completion. Learn more about Learn more about our training and certifications..
SERVPRO of Binghamton West can respond immediately to your commercial water damage emergency regardless of the size or scope of the damage. We are part of a national network of over 1,600 Franchises with special Disaster Recovery Teams placed strategically throughout the country to respond to large scale events and disasters.
Connor and his Team made the whole process almost stress free! I would highly recommend.