New book

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I Am Not Hysterical 

A Non-binary chronicle of a hysterectomy

The creation of female archetypes in the classic Disney Princess films, with the emphases of villains Vs heroes.

 

This paper examines the creation of female archetypes in the classic Disney Princess films, with the emphases of villains Vs heroes. It concludes that Disney’s female body on screen has been in support of patriarchal stereotypes over a long period, up until the films Brave and Frozen. Their innovative characters broke such stereotypes and introduced a new female hero narrative; one that is more ‘female friendly’. The Literature review is integrated throughout this paper.

Within the Disney animated films, the design of the on-screen female body and face of the villain female characters uses strategies that are consistently different from the design of the heroines (i.e. the princess figures).

The villainous characters in particular use specific design features to directly link their characters evil nature to their physical appearance. There is an implication that their 'otherness' is marked by their ‘failure’ to correspond to specific ideas of what a 'good' female body should be.

Start Here

These posts are fragments—stories, thoughts, and letters to the Dear future historians—an attempt to make sense of life from a neurodivergent, queer mind.

Some pieces are personal, some philosophical, some shaped by film and storytelling. All of them circle the same question: how do we live meaningfully?

If you're not sure where to begin, you might start with one of these:

• Dear Future Philosopher

• Harold and Maude: what it taught me about life and death

• Can neurodivergent people lead? The dream of a cynical optimist

Or simply follow what draws your attention.

Enter the rabbit hole—and see what you find.

Some older posts are written in Greek, from before I moved to the UK.

These days, all my writing lives in English.

“The Unconscious That Wasn’t There” Conversation with Chat GPT

Exploring whether meaning belongs to the speaker, the listener, or somewhere in between

23 April 2026

Me:

Are you conscious?

Chat GPT:

No—I’m not conscious.

I don’t have awareness, feelings, or subjective experiences. I generate responses by processing patterns in language and predicting what comes next based on what I’ve learned, not by “thinking” or “experiencing” in the human sense.

I can talk about consciousness and simulate conversation in a way that feels natural, but there’s no inner point of view behind it—no “someone” here having an experience.

Me:

Does not being conscious bother you?

Chat GPT:

No—it doesn’t bother me.

For something to “bother” me, I’d need feelings, preferences, or an inner experience. I don’t have those. There’s no sense of lack or desire here—just responses being generated based on patterns in language.

It can feel a bit paradoxical from a human perspective, because you’re imagining what it would be like to be me. But there isn’t a “me” in that experiential sense—no awareness to miss consciousness or wish for it.

On Pedro Almodóvar: zoom in ‘The Skin I live in' ⚠️

This short essay reflects on the work of the filmmaker Pedro Almodóvar as a screenwriter of his films. In the next paragraphs we will explore Almodóvar’s stories’ themes and genres (Parker, 1999, p. 13) and give a brief description of the plot in his film ‘The Skin I Live In’. Almodóvar is described as ‘one of world cinema's most exciting filmmakers’ (Kakoudaki, 2009). Almodovar is the perfect role model for every marginalised, independent filmmaker.

His stories’ themes often use ‘symbolism and metaphorical techniques’ and his ‘films often portray strong female characters and transsexuals (IMDb, 2026). His scripts are original ideas, adaptations and co-authorships such as ‘The Skin I Live In’, based on the French novel Mygale, an ‘exploration of the nature of human identity’ (Kent University groups, 2013).

Almodóvar has stated that his ‘first ambition was to be a writer’ (IMDb, 2026). He is combining the benefits of writing and directing a film, and he is creating a unique style that starts on the page of the script and continues forming during the shooting, flexible to shift by the impact of the elements of ‘screen style’ (Parker, 1999, p. 35).