Amid growing concerns among younger generations about housing affordability, economic insecurity, social relationships and climate change, one writer argues that disengagement is neither a practical solution nor an effective form of self-preservation.

Addressing readers grappling with uncertainty about their future, the author contends that meaningful relief comes not from avoiding difficult realities but from engaging with them collectively. Rather than retreating from social, economic or environmental challenges, the piece advocates confronting them through community involvement, activism and shared action.

The argument centers on the idea that individuals often experience a sense of helplessness when facing large-scale problems alone. Concerns about declining home ownership opportunities, changing relationship dynamics, workplace pressures and environmental risks can appear overwhelming when viewed solely through a personal lens.

According to the author, participation in groups that analyze, discuss and address such issues can provide a different experience. Working alongside others who share similar concerns may not eliminate the underlying problems, but it can reduce feelings of isolation and create a stronger sense of agency.

The article challenges common advice that encourages people to avoid distressing topics or focus exclusively on circumstances within their immediate control. Instead, the writer suggests that expanding the scope of what individuals attempt to influence can be both psychologically and socially beneficial.

Drawing a parallel with task management, the piece argues that taking action often produces a greater sense of confidence than avoidance. While acknowledging that engagement does not guarantee success or immediate emotional rewards, the author maintains that participation itself can foster resilience and purpose.Housing affordability serves as one example.

The writer notes that younger people may not achieve milestones traditionally associated with economic stability, such as home ownership. However, the article argues that involvement in broader efforts to address housing, labor or social issues can provide a sense of connection and awareness that offsets some of the frustration associated with those challenges.

The same reasoning is applied to personal relationships. Rather than accepting situations in which companionship comes at the expense of self-respect, the author suggests that solidarity with others who share similar experiences can offer validation and support.

To reinforce the argument, the article references the American philosopher John Dewey, who argued that the solution to shortcomings in democratic systems is greater democratic participation. Adapting that principle, the writer proposes that the response to struggle is often deeper engagement rather than withdrawal.

The article does not portray activism or civic engagement as emotionally easy. It acknowledges what it describes as a “despair tax” associated with seriously confronting major societal problems. Increased awareness of inequality, political dysfunction or environmental threats can intensify feelings of anxiety and frustration, particularly among younger people who expect to live with the consequences for decades.

At the same time, the writer cautions against assuming a direct relationship between effort and emotional well-being. Greater involvement in difficult issues does not necessarily produce immediate satisfaction or optimism. Campaigns can fail, reforms can stall, and progress can be slow.

Nevertheless, the piece argues that insulating oneself from reality carries its own costs. Avoiding difficult subjects may temporarily reduce discomfort, but it does little to address the underlying conditions that generate concern. The author rejects the notion that people must choose between protecting their mental well-being and remaining informed about major social issues.

Instead, the article presents engagement as a form of self-care rooted in participation rather than avoidance. By joining others in examining problems and pursuing solutions, individuals may find a greater sense of purpose and connection even when outcomes remain uncertain.

The central message is that meaningful relief is more likely to emerge from collective action and sustained involvement than from disengagement.

While acknowledging the emotional burden associated with confronting major societal challenges, the author argues that facing those challenges directly offers a more durable response than attempting to ignore them.

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.