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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Watching an Adam Curtis film can be daunting: For four decades, he’s been combining highbrow philosophical concepts and psychological theories, copious historical arcana and geopolitics (for starters) to root out what amounts to a secret history of the hidden power structures that govern our world and our psyches. His collage-like documentaries are sweeping in scope and often breathtaking in their assertions—while somehow also managing to be idiosyncratic and visually delightful tone poems of mood, meaning, and emotion culled from the largest film archive in the world—and soundtracked by everyone from Tupac Shakur and Phosphorescent to Massive Attack (with whom he’s currently working again to, well, reinvent the concertgoing experience as we know it). We Zoomed with Curtis recently to discuss his new six-part series, Can’t Get You Out Of My Head, which recently premiered on the BBC’s iPlayer in England (and was even more recently bootlegged on YouTube and elsewhere).As I was growing up in journalism, I began to realize that the mainstream of political journalism, both the left and right, were sort of collapsing in on each other and becoming very narrow in their focus—they had a kind of consensus view that was enforced by think tanks and things like that, and I wanted to take a kind of helicopter view. But you’re spot-on: It’s about power.
The Serpent jumps around its timeline, shifting the viewer months forward, then months back—and in more than just chronology, this is a show that shuffles and surprises its viewers. The sickening effect of The Serpent comes not so much from its violent or graphic portions, but from the depiction of Sobhraj’s life, if not his crimes, as part of a stylish, bohemian scene. The parties are frequent and lively. There are endless days by the pool, trips to the beach, and meals on restaurants elevated on stilts over water. It is not only Monique who is always impeccably dressed, but Sobhraj as well, in tight trousers and polo tees. Several montages show how he keeps himself fit. The characters in this show might be seeking a kind of nonmaterial enlightenment, but even they are susceptible to seductions on the surface.
That’s the interesting dynamic of our time. The thing I set out to answer in these films was why—in both your society and mine [Curtis is English and lives in London]—a lot of people who would see themselves as progressive are aching for change and yearning for change yet seem somehow paralyzed and frozen in their ability to produce it. In your country, you had four years of hysteria, but quite frankly, looking at things from this side of the Atlantic, actually nothing has changed in your country. We had Brexit and four years of fury, but nothing has changed. And I wanted to try and trace what has gone on inside the heads of these individuals which has led to this paralysis—to explain, through stories and characters, that paralysis. Why do we find it so difficult to do the very thing we say we want to do—to change things?I think a number of political journalists don’t quite fully understand what I do. They don’t realize that I’m doing what you said I’m doing: making provocative essays that try to make you look at the world again. I see my role—and the BBC has encouraged me to do this—to provoke; to pull back and say, No: Have you thought about looking at it this way? And yes, of course people go, “ugghh” and disagree, but that’s what journalism should be doing and, in my knowledge of it, what it gave up about 25 years ago when the left and the right of mainstream politics in your country and my country began to blend together. And underneath the consensus that came out of that is something very powerful.
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