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This essay draws from Mari Ruti’s prolific discussions of Lacan, sublimation, and the ethical import of subjective creativity, in confluence with an analysis of the evocative place of objects in several of Steven Soderbergh’s films. Via Ruti and Soderbergh, I treat sublimation as the pragmatic means by which a subject maintains a modicum of independence and creative freedom through a reliance on an external, circumstantial, and relatively independent object.