The study was published in "The Journal of Neuroscience".Cross-sensitization Both sex and amphetamines act in the same neural pathways in the brain, the so-called ventral tegmental area, the researchers found.
Having sex every day altered the rats' brain, making it more prone to drug use.
Sexually experienced rats became addicted to amphetamines faster and at much lower doses than rats who didn't mate.
He doesn’t direct this time around — but he’s the cinematographer (under his usual pseudonym, Peter Andrews), and the editor (under his usual pseudonym, Mary Ann Bernard), and the executive producer (under his own name).
And the director is Gregory Jacobs, Soderbergh’s assistant director on pretty much everything he’s done since his third film, with “Nothin’ But a Good Time.” If Soderbergh’s original — inspired by the “male entertainer” days of star/producer Channing Tatum — seemed a throwback to the Tom Cruise movies of the ‘80s (I’m thinking specifically of movies like But if there’s a scene that holds the key to the movie, it comes near the end, at the conclusion of the Mickey-and-Judy “let’s put on a show” Myrtle Beach performance, when Mike finally gets to do his thing for Zoe (Amber Heard), whom he’s intersected and flirted with throughout the trip.
If you believe that information concerning a specific offender is incorrect, please contact the Tennessee Bureau of Investigation, Sex Offender Registry at 1 (888) 837-4170.
Citizens who have information on offenders or inquiries about information contained in the state's Sex Offender Registry can contact the Sex Offender Registry Hotline at 1 (888) 837-4170, Monday through Friday, from AM until PM CDT and weekends between AM and PM CDT, excluding holidays, or by email at [email protected] we’re left with is a road movie, a playful comedy, and a victory lap.I didn’t mind; it seems safe to bet that anyone buying a ticket probably won’t either.As a cinematographer and editor on both films, Soderbergh tends to favor full-body compositions; in the style of old musicals, he lets the dancers dazzle us, rather than burying their athleticism in close-ups and cuts.Yet in the middle of Mike’s dance/clothed foreplay with Zoe, for just a few bars, the camera goes in tight, lingering on their faces — particularly hers, which registers a mixture of delight and disbelief.At that moment, she’s the surrogate for the audience (in that room, and in the theater), and that reaction is, when you get down to it, what these movies are really about.