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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Previous seasons of Never Have I Ever had already acquainted us with Fabiola (Lee Rodriguez), a science whiz and robotics star who (at first) struggles with how to tell the people in her life that she’s gay. Watching Fab relax into her first relationship with her girlfriend, Eve, was as sweet as it was soothing, especially when she wrestled with queer predicaments that felt dead-on even to this aging millennial queer, like how to explain to Eve’s cool friends that she doesn’t know anything about lesbian pop culture. It was great to see Fab happy with Eve, but the new season’s twists and turns are arguably even more representative of a phenomenon that many people of all genders and sexualities will be able to relate to: that feeling when you’re just not that into them, no matter how much you may want to be. Season three sees Fab kiss—and eventually date—Aneesa, a classmate who was initially introduced as a foil for Devi and ended up dating Devi’s crush Ben. When Aneesa feels underappreciated by Ben, she turns to Fab, someone who actually is paying attention to the things that matter to Aneesa, like soccer. (Basically, listen to the Tegan & Sara song “Boyfriend” and you’ll understand everything you need to about this love triangle.)
It feels like we’re living through a boom time for LGBTQ+ stories onscreen, with queer romance abounding on shows like A League of Their Own, the Queer as Folk reboot, Heartstopper, and so many more that I actually can’t list them all off the top of my head for once (gasp!). Still, all that radiant and life-affirming joy reflected back at me through my TV screen can occasionally make me feel as though I’m…doing “being gay” wrong? I mean, am I supposed to be flirting with hot queer people on a beach at sunset all the time? Because I really only do that once a year, max. I should have guessed that Never Have I Ever would make me feel better. The Netflix teen comedy—which stars Maitreyi Ramakrishnan as Devi, an irrepressibly hotheaded high school girl trying to navigate the world of crushes, friends, strict parents, and some very real grief—has already established itself as one of the most charming and authentic teen shows out there. But its third season, which premiered earlier this month, takes it to a whole new level.
On that community note, I wanted to ask you about your work with Bed-Stuy Strong and how it informed the process of writing the book. It’s very difficult for me to see this novel as separate from Bed-Stuy Strong because both were sort of formed on the same timeline, just a few months apart. And I think it’s really possible that one of the reasons why my draft novel did not stay sort of cool and disaffected is that I was surrounded every day by examples of a certain kind of ordinary, non-utopian muscular goodness. I just saw examples of real solidarity, and I thought, amid all the doom-pilling, Here is something that is real. And I know it’s real, because I’m literally immersed in it. I had no interest in writing a novel about a mutual-aid network, but I was like, Is there a way for the novel—this formally and historically somewhat conservative form that is often best suited to telling the story of an individual self and consciousness—to move from an “I” to a “we”? Is there a way to gesture towards the idea that the world as it is is a thing that is made, and by that logic can be remade? That was what I was interested in aesthetically, and that’s sort of the journey I tried to follow.
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