This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping
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The workplace has long been fertile ground for television, but I’ve never seen anything quite like Severance. The points of reference for this satire-thriller on Apple TV+ are not new—gritty ’70s paranoia thriller meets genial office comedy meets dystopian sci-fi. But its nine episodes, written by Dan Erickson and directed by Ben Stiller and Aoife McArdle, shift gears so easily and with such chilly aplomb that they feel like something machine-made for 2022. Expertly acted and absorbing (if not especially fast paced), Severance is so calibrated to current-day anxieties that I couldn’t stop watching it. For all of the money Apple has invested in its still fledgling TV+ service, I would argue it has yet to serve up a must-watch prestige drama series. Severance could be it. —T.A.
Few TV shows this year carried the same sweeping ambition as Soo Hugh’s dazzling adaptation of Min Jin Lee’s epic work of historical fiction Pachinko, the bestselling novel charting the fates of three generations of a Korean family across the 20th century, from their colonized homeland to a war-torn Japan and far beyond. It’s a sumptuous, emotionally charged rollercoaster that manages to balance character-driven intimacy with the broader strokes of East Asia’s checkered 20th-century history, adapting a sprawling story into something gripping and impressively coherent. —L.H. Suddenly, it feels like all the good crime shows are ending. But watching the sixth and final season of Peaky Blinders on Netflix is a reminder that this particular blood-soaked epic—the early 20th-century story of the Shelby crime family from Birmingham, England, who rise from street toughs to empire-builders—is perhaps the weirdest of them all. Season 6 is the apotheosis of Peaky Blinders seriousness. The early episodes play like opera: patient, expressionistic, grandiose to a fault. But who is doing what to whom is not really the point in Peaky Blinders. The point is the poetics of it all, the atmosphere, the vibe. It’s no longer quite as cool anymore—no Season 6 of anything really could be—but it’s elegiac and those needle drops still hit. The Joy Division sequence in the first episode of the new season is not to be missed. —T.A.
Le Carré lite? A thinking person’s Homeland? I kept trying to situate the tone and mood of the terrific espionage thriller on Apple TV+, Slow Horses, which is zippy, mordant, a little silly, bracingly violent in places, and extremely British in its celebration of irascibility, rainy London streets, geopolitical decline, and governing class contemptibility. I loved these six episodes–especially the scenes with the series’s Grade-A stars, Gary Oldman and Kristin Scott Thomas, as MI5 grandees–one good one bad–and gave a little cheer at the end of the finale when the show teased its already-filmed second season. Can I have it now, please? —T.A. Ever since Big Little Lies became a TV phenomenon, HBO has cleared a lane for well-heeled crime dramas that are addicting as they are ludicrous. And now comes The Staircase, which shares DNA with the above: A-list cast, interesting director (Antonio Campos, whose film Christine has echoes here), a story that wraps up privilege, legal wrangling, and violent death in a handsome eight-part package. But the surprise of The Staircase is how subtle, clever, and searching it is, not the least because of its fascinating source material, the award-winning 2005 television documentary series by Jean-Xavier de Lestrade following the defense team of Michael Peterson, the Durham, North Carolina writer who was convicted of murdering his wife at the base of his home’s staircase. The Staircase winds up being a meta-text more than a murder mystery—and it’s a riveting one. —T.A.
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