Setting ambitious goals can improve outcomes, but aiming unrealistically high may ultimately reduce the chances of success, according to researchers whose mathematical model examines the relationship between aspiration and achievement.

The findings contribute to a long-running debate about whether individuals should pursue the most ambitious targets possible or calibrate expectations more carefully to match realistic opportunities. While the research lends support to aspects of conventional self-improvement advice, its authors caution against interpreting the results as a formula for life decisions.

The study explored how people make choices when pursuing uncertain opportunities and found that outcomes are often strongest when ambitions are high but remain grounded in realistic assessments of what is actually attainable. Excessively ambitious targets can lead individuals to overlook achievable opportunities while waiting for outcomes that may never materialize.

The researchers noted that the model offers a simplified representation of decision-making and cannot capture the full complexity of human relationships, careers or personal aspirations. As a result, they argue that the findings should be viewed as a framework for thinking about decisions rather than a universal strategy.

“I hesitate to quantify relationships in that way,” said researcher Landgren, acknowledging the limits of applying mathematical models to deeply personal choices.The study also raises questions about the influence of social comparison on ambition.

Researchers suggested that people frequently judge potential opportunities against highly visible success stories rather than against the broader range of realistic possibilities available to them. In an era shaped by social media, this tendency may encourage expectations that are disconnected from typical outcomes.

Rather than focusing on exceptional cases, the findings suggest individuals may benefit from evaluating opportunities based on a more representative view of what is realistically achievable.The conclusions stand in contrast to some traditional motivational advice that encourages people to pursue the most ambitious goals imaginable.

One of the most widely cited examples comes from the late Norman Vincent Peale, the American clergyman known for promoting positive thinking, who urged people to “shoot for the moon,” arguing that even failure could still lead to impressive results.Landgren suggested a more measured interpretation.”I would say aim a little lower than the moon,” he said.

“Shoot for the stars, but make sure that the stars you’re seeing are what’s really out there.”The research has attracted attention from scholars studying decision-making and motivation. Peter Ayton, director of the Centre for Decision Research at Leeds University Business School, described the work as offering valuable insight into the balance between aspiration and achievement.

While noting that the authors acknowledge the simplifications inherent in the model, Ayton said the findings provide a useful perspective on how people set goals and evaluate opportunities.”Our ambitions can be very subtly and capriciously influenced,” he said.Ayton pointed to previous research illustrating the impact of goal-setting on performance.

One study involving runners in U.S. marathons found that participants who were simply asked to state a goal before a race performed better than those who were not asked to do so.According to the study, the improvement was equivalent to approximately a 13.5% increase in training volume or the performance advantage associated with being nine years younger during a marathon event.

The findings add to a broader body of research suggesting that clearly defined goals can influence behaviour, persistence and performance. Psychologists have long argued that goals help direct attention, sustain effort and create benchmarks against which progress can be measured.At the same time, researchers continue to debate how ambitious those goals should be.

Targets that are too modest may fail to inspire effort, while goals perceived as unattainable can discourage persistence and increase the likelihood of disappointment.The latest research suggests that the most effective approach may lie between those extremes.

Ambition appears to be most productive when it encourages individuals to stretch their capabilities without losing sight of realistic possibilities.

For decision-makers navigating careers, education, relationships or other life choices, the study offers a reminder that success may depend not only on aiming high but also on accurately understanding the opportunities that genuinely exist.

A London-based performer known by the stage persona Midgitte Bardot is using drag, writing and live performance to examine social attitudes toward dwarfism, gender identity and public scrutiny, drawing on personal experience to inform their work on prominent cultural stages.

The artist, who identifies as a non-binary trans drag performer with dwarfism, has gained recognition for combining provocative performance with autobiographical storytelling.

Appearing in fishnets and theatrical costume as Midgitte Bardot, they have developed a reputation for performances that challenge audience expectations and address issues of identity, representation and social perception.

Their work gained wider attention through participation in Sound of the Underground, a queer cabaret revue created by Travis Alabanza. In one performance, the artist delivered a blues-rock number while elevated on stage equipment, incorporating visual and thematic elements that drew a strong audience response at the Royal Court Theatre.

The performer has since returned to the stage with a new production, Shooting From Below, presented at the Southbank Centre. The show marks their first major appearance following spinal surgery undertaken after a condition that risked paralysis.

According to the performer, spinal complications are relatively common among individuals with dwarfism, and their own condition involves curvature in the lower spine.

The production centres on a fictional narrative in which the stage character addresses an audience directly, framing the performance around themes of historical marginalisation and contemporary objectification.

The performer cites examples, including accounts of individuals with dwarfism being treated as novelty figures in social settings, to illustrate ongoing patterns of exclusion and commodification.In interviews, the artist has described frequent public interactions that they say reflect intrusive curiosity and harassment.

They report being stared at, filmed without consent and subjected to personal questions in public spaces, including inquiries about their body, family background and personal relationships. Such encounters, they say, occur regularly in everyday settings such as streets and public transport.

The performer notes that these experiences have shaped both their artistic direction and personal outlook. While they emphasise that such behaviour does not represent the majority of interactions, they argue that it reflects broader social attitudes toward visible difference.

They also describe concerns about being followed after initiating casual conversations in public, which they say has influenced how they navigate social situations.Their work engages with historical representations of dwarfism in entertainment, which they describe as marked by exploitation and limited roles.

They reference examples from film and popular culture in which individuals with dwarfism have been depicted as symbolic or comedic figures, often reinforcing stereotypes. According to the performer, opportunities in the arts sector can be accessible but frequently involve forms of representation that they consider reductive.

The performer also references historical accounts, including the case of a family of performers with dwarfism who survived detention during the Holocaust after being selected for medical experimentation by Nazi physician Joseph Mengele.

They cite this example to illustrate what they describe as a contradictory dynamic in which individuals with dwarfism have been both marginalised and subjected to intense scrutiny.Midgitte Bardot, as a stage persona, is intended to challenge these dynamics by reclaiming language and reframing identity through performance.

The artist says the name deliberately references a historically derogatory term, recontextualised to assert control over its meaning. Through humour and narrative, the performances incorporate personal experiences, including instances of rejection and discrimination, into structured theatrical material.

The artist describes their approach as rooted in self-acceptance and visibility. They say their earlier life was shaped by attempts to conform, but that their current work reflects a conscious decision to foreground difference as a central element of their identity.

They also link this perspective to their understanding of gender, noting that their experiences have informed their identification as non-binary.Born in Gloucester and raised in Cheltenham, the performer recalls early experiences of being perceived as different from peers, which led them to begin writing at a young age.

They continued to develop this practice academically, studying creative writing at Liverpool John Moores University, where they graduated with top honours.During their university years, they began participating in literary and performance events, including hosting open mic nights.

Their transition into drag performance followed encouragement from peers, including a fellow performer known as Auntie Climax. The Midgitte Bardot persona gained local recognition in Liverpool, leading the artist to relocate to London in 2021 to pursue broader opportunities within the performance circuit.

The performer says their understanding of gender identity evolved alongside their work in drag. They describe observing differences in how they and others were perceived in public, particularly in relation to attention and scrutiny, which contributed to their self-identification as non-binary trans.

They also emphasise the importance of directly addressing harassment, rather than ignoring it. According to the performer, confronting such behaviour can deter repeat incidents and challenge assumptions about vulnerability.

They argue that advising individuals with dwarfism to avoid confrontation may reinforce perceptions of weakness.Looking ahead, the performer says they hope their current production will resonate with other individuals with dwarfism and contribute to the development of a more supportive community.

They note that their experiences performing in major venues are often marked by isolation, as they are frequently the only person with their physical characteristics on stage.

Their work continues to explore how visibility, performance and narrative can be used to address social attitudes, with a focus on expanding representation and creating space for more diverse perspectives within the arts.