#Ideally to have the role covered by both men and women and to have the first cast role go to someone who is NB or Gender Fluid

[sweet-dining-car]

The more I find out abt the new production the more confused and embarrassed I am 😭 Like these names are so similar to the names I came up with for ocs when I was in my tweens like what is ALW on??? He is reverting back to an awkward homeschooled middle schooler instead of pumping out the good stuff that we all want(what he originally had)😭

[15-lizards]

Worldbuilding wise do you think the ideal woman and ideal man flickers from kingdom to kingdom? I can’t see the reach and north having the same ideals and I cannot see the Stormlands and vale or westerlands and dorne.

Yeah I mean it’s like every culture, where morals and ideals vary from place to place due to their history and surroundings etc etc. also prepare for a long tangent as I force you to listen to my sociology and psychology training

1. It’s canon that Northerners are rougher and sterner people, due to their way of living and the ever present threat of years long winters. Life is first and foremost about survival, so being frivolous and carefree is more looked down upon. Men and women have roughly the same moral standards placed on them I think. They’re both supposed to be more serious and frugal, though ofc men have expectations of dominance and strength while women are expected to be stern matrons. However the patriarchal ideas of the south are not as strong up north, bc in a place so often barren and hard to survive in, everyone is needed to put in 100% to keep their families alive. Which also leads me to thinking ab more of a collectivist culture in the north

2. Riverlander culture is also very family oriented. They are steeped in traditions of their houses, and old stories that happened centuries ago still resonate with them. Thus an ideal man is a staunchly good man, one who cares for his family and raises his children well. He is practical, he values the advice of his old advisors and he must be a father to his men, especially the ever-suffering peasants. Women are considered the hearth of the home. She is loyal to her husband, father, or brothers, and must give them the sound advice of women (when appropriate, of course). She is gentle voiced and soft, frequently gives out alms to the poor and passes down the traditional tales to her children.

3. Westerland culture is incredibly individualistic. You are fighting for yourself and your house instead of the collective good. So in both genders, ambition is positively regarded, and men and women are often expected to have sharp wits in order to survive cutthroat politics. However the patriarchy is still like. A thing. So women are often confined to the domestic sphere, but powerful ladies are definitely expected to wield their influence within it. Overall just a very harsh vibe to live up to and stern gender divides despite the opulence and decadence of the culture itself.

4. The Reach is very similar to the Westerlands in terms of morals and ideals, but covers them up far better. It still rewards ambition and cunning, but you have to be incredibly graceful throughout. Manners and courtesy are very alive here. Men are told to be valiant, courageous, and outgoing, and are expected to charm their way into what they desire. For women, it’s a standard for them to be lively and sweet, and there’s an unspoken expectation that they be able to navigate the court politics with grace. A far more charismatic version of Westerners, if you will.

5.The culture of The Vale is ruled by stuffy social codes. Tradition, honor, and frivolous rules dictate everything about a persons behavior. The ideal man is gentlemanly and noble, who is even handed and respectful in his behavior. He is friendly, but there is a certain aloofness about him that is not to be breached, as it would be a violation of the social code. The model woman is even more aloof, as too much friendliness tells one of her loose morals. A good woman must be above suspicion, withdrawn and just a little bit cold, but still empathetic and devoted (to the gods, her family, and subjects).

6. Dorne is fairly equitable in how they view their men and women, this is true in canon. Oftentimes one of the harshest places to live in Westeros, I feel like there's little time for divisive gender roles when every person is needed to work and help the collective survive. Both Dornish men and women tend to be sociable and friendly, due to their collectivist culture. An ideal man is considered to be outgoing, someone who treats their subjects and friends in a familiar manner. And they must be a least a little bit hot blooded, being seen as a sign they will defend the land Nymeria fought for. Women are supposed to be equally as friendly, frequently having guests over and creating community. They must be bold too, have a will to live in the lands. However, their customs often are mistaken for promiscuity by the non-dornish.

7. The Iron Islands ideal people probably have more of a stereotypical Norse/Viking mindset. It's not an easy land to live in, and both men and women have to be hardened in order to survive, the weak are left behind. For men, it's all a battle of dominance. If a man wants respect, he has to take it. He must be the strongest, the most violent, the man who can lead others to bloody victory. A lot of crass, stubborn personalities exist in turn. Women, even though looked down upon, still have to be as hardened as their men, despite the lack of respect they receive. A "respectable" woman is stubborn and unshakable, with a temperament that can take whatever is thrown at her. However, she is still jeered and disrespected by the men who call her a good woman.

8. The Crownlands are interesting, because there is no one defining culture, it's a real melting pot. The ideal is whatever is popular during any given time, which is dictated by whatever king sits the throne or noble whispers in his ear. So, men have to be very gregarious, able to get along with everyone, incase whoever they are loyal to suddenly falls from grace, and they must curry favor with someone else. Women are expected to be flirty and coquettish, an accomplished girl who can catch the eye of prominent noblemen that can secure their future. Basically a city of snakes and backstabbers looking for footholds into power.

[marzipanandminutiae]

The difference between Victorian prudery and 50's prudery is that Victorian prudery was a genuinely reasonable response to the situation women lived in, while 50's TV prudery actually was stupid.

I've let this percolate for a bit because I wanted to collect my thoughts on it. And they vary depending on what Anon meant.

What I think this is trying to say is that, given the emphasis placed on women's reputations back then re: sexuality, it made sense for them to behave in an extremely straitlaced manner. Because (for most women) their lives would quite literally be destroyed if their virtue were seriously called into question. They would struggle to find employment or a husband, might be cut off by parents or other supporting entities, and could find themselves alone in the world with no means of support. And with that general idea, I agree. Pretty logical to refuse to even kiss a man before marriage if your entire livelihood is on the line.

(Not to mention, a working-class white woman, a middle-class white woman, a white heiress, and a woman of color regardless of social status all had different standards for what they could get away with. While they all lived under similar unfair standards and systemic misogyny...intersecting axes of oppression and privilege definitely played a role here)

Except.

A. That was not the extent of extreme Victorian prudishness. While stories about table legs being covered for modesty are pure invention, you DO hear about some people in the 19th century going pretty far in the Prim and Proper department. I recall one 1870s issue of a fashion magazine by the renowned Madame Demorest where she cautioned her female readers about arraying their legs "like ballet dancers" in the wildly popular striped stockings. To do so, she implied, was to invite the stares of men when a lady lifted her skirt to go up steps.

And I honestly don't see any way that could be construed as reputation-ruining behavior, given that...well, like I said, the stockings in question were everywhere. I have two separate fashion dolls of the era who both wear their original striped hosiery. Clearly women weren't risking their means of support by wearing them, and yet at least one conservative writer considered them Improper. That, then, hardly seems justifiable prudishness to me- and that's just one example.

It leads well into my second point, namely:

B. Even the Victorians though some Victorians were too prudish. Etiquette manuals can tell us a lot about the ideals of an era, but they aren't a good record of real human behavior. Take, for example, the use of the word "limb" to substitute for "leg." Out of context, this seems like proof that our 19th-century ancestors were stuffy prudes who had the vapors at the slightest hint of anything remotely racy.

But if you actually look at sources from the era, most of them seem to be mocking rather than endorsing the practice (source)

That holds true for many other illogically prudish behaviors of the time- in my experience, many people seem to have rolled their eyes almost as hard as we do today at a lot of the "nice girls don't" edicts. The big one remained largely unquestioned: don't have sex outside of heterosexual wedlock and don't give anyone reason to think you have. And that latter part covered a lot of behaviors we- rightly -see as absurd and misogynistic today. But rules that got as minute as the appropriate number of times to dance with a specific man at a ball were often waived in reality- or at least, endorsed for reasons of potential rudeness rather than scandal.

Which is to say, not all Victorian prudishness can be justifiable if even they themselves thought some was ridiculous.

C. A lot of the pressures on women to remain chaste and morally unassailable remained- or had returned -in the 1950s.

I'm surprised I even have to say this, because I figured it was pretty common knowledge. But every reason a woman might shut down relatively tame amorous advances in 1850 was pretty much present in 1950: a woman known to be "ruined" could have a very hard time functioning in mainstream society. Things had loosened up a bit- although, to be honest, being caught in a kiss wouldn't even necessarily destroy a woman's reputation in the 19th century -but the central theme of Don't Let Anyone Suspect You've Had Extramarital Sex Or Your Reputation Is Toast persisted.

And as for things that were patently absurd in the 1950s- you mentioned "TV prudery," which I assume means things like married sitcom couples sleeping in twin beds -well. That sort of nonsense was present in the Victorian era, too. And as in the Victorian era, I expect plenty of people snickered at it in the 1950s.

TL;DR- To me, the idea of one period having Logical Prudishness and the other having Performative BS kind of falls apart because both eras had examples of both types. I can see a point of agreement here in the idea that some uptight behavior in women who wanted to do otherwise was a logical response to insanely rigorous moral standards, but the rest of your argument doesn't really hold water for me.

[mariacallous]

Summary: Reeves largely creates solutions that would have helped his own life (holding his son back a year and making caretaking the primary source of purpose for men). He presents one-sided evidence, often failing to engage with research critical of his solutions (which are covered below). He also largely ignores (or at least mutes the findings of) DiPrete, who has done a large share of the high quality studies on boys educational deficits over the last 20 years. I believe this is because DiPrete argues for norms targeting pursuit of excellence in academics. Reeves' makes everything caregiving-centric in a way that feels contradictory to DiPrete.

Education: He also completely fails to address where boys deficits actually come from. High quality studies suggest it comes from four sources: lower effortful control (ie self-discipline), lower reading ability, lower writing ability, norms that don't support scholastic achievement. Ideally, a solution would both align children's interests and desires with good academic outcomes (eliminating the effortful control gap, about 40% of the deficit), and create a system in which grades are not writing-centric (things like making debate and effective speaking key parts of English could help here). We would also create norms for boys that help spur academic achievement.

To date, little work has been done on the above. However, the are four key areas that impact boys that can be improved: high levels of cooperative learning can likely reduce deficits in math (almost all of it disappeared); this is easy to implement. Boost school quality: high quality schools eliminate 50-70% of the gap, by my estimation, compared to low quality schools. Consider apprenticeship-degree programs similar to what Germany, Austria and Switzerland use; these countries have no gender deficit in degree attainment. Institute norms for academic achievement among boys--this has to happen after we have a system which works for boys, but is no less important than the other 3.

Statements on how nature affects gender differences Research here is conflicting. He presents it as a closed case for a heavy nature effect. Yes, differences in interests are larger in more equal countries, but we don't know if this is because they started with even larger gaps or whether they grew due to equality (he presumes the latter). What little (admittedly poor-quality) evidence exists, suggests the change in equality doesn't matter to gender gaps. Personally, I agree with his assertions, but they are assertions and shouldn't be presented as fact.

Entering the HEAL fields I agree with his goal here, I don't agree with his methods. He claims that programs to get women into STEM have been seriously successful. I would disagree. After spending what I would estimate is well over $1B in today's dollars, women still only account for 25% of STEM jobs (roughly) and their interest in people vs things has not changed at all in a century (per a massive 2009 study/review). Its hard to raise money for men's issues. Maybe we should try something a little more cost-effective?

Roles for men I agree with his model of female early vs male late caregiving split--this is well supported by what research exists and is grounded in neurological and hormonal-behavioral interaction research, not sociological or psychology evidence (which, IMO, is a good thing). I also agree on his focus on equality.

However, the desire to center the entire male role around caregiving appears to be more emotional than anything. The science is fairly clear that personal growth and purpose are basic human needs (see Deci and Ryan and Ryff's work, respectively). Per surveys, people attach lots of meaning to both work and family and study after study suggests people want to do both. Using "mild social coercion" to enforce men's central role as caregivers deprives a large number of men of the right to find, form and follow their own dreams. It harms men for the same reasons it harmed women. All people must be given the right to center their lives around both. Given the the restrictions it places on boys and men, I believe this is not only extremely harmful, but makes Reeves' overall construct unsupportable.

One of the only critical reviews (on Amazon) of The New Book About Masculinity Everyone Is Now Talking About

[tippitytap]

On Harry Styles' 'queer icon' status and the problem it bears

Fair warning: I went a little off the rails and this is going to be looooong. I don't expect anyone to read it, but a little forehead kiss to everyone who does actually sit through the entire thing. Mwah.

Alrighty. Let's get to it:

The past three years in particular, but also ever since 1D days, there has been many, many, many conversations and opinions on Harry Styles, his love life and his status as a so-called 'queer icon.' (I personally don't agree with that term for him, but it's what people sometimes call him, so...) People who don't know a lot about Harry, straight and queer people alike, have pointed out countless times how he is hurting and appropriating the queer community, profiting off of us, not standing up enough for us, and so forth. Those voices are almost always met with an uproar from his fandom, shouting on about how Harry does not owe his label to anyone and how he is allowed to dress the way he dresses without having to publicly claim a group he belongs to, be that sexual orientation or gender identity.

And while I do think his fandom is right to do so *to a certain degree*, I think they also quickly shut down many conversations we really should have as a fandom, as a society, as a queer community and I don't like how a lot of harries don't create the space to have these important discussions.

I think there is a disconnect in the two conversations - conversation A being what the general public and media want to say, conversation B being what the fandom wants to say - and they're both valid discussions but they don't necessarily answer to each other. I think it starts with what Harry Styles has actually *done* over the years:

This is an incomplete list of all the things Harry has *done* over the years, but they're the ones brought up most often. I will exclude the things he has *said* after having been asked about his sexuality directly because I will talk about that later. In no particular order, Harry Styles has: used gender-neutral pronouns to talk about his 'ideal' partner, very publicly grown into his sex and love life as an adult man, hooked up with various women (here: either dated them in actuality or presented himself as a couple with those women for the media), said 'female' is 'not that important' as a trait for things he looks for in a lady, experimented with fashion (starting as soon as he felt comfortable to do so/ was allowed to do so outside the band), continued to have fun with clothes and sometimes wore things that are deemed outlandish - extravagant - colourful - gender neutral or 'belonging' to the female sex - sexy (as in he has sex appeal in those clothes), appeared on the cover of Vogue wearing a ballgown as well as a skirt in another part of the photoshoot, waved pride flags that fans have thrown on stage, made various speeches about how he supports all of us no matter who we want to be, wore nail polish, wore pride pins or other rainbow items (particularly in 2017/18), wore a necklace around his neck with a banana that looks like a dick, wrote songs based on his life experiences without ever stating who those songs were about, and he has played a gay man in a movie role. So far for things Harry has *done*.

What most (not all, but most) of these things have in common in my opinion is that Harry does them without feeling the need to justify himself on it. He does what he enjoys, and he kind of doesn't give a fuck about whether there is an appropriate and socially-accepted label for it or not. Harry doesn't wear dresses to tell anyone he isn't cis or he's gay, and I don't think he wears dresses to break gender-norms and be a role model - he wears them because he liked how they looked, enjoyed how he looked in them, and it was fun. I don't think that is a crime, and I also think that cis-het men are allowed to wear dresses or nail polish just as much as anybody else in this world. If you don't agree with this, then your problem is not Harry Styles, your problem is somewhere else entirely and, quite frankly, we will never agree on this unless you change your mind because I certainly won't.

Now, I think the fundamental problem is that a lot of people are not very good at accepting people just do things for fun or that they do things that lie outside their category of 'normal, acceptable societal behaviour' without having a 'reason' for it. (With reason I mean that many people couldn't accept certain behaviour from people, but when they know that the person is gay for example, they can 'blame' it on that. I don't support this, but I've seen it happen way too many times to deny it isn't a real thing that happens all the time.) People *want* to say 'Look, Harry Styles is wearing a dress on the Vogue cover! He does that because he's gay!' This is the point where I would find it acceptable for the fandom to chime in with their conversation and patiently explain that, actually, you don't need to be queer to do any of these things, and you especially don't need to publicly label yourself as queer to do these things.

However, the general public has moved on from that and I would like to argue that they also kind of don't give a fuck about Harry's past, what he said ten years ago, or even what he said in a setting that only ever reached the fandom. They care about what is in the big media, and they care about what is *currently* happening. And they're not satisfied with the fandom's answer of 'he doesn't owe us an explanation' which is why they prod and ask until we get to the point where we also have a category of the things Harry has *said*.

To this, I want to make a petty disclaimer as a fangirl before I go further because a lot of people have used the things he has *said* as their evidence to why he is a bad person/queerbaiter/etc. but:  If you had never asked him, he would have never said any of those things. If it were just okay to be himself without this incessant need for a label, you wouldn‘t have half the arguments you love to use to call him out. We know Harry isn't the best public speaker, and I find it a little vile to hold people to this level of accountability over things they said when you specifically cornered them into this corner and you *wanted* them to say something fucked up. It doesn't mean I support everything he has said in those situations, but there is a line imo that we shouldn't cross. At one point, you need to accept that he didn't have a good reaction in that moment and then move on. Okay, pettiness over.

As a huge Harry Styles fan, I have no problem admitting that some of the things he has said in those instances *were* fucked up, infuriating and purposefully misleading. I can 100% understand why he has said the things because I've been a fan for almost a decade and I know his patterns when it comes to interview replies, but my understanding of it doesn't make his answers into a good thing or gives him an excuse for them. Personally, I interpret his vagueness around the topic as many other fans do too and it means he is queer as well (or at the very least was questioning his sexual orientation at the moments of the interviews), but that still is an *interpretation* and I could end up being fully wrong one day, yeah. Maybe this is an instance of seeing the good versus seeing the bad in someone, accusing someone until proven innocent or rather giving them the benefit of the doubt. If you're wired to accuse rather than doubt, then I can't change you, as you can't change me for rather seeing the good in people. I don't think it makes your opinion superior to mine though.

I think it's totally valid for fans to defend Harry *to a certain point*. I want to emphasise the last point because I recognise that many fans also take it too far and defend him for things he shouldn't be defended for. I will never have that type of attitude about anyone, and I definitely think that that type of fan behaviour is very dangerous and problematic. Every single person on this planet makes mistakes, including my favourite artists. Their name does not - and should not - obtuse them from anything. Ever. At the same time, there's definitely things that the media likes to twist about Harry that look a lot different when you contextualise and explain them. And I'm glad the fans are doing that work because we all know Harry or his team won't ever say shit in their own defence.

I think it's also totally valid to question the things he has said, get a little angry over some things and demand a better explanation or conversation around it. Some things he has said *are* infuriating and contributing to an ongoing, harmful conversation about queer issues. That's not Harry's fault by any means (the harmful conversations I mean), but since his words do have a lot of reach, he also has to be aware of what people do with them and how they could potentially contribute to ongoing debates. Sometimes it does cause problems when he's evasive and avoidant on his own label and a lot of it could be solved if he just said it, yeah, and I think it's okay that other people get frustrated by those situations. Personally, I haven't really seen any situations where I would have said that situation has higher priority to Harry's rights of privacy and choosing or not choosing to come out, but I don't know. Maybe I haven't seen all situations either. I think what's important to remember for both sides is: There's a side for whom the situation is more important than Harry's individual experience, and there's a side for whom Harry's individual experience is more important than the collective situation. The underlying issue is not Harry himself, but rather a fundamental difference in politics, societal etiquette and sometimes also morals.

To be 100% honest as a fan of Harry's: Do I like whenever something like this happens and people demand an apology from Harry or try to cancel him? No, in all honesty, my knee-jerk-reaction is to say 'fuck off and leave him alone.' But I don't think that's very fair, so I do hear out a lot of people and read through what they have to say on the topic. Sometimes I agree, sometimes I don't. That doesn't mean that these things should never be allowed to be talked about, even if the voices are wrong, sometimes it really is necessary to have that civil conversation to determine what's 'right' and 'wrong.' (Most of the times there isn't a right and wrong anyways.) Trampling down any voices who dare to speak up 'against' Harry with no rhyme or reason, or even not hearing the person out first needs to stop in this fandom because it's so fucked up. Dismantle the arguments that you *can* dismantle, but you also have to accept that not everyone likes Harry and sometimes he does fucked up shit.

I think both sides could profit from some nuance, and realising what they're actually arguing with. The fandom side is right in advocating for the right of privacy, the right to choose when and how to come out, and the right to do certain things without having to be queer for it. They're also right to defend Harry when the media twists his words or leaves out important context. At the same time, the media is allowed to discuss over how Harry's public appearances and interviews (sometimes negatively) shape the media landscape, how they have negatively contributed to queer conversations, or how they're not sure whether it's still okay for him to do some things without being out. Those two sides don't always necessarily reply to each other, but everyone acts as if they do and it ends up in a huge mess that doesn't actually resolve anything.

Another disconnect that I see happening quite frequently is when the media dares to publish a think-piece on the whole topic and sometimes overly blames Harry for things that aren't actually fully his fault, but rather the fault of how the general public has reacted to it and twisted it. (Think waving a pride flag for example. There's nothing wrong with waving a pride flag, even straight musicians wave them around constantly in a show of allyship and support. But when it comes to Harry, a lot of it has been twisted around so much that I've seen people demand Harry stop doing it and that he's a bad person for waving it around in the first place.) To those think-pieces, fans also swarm and demand it to be taken down because the author didn't do any research and Harry is well in his right to do thing xy. Again, that's not the argument you should have, and you're not doing anyone any favours by having the wrong conversations. You'll only turn in circles and never reach an end.

At the end of the day, I understand how emotional this whole topic can be. Of course I also get angry and frustrated when I see people calling Harry out for being harmful towards the queer community. How can a person who has helped me SO IMMENSELY in my own queer journey be hurting us? That doesn't make sense, does it?

It's a difficult and complex and maybe even harsh truth but: I think every person can do good for one person while simultaneously also hurt others. Two people are never in the same context, and in this particular case, there's two very distinct sides on opposite ends of Harry. For the fandom, his actions do a lot of good because we see a lot of him, we listen to his words that don't reach public media and (most importantly) everything we see of him, we receive in a context of other fans who love him and who get the helpful sides of him. Non-fans receive those bouts of information in a completely different environment, one where people around them get frustrated by it or misinterpret it or have someone else misinterpret his actions to use it specifically and directly against the person. Obviously that sucks and isn't in Harry's control, but I think we should also cut the people some slack who're not on the good side, and they deserve the space to be frustrated just as much as we deserve the space to be grateful and celebrate.

I can't even remember where I was going with this all, but I think the TL;DR truth is: When it comes to this topic, there's no right side and no wrong side. Both sides have fucked up, both sides have good intentions and good arguments, and both sides also talk utter bullshit at other times. And I'm kind of getting tired of it because it's the same circle-arguments just reheated every time something happens or someone publishes an article, all the while there's so many more important conversations we should have on the issue.

[sammysdewysensitiveeyes]

More random Claremont stuff:

I admit, Claremont does some of the same off-panel development that I complain about with Duggan. Like Storm and Jean become fast friends, to the point that Storm loves her like a sister, very quickly. And we mostly don't see it happen on-panel, although we get a lot of them hanging out after the relationship is established. On the other hand, I think Claremont balances the team pretty well. Poor Lorna and Alex get pushed aside, but for the ones that stay, we get a lot of development. Even Banshee gets a lot of attention before Claremont takes him off the team.

Wolverine getting his ass kicked:

Like I said, I appreciate Wolverine so much more when he's allowed to occasionally be humiliated, to fail, to have other characters put him in his place. If he's an asshole, the rest of the team should react to him being an asshole, and they do. Colossus, Storm, Cyclops and Jean all tell him off at various times. At the same time, we see Wolverine grow and develop and show more of his better side, like this scene with Colossus, where Colossus has got a kind of mental block against using his full powers.

Colossus is such a sweet-heart, by the way. He's not really someone I pay a lot of attention to, but early Colossus is just a really kind person who always wants to help, and gets sad when he fails (especially getting tossed around by Magneto). He's also described as "the youngest X-Man" before Kitty joins. Bobby is not there, so I'm not sure how Piotr compares to her, but he's presumably younger than everyone else.

We actually get a few X-Men ages. There's an annual where Nightcrawler turns 21. Jean's tombstone shows that she died at 24, so Cyclops is presumably a similar age. Much later in the mid-90's, Scott will declare that he's 25, so I guess Marvel just completely froze them in time, or else Scott lost Jean, got married, had a baby with his wife, left them both, and sent his baby to the future all in the course of a year. It's okay, we all know most X-Characters aren't allowed to age beyond their mid-to-late 20's.

Scott and Jean at a seedy nightclub looking for a new mutant (who turns out to be Dazzler) is like Brad and Janet in Rocky Horror:

Oh no, that guy has a pierced nose, scandal! Jean of course doing the standard Claremont "I'm disgusted by this but part of me is also attracted to it!" I know it's part of her corruption arc, but Claremont seems to love doing this.

Also Claremont:

"And then Storm gets naked again, because she loves being naked, she is in tune with the elements!"

Also Claremont:

"And then there's an extensive scene of Storm getting a lock-pick out of her head-dress, and we need a close-up of her tongue working it into her mouth!"

This definitely isn't weird or anything:

And of course, there's the whole Jean Grey in lingerie living out a weird colonialist fantasy. It gets really distasteful when Jason casts Storm in the role of a slave, c'mon dude.

Meanwhile, Sebastian Shaw always immediately ready to take his shirt off:

Storm lowers the temperature in a desperate attempt to get Shaw to put his shirt back on, to no avail. He choose to be shirtless and he will REMAIN shirtless!

Despite all this, and the obvious Claremont fetish stuff, I actually think women in these older comics were less sexualized than in the era of Liefeld and later Land. Like, the proportions are idealized, but they are still body proportions I could imagine on an actual, real-life woman. We don't have ridiculous wasp waists and massive balloon tits, and constant sexy poses. Emma is in lingerie for her first appearance, and still feels less sexualized than her later appearances, especially getting into the 90's and 2000's. Storm is basically in a bathing suit with cut-outs, but it covers her entire butt, unlike Psylock's later buttfloss costume. Kitty Pryde actually looks like a thirteen year-old (and yeah, I realize some kids develop faster than others, but she's not drawn in a way meant to be overtly sexy, thank God, because she's thirteen.) Of course, the sexiness is there, it's obviously there with the Hellfire Club stuff and Jean's seduction, but it doesn't feel quite as in-your-face as in some later comics. It doesn't take me completely out of the story like Land art does.

[howiactuallyfelt]

I Watched Barbie, Felt Empowered...& Then The Afterparty Sucked

Well, I watched Barbie Wednesday night with my 2 girlfriends. M is delicate, petite, knows 4+ languages (including Mandarin Chinese which seems like the hardest one to master!). C is sassy, bold, athletic and vibrantly colorful with a mean punch (she boxes literally every single day!). They are both successful, living alone in a high cost of living city, with their own businesses or their own career that affords them real estate. We range in age from early thirties to early forties, but all look about the same age if you glance at us (they are beautiful!).

I provide that very important context to segue into the next part of this post which will be about the fact that we went to a Barbie themed nightclub after the fact and it visually and emotionally took away all the empowerment aspects of the movie that we had just felt. The girls were beautiful (STEREOTYPICAL BARBIE BEAUTIFUL, MIGHT I ADD). They were dressed in skimpy one piece thong bikinis with tights and push up bras, all a perfect teeny tiny body with boobs and big blonde wigs on. The men were dressed as Kens (shorts and a shirt). There were special coconut drinks set up on a table that upon approaching the table, we were quickly notified that the drinks were "for influencers only." WHAT! What. Whaaaat. What has this world come to. The DJs for the night were two itty bitty Asian twins called the Deux twins, wearing high cut bikinis (they were cute, obviously, but could we not just enjoy them for their music instead of sexualizing them too?). Women go-go dancers danced provocatively on the side walls wearing barely-there bathing suits. The men that worked there stood still, demanding respect and space, mean mugging the crowd, meanwhile they got to cover their bodies fully wearing suit and tie outfits in their role as security. In broad daylight I think many of the people we encountered would probably have feigned non judgmental natures, or a false saccharin kindness to hide their true thoughts. Drunk, in a nightclub, you become subjected to the truthful, dark, true opinions people harbor towards each other. Unprompted, a girl that could barely stand up as she passed by me, told me to delete a picture I took of my friend C because she said "Ewww, that photo is so ugly, don't even think about keeping that picture." Wait, aren't females supposed to be on the same team here? What's with the spontaneous woman on woman hate? Later that night, a guy who bought me drinks confessed to me "you have one of the top 5 best personalities I have met in this city, but it's a shame guys won't get to know that because of your bigger exterior. I would go for you, but if I'm being completely honest... I get any girl I set my sights on, and I am going to set my sights on a skinny, healthy, fertile 25 year old girl instead of you, that's just my type." Not sure why he was confused when I decided to leave his company immediately after that statement. "Wow, after I bought you those drinks too?" He muttered angrily as I walked away, completely missing the point of his idiocy.

needless to say I left that night just feeling appalled at the general state of humanity. I have thick skin, so I didn't cry myself to sleep but- it got me thinking...all of these internalize ideals that we outwardly reject in movies and say we don't believe in or judge others against--- are we just in denial? Do we ... or some of us...secretly still harbor these unrealistic westernized ideals for beauty standards as the bar we set other up against? Or do we consider the whole person and their lived experiences equally as much as their exterior like we so often claim to do??

[alicent-vi-britannia]

Kallen and the problems with her mother

Although episode 9 of R1, Refrain, presents us with the first adventures of the Black Knights and the oppressive and painful situation of the Elevens, it is clear that the main conflict is the relationship between Kallen and her mother and this will be the main narrative thread.

In this episode we take a deep dive into Kallen's double life. On the one hand, she escapes from home at night to carry out her clandestine activities in compliance with her duty as a Black Knight. And, on the other hand, she tries to keep her public life afloat as a student at Ashford Academy. But Kallen's difficulties lie not in balancing both sides of her life while she tries to cover up her secrets, but in her private life: her mother works at home while enduring all kinds of humiliation and scorn from the lady of the house and the same Kallen respectively; her brother, the only person she got along with and understood her best, is dead; she's treated badly by her stepmother (come on! She's straight out of fairy tales!) and her father is conspicuous by his absence and none of you will convince me otherwise (Mr. Stadtfeld is no different from Charles zi Britannia and Genbu Kururugi, the series doesn’t leave him well planted as some fickers believe).

But why is Kallen cruel only to her mother and not her father, who is worse for not assuming his parental responsibilities? No, this has nothing to do with the fact that the plans for her father were scrapped, Kallen hints that her relationship with him isn't bad in her conversation with Milly in this episode. Why does Okouchi only focus on working on the relationship with her mother? Well, remember I told you that fathers are role models for men and that is why Suzaku and Lelouch have daddy issues in my other post? I suspect it's the same for women with respect to their mothers: they are models that they embrace, reject, or idealize or demonize (I just thought of Brave, Freaky Fready, and Black Swan, movies that deal with the relationship between mother and daughter, and it seems that they give me the reason). Like Suzaku and Lelouch, Kallen rejects the model that her mother represents.

Kallen values, among many things, rebellion, self-sufficiency, freedom, and independence. Her mother is the antithesis of all that. She is a docile, passive and resigned woman (qualities that Kallen detests with all her soul). Meanwhile, Kallen gets up to fight Britannia, her mother kneeling and bowing her head to Britannia. I'm sure her delicate family situation inspired Kallen to fight. She will have seen the abuse that her mother suffered and decided to make a change (in the same way, her brother was an example for her to follow). After identifying as Japanese (and expressing her sympathy towards an oppressed social sector), she will have thought: "I’m not going to put up with harassment or lead a submissive life like my mother". That's why she claims him for depending on Britannia, a man and drugs. Deep down, Kallen is reproaching Mrs. Kozuki for her inaction.

I also feel that Kallen treats her mother with disdain in order to induce her to leave home because Kallen is aware of the suffering her mother is going through: the vendor scene of hot dogs is an echo of Kallen's mother's situation and Lelouch's words hit her hard (I don't think she refuses to admit that her mother is having a hard time, considering that she knows full well the hardships the Elevens face, since it would be a contradiction on her part, even if she have mistakenly assumed that her mother decided to work as a servant to be with her father). And, of course, Kallen herself literally says it once when she snaps at her mother for her to meddle in her business, when she comments that her daughter has gone to school more often: "please, just go away".

It doesn't help much that Kallen is an Enneatype 8 (according to the Enneagram), since one of the difficulties with people and characters that type of personality faces, if they are average or unhealthy, is that they don't like to feel vulnerable because it makes them uncomfortable. If you notice, when Kallen finds her mother drugged, she scolds her for being "weak" and that's the ideology Britannia is founded on: being weak is wrong and Kallen opposes that (she's also an Enneatype 8 social subtype and is the type of personality most involved in social justice). Therefore, this type of personality tends to protect themselves with a shell and live on the defensive, reacting belligerently to threats because they want to avoid being harmed at all costs (yes, Larry, this problem extends to Lelouch). . Hence Kallen is in utter denial. It's one of the contradictions of the character, but don't get me wrong, it's in a positive way because it shows Kallen's humanity: in the same scene with the hot dog vendor, she slaps Lelouch because he says hot dot vendor can live a better life if he submits to Britannia. Kallen knows that this isn’t true through her mother's experience, so Lelouch's comment is very insensitive to her. Throughout the episode Kallen is telling herself that she doesn't love her mother (and I would add that's why she is cruel to her too). It is her way of saying to herself (and, thus, convincing herself): "this does not affect me", despite the fact that her actions and her micro-expressions indicate the contrary.

By the way, it's almost impossible to tell what Ms. Kozuki's MBTI Type is, but her eneatype is obvious: she is a 9 (or the Peacekeeper). I have no doubts and yes, many tests (enneatype 9 is the complete opposite of eneatype 8, the Challenger, and you want another free fun fact? It’s also the eneatype of Nunnally).

Fortunately, Mrs. Kozuki isn’t a neglectful mother like Genbu or Charles, she loves her daughter, her love isn’t twisted like Marianne's, she is the stereotype of the self-sacrificing mother/woman that Fyodor Dostoevsky likes, and her intentions are made clear in the same episode and our favorite redhead assimilates them, acknowledges her mistake, decides to forgive her mom and reconcile with her (I'm glad Okouchi didn't extend this conflict beyond this episode as it would have been quite annoying and hateful for the viewer to see Kallen cold-shouldering her mother over and over again). So we can conclude that her problem found her solution in communication (like almost all problems). Honestly, I can't blame Mrs. Kozuki for not telling her daughter about her since, putting myself in her shoes, it's easy to think that Kallen would suffer for this choice and not consent to it at all; however, it was necessary to save himself from this horrible misunderstanding.

Personally, I am heartbroken by what Mrs. Kozuki says under the Refrain: "I'm so happy for you, Kallen. Now you can be a British. Now no one can hurt you. You can use the phone and even travel." In short, she enumerates some rights (which are here privileges) that Kallen can enjoy as a Britannian woman, and only at the terrible price of giving up being her mother (I think Kallen, too, may have resented her mother for giving up rights and duties maternal).

I really liked that in episode 9 they show us a photograph of a little Kallen with her brother and her mother and on her face there is a sticker, which anticipated the tense relationship between Kallen and her mother, and when we are in the Code Geass epilogue, we're shown the same photo, but the sticker no longer covers Ms. Kozuki's face (and, sure, her hand makes a cameo and from the brief gesture they exchange, it's a fact that things they are fine with each other).

One of the best episodes of the series and one of the most touching relationships anime has ever built.

PS: I also analyzed at the hot dog vendor scene because I think it's underrated and it's a very powerful scene. I would like to upload it one day here.

[sylviwatches]

5 of the Best Winter Watches for Men in 2023

With every season, the fashion statement changes for both men and women. With the advent of the winter season, summer fashion takes a rest. Winter accessories play a pivotal role in winter fashion. The same goes for the winter watches for men. 

Now did you say that there are watches for men to wear in the winter?

Oh Good God! The answer is a big YES. 

Keep all your worries at a deep rest because I am there to help you out.

What are winter watches?

Trust me there is a great variety of men's watches to wear during the winter season. You just can't select any random watch and wear it during the winter season. I am here to help you to buy the best watch for men that would rock your winter fashion. 

Winter is about wearing warm clothes and keeping you covered. Hence your watch should be such that it is noticeable amidst warm clothes. 

When it comes to buying the best online watch for men in India, Sylvi is the most trusted brand. It has a wide variety of timepieces that would be nothing but perfect for your winter fashion. 

Feel proud to be a part of Sylvi’s customer as it contributes to ‘Make in India’. All the watches are made exclusively in India by the finest craftsmen. And this is the reason that it has 500,000+ happy customers. 

Let’s look into the types of watches appropriate during winter. 

Leather Watches

Stainless Steel Strap Watches

Chronograph Watches

Imperial Collection Watch

1. Sylvi Luxury Black Dial Brown Leather Belt Watch For Men - [Buy Now]

Sylvi luxury analog digital watch for men has a black color dial with a brown belt. It is a water resistant watch comes with an alarm and stopwatch.

As already discussed, winter is all about premium leather watches to adorn your fashion game. Sylvi is the best branded watches for men and I have selected the best leather watch exclusively for you. Nothing beats the charisma of a classic brown leather watch with a black dial. It's like such royalty that can never be beaten.

2. Sylvi Blue Casual Analog Chronograph Man's Watch - 3 Chrono - [Buy Now]

Watch for professionals, this Sylvi Classic Chronograph watch features a classic blue dial and leather strap. It comes with 3 chrono for hh, mm, and ss.

This watch is undoubtedly one of the most beautiful watches from Sylvi. The dial is intrinsically designed with traditional patterns and encrusted with white stones. The dial comes with different shades of blue and Chronograph sub-dials and a blue leather strap. This design is the perfect combination of an Indo-Western look that gives the ultimate touch of royalty. At an attractive discounted price of 729 INR, this is one of the best watches under 1500.

3. Sylvi Imperial Stylish Black Luxurious Daily Wear Men's Watch - [Buy Now]

Sylvi Imperial Black Luxury Fashion Men's Watch With Silver Case Sylvi’s elegant classic men’s timepieces are the ideal synthesis of aesthetically pleasing design and superior technical capabilities. They are perfect for confident, well-off individuals who want to highlight their uniqueness and sophisticated taste.

Mountains never go unnoticed so does the Imperial Collection from Sylvi. Black dial with mountain curves with silver Dauphine style hands that are polished and give a triangle form. It has a date display with a black leather strap. It also has a crown reset button and a deployment clasp and works perfectly with the Japanese Quartz Mechanism.

4. Sylvi Exclusive Working Chronograph Black Steel Belt Watch - [Buy Now]

A stunning chronograph watch with stopwatch feature designed by Sylvi. It has stunning blue dial, black belt and a rose gold case. It also has date display.

This black Chronograph is one of the best sellers from Sylvi. As mentioned above, stainless steel bands are extremely popular during the winter season. This has the most unique combination of the black and blue dial with rose gold hands and rose gold casing. The black stainless steel band is made with premium quality steel and has a Chronograph display.

5. Sylvi Atlantic Blue Premium Style Analog Digital Watch For Men - [Buy Now]

Sylvi Atlantic Blue Premium Style Analog Digital Watch For Men The Atlantic Blue analog-digital watch has a premium feel; also, it looks classy and represents your attitude. Spruce up your appearance with a Sylvi premium style watch and be the man of the moment.

Blue is the ultimate color of luxury and the icing on the cake is a blue stainless steel band. If budget is not your concern, this Analog Digital Watch is one of the best watches under 2000. It comes with a black dial and an Analog Digital rose gold display that looks so classic. It has the feature of an alarm, a stopwatch, and a date display. It is also scratch and water-resistant.

Winter is all about being festive and merry. This is a detailed guide to rocking your winter fashion handpicking exclusive premium watches for men.

So shine high amidst the crowd this festive winter season with the exclusive men’s watches from Sylvi and rock your fashion game!!!

[hannnahlouise]

John Berger Way of Seeing, episode 2 (1972)

John Berger believes that the difference in nakedness and nudity lies in whether or not the subject is aware they are being seen. In a painting depicting the story of Adam and Eve, the pair eat the forbidden fruit and realize they are naked. Upon this realization, they hide from God out of shame for being bare. They go on to use leaves to cover themselves up from each other’s gaze, as well as that of the viewer. The moment Adam and Eve become aware of their nakedness, they become Berger’s definition of nude. They see each other differently, as something to be seen, and cover up as a result. I agree with Berger’s interpretation of these terms, being naked is to be free, while being nude is to be under a magnifying glass.

The Western works of art depicted in the second episode of Ways of Seeing generally show women in a submissive role to men. In the painting sent by the Grand Duke of Florence to the King of France, Venus is having an intimate moment with Cupid. Her body, however, is not facing him. She is facing forward, on full display for the King rather than Cupid himself. She is there solely for him to look at. This idea’s influence has lived hundreds of years beyond this painting. Until around the 1960’s the ideal woman in society was a housewife who was seen and not heard. In American Psycho, a movie set in the late 80’s, Patrick Bateman tells his assistant not to wear pants to work anymore. He tells her he likes heels, a subtle order for her to begin wearing those shoes as well. Bateman is meant to depict the average male working on Wall Street, signifying that the “seen not heard” mentality was still prevalent among the upper class in the 80s, and worth talking about when the movie was made in the year 2000. The significance of the mirror in the paintings Berger talks about has been my favorite part of this special. He talks about how women look in the mirror and see a sight to be looked at rather than just themselves. Male artists paint a nude woman, looking at themselves in a mirror. This image of a woman with a mirror becomes a symbol of vanity. These men judge the women for worrying so much about how they look, while painting them for their own viewing pleasure. He relates the facial expressions of the women in the old European paintings to the ones of women in pornographic magazines. They both give the capturer a face they believe will be alluring for the man who views the final product. I particularly enjoyed the comment the women in the closing discussion made about intentionally seeing yourself in the mirror as opposed to catching a glimpse by chance. She says that when you look with intention, you go to the mirror in a pose, seeing yourself with a projected image in mind. However, when you look without intention you “see yourself as you are,” outside of the image you are trying to maintain. Whenever I see a reflection of myself in a glass storefront, I feel a small shock at my own face. I felt that this woman captured and explained that feeling very well. Persuaded to survey herself continually.

And so she comes to consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman.

She has to survey everything she is and everything she does because how she appears to others, and ultimately how she appears to men, is of crucial importance for what is normally thought of as the success of her life. Her own sense of being in herself is supplanted by a sense of being appreciated as herself by another.

Men survey women before treating them. Consequently how a woman appears to a man can determine how she will be treated. To acquire some control over this process, women must contain it and interiorize it. That part of a woman's self which is the surveyor treats the part which is the surveyed so as to demonstrate to others how her whole self would like to be treated. And this exemplary treatment of herself by herself constitutes her presence. Every woman's presence regulates what is and is not 'permissible' within her presence. Every one of her actions - whatever its direct purpose or motivation - is also read as an indication of how she would like to be treated. If a woman throws a glass on the floor, this is an example of how she treats her own emotion of anger and so of how she would wish it to be treated by others. If a man does the same, his action is only read as an expression of his anger. If a woman makes a good joke this is an example of how she treats the joker in herself and accordingly of how she as a joker-woman would like to be treated by others. Only a man can make a good joke for its own sake.

One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object - and most particularly an object of vision: a sight.

[montgomeryhackett67]

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[safetyshoes13]

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[open-box-arts-blog]

Killing Eve star Jodie Comer claims Broadway as her own in her tour de force performance of Prima Facie, a scalding indictment of the law and its limits opening tonight at the Golden Theatre.

Comer plays Tessa, a young, working class Liverpool woman who has become one of London’s most promising defense lawyers through sheer intelligence and needle-sharp courtroom instincts. Her specialty – perhaps, or perhaps not, foisted upon her by the cynical male superiors who run things in ways Tessa only slowly comprehends – is the defense of men charged with sexual assault.

Tessa’s outwardly compassionate, woman-to-woman cross-examinations of assault victims are no less effective for their sympathetic overtones, perhaps more so. Her probing questions and geiger-counter instincts for finding the hidden bombs that will blow a victim’s story to smithereens make Tessa an invaluable force in the courtroom.

Throughout the early portion of the play, Comer shows us Tessa’s razor skills as she demonstrates the cross-examination techniques (and narrates their finer points simultaneously). We see her take apart a pompous police detective, and a nervous sexual assault victim. Tessa might have fleeting pangs of guilt for the latter, and unbridled glee at dismantling the former, but for the most part she sees her job as just that – a necessary cog in the machinery of justice, with each player in a courtroom’s dramatics assigned a crucial role to make the system play out as fairly as possible. It’s not a perfect system, she knows, but even when it appears horribly unfair, it’s the best we got.

Tessa’s perceptions change, and her well-assembled world crumbles, in a blink. She’s recently become romantically interested in a coworker, a gentle-demeanored fellow attorney. After a shared late night tryst in the office, the two decide to have a proper date, with food and drinks and maybe, or more likely assuredly, a trip back to Tessa’s apartment for more than a nightcap.

Only something begins to go terribly wrong. As they lay in bed, Tessa begins to feel dizzy and queasy, and is soon vomiting in her bathroom. When the coworker carries her back to bed, and despite her protests (she’s feeling gross and ill and suddenly terrified) the man ignores her pleas, pins her down, covers her mouth and violently, painfully rapes her.

Tessa knows from professional experience what will follow, the questions and the insinuations. Unlike the women she has cross-examined, Tessa knows every hidden trap the law has in wait, and yet even she can’t avoid them. Comer recounts this legal horror step-by-step, letting the audience see the withering of self-confidence and increasing panic as days drag into weeks, months and years between the rape and Tessa’s day in court.

Directed with energy and empathy by Justin Martin (The Crown, The Inheritance, the upcoming Stranger Things: The First Shadow), Comer is rarely still – and when she is, there’s purpose behind it – moving office desks and a chair into any number of configurations and uses. (The set is designed by Miriam Buether, as are Tessa’s costumes – mostly lawyerly attire with the sole exception of a garish rose-pink blouse gifted, poignantly, from Tessa’s working-class Liverpool mom.)

When the play (100 minutes, no intermission) enters its latter half and Tessa’s long-in-coming court date arrives, Prima Facie rarely lets us raise our hopes or even, really, challenges our expectations – most of us have been prepared by too many Law & Order: SVUs. The drama is in how Tessa deals with the crumbling of her ideals and the smashing of her self-delusions, and in how Comer can so vividly, indelibly display both.

[pn403journalling]

The text I chose was Unbearable Weight (1993) by Susan Bordo, a feminist research-based book that investigates the relationship between women, food, and the ideal human body. It informs my work well as I'm covering the topic of gender and food, and that includes gendered experiences and relationships to food and how that informs one's identity.

In Unbearable Weight (1993), Bordo mentions that female sexuality is used as a metaphor for food and female hunger, and not the other way around: that it is an "act of eating" itself, with the threat of the (assumedly male) partner being consumed, used and "depleted". As this metaphorical consumption is a threat to both men and the patriarchy, it has to be suppressed or punished.

Bordo mentions how food advertising informs gender roles, using Haagen Dazs's 1989 advertisement [Figure 1] as an example.

(Figure 1: A 1989 Haagen Dazs advertisement of a man diving into chocolate ice cream, advertising their new Deep Chocolate flavours.)

The ad depicts a man diving into a big heap of chocolate-flavoured ice cream with the tagline "If you're afraid of emotional heights... Beware of Haagen Dazs's Deep Chocolate."

In culturally-western advertising, chocolate is seen and marketed as a feminine food, and is advertised as a sinful, soothing yet indulgent treat [Bratskier, K., 2017], to the point that women in the United States tend to crave it more than US men and women in other countries [Zellner, D.A. et al, 2004]. This perception of chocolate usually crosses into erotic subtext, enforced by the language chosen by Haagen Dazs: "intensity", "great pleasure" and "love" are part of the description below, before asking the viewer if they can "handle" and "surrender" to the flavours of their Deep Chocolate ice cream line.

In turn, Bordo argues that women will more likely have personal and emotional experiences with food, both positive (satisfaction and indulgence) and negative (feelings of guilt, avoiding unhealthy foods); food can be a genuine fear for women and this advertisement fully exploits it. However, if this is the case, then why did Haagen Dazs choose a male diver for their advertisement? Bordo argues that this degree of separation is needed to hide the reminder of how unhealthy, "indulgent" food is an object of fear and avoidance for women, yet still allowing the female viewer to project onto the male model without guilt. I also think that the male diver makes the advert less hedonistic to the target female viewer: as the male appetite is expected to be large and relentless, a man is expected to eat and indulge without guilt or hesitation. [Bratskier, K., 2017]

Bibliography:

Bratskeir, K. (2017) This is why women crave cake, men want steak, HuffPost UK. Available at: https://www.huffingtonpost.co.uk/entry/chocolate-craving-pms-men-vegetables_n_6102714 (Accessed: 25th March 2023)

Zellner, D.A. et al. (2004) “Chocolate craving and the menstrual cycle,” Appetite, 42(1), pp. 119–121. Available at: https://doi.org/10.1016/j.appet.2003.11.004.

Bordo, S. (1993) Unbearable Weight: Feminism, Western Culture and the Body. USA: University of California Press. [pp. 108-109]

Images:

[Figure 1] SlantedEnchanted (2016) Häagen Dazs ice cream subliminal ad 1989, Flickr. Available at: https://www.flickr.com/photos/slantedenchanted/29305012531 (Accessed: 28th March 2023).

[aditya-24]

Is hotel management the best course for girls?-LCHM

Hotel Management is a rapidly growing field in the hospitality industry, providing exciting and challenging career opportunities for individuals interested in serving others with passion and creativity. With the rise in demand for skilled and professional hoteliers in the industry, many institutes have started offering courses in Hotel Management, including Lakshay College of Hotel Management. In this article, we will explore the reasons why Hotel Management is an excellent course for girls, with a particular focus on the Lakshay College of Hotel Management.

Hospitality is a vast and diverse field that offers endless opportunities for professionals who are passionate about serving others. Hotel Management is a course that focuses on the various aspects of hospitality, such as hotel operations, food and beverage management, housekeeping, event management, and many others. These skills are essential for managing the day-to-day operations of a hotel, restaurant, or any other hospitality establishment. The course covers a wide range of topics, including customer service, marketing, finance, human resource management, and leadership skills. All of these skills are critical for success in the hospitality industry.

Lakshay College of Hotel Management is one of the leading institutes in India that offers Best Hotel Management Institute In Delhi NCR a comprehensive course in Hotel Management. The institute has state-of-the-art infrastructure, experienced faculty members, and a robust curriculum that prepares students for the challenges of the industry. The college has a strong emphasis on practical training and offers opportunities for students to work in hotels, restaurants, and other hospitality establishments as part of their course.

Now, coming to the question of whether Hotel Management is the best course for girls. The answer is a resounding yes! The hospitality industry is one of the few industries that provide equal opportunities for men and women. Girls who pursue a career in Hotel Management can expect to work in various roles, including front desk operations, food and beverage management, housekeeping, sales and marketing, event management, and many others. Moreover, women are known for their natural hospitality skills, which make them an excellent fit for this field. Therefore, Hotel Management is an ideal course for girls who are interested in a career that offers creativity, flexibility, and growth.

Apart from providing equal opportunities for both men and women, Hotel Management is also a lucrative career option. The hospitality industry is growing rapidly, and there is an increasing demand for skilled professionals who can manage the operations of hotels, restaurants, and other establishments. According to a report by the National Restaurant Association of India, the hospitality industry is expected to generate employment for around 70 million people by 2022. This means that there will be plenty of job opportunities for girls who complete their course in Hotel Management from institutes like Lakshay College of Hotel Management.

In conclusion, Hotel Management is an excellent course for girls who are looking for a career that offers growth, creativity, and equal opportunities. Lakshay College of Hotel Management provides a comprehensive course that prepares students for the challenges of the industry. Girls who complete their course in Hotel Management can expect to work in various roles in the hospitality industry, Best Hotel Management Institute In Delhi NCR which is growing rapidly and offers a range of exciting career opportunities. Therefore, if you are a girl who is interested in pursuing a career in the hospitality industry, Hotel Management is the course for you, and Lakshay College of Hotel Management is the institute to choose.

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