Iconic Mean Girls Quotes

Have you met Diana?” Theo said. “Diana, this is my father, Michael Santos. The savior of Keralis Labs. He’s quite the strategist, but not what I would call a lot of fun.” Michael ignored him and offered Diana his hand. “A pleasure. Are you one of Alia’s friends from Bennett? She’s usually with that pudgy little Indian girl.” “I’m not sure who you mean,” said Diana, feeling her anger prickle. “I’ve only met her friend Nim, the brilliant designer.

Take a look at the bridge of “Mean” by Taylor Swift: “Someday I’ll be big enough so you can’t hit me” says it all. Becoming something so supermassive that you transcend your self, your human form, and metamorphose into a larger being: a billboard, an icon, a thing that’s representative of a groupthink, a collection of a generation’s conscious thoughts—that’s the goal, right? One can harm a person, but one cannot harm an idea.

I think we all need to learn to like ourselves-just the way we are. And if there are moderate ways to improve our looks and if we're doing it for the right reasons (not to impress our friends!), then maybe it's just fine. Beauty is very subjective-meaning that it all depends on your personal taste. I think that's why God made us all different. So instead of turning ourselves into cookie-cutter images of the latest fashion icon, why not take a moment to enjoy our differences?

The well-known saying of Blessed Augustine: “Love, and do what you will,” really means: “Love God, and do what you will.” This could be a good motto for teenagers and those who are trying to guide them on a Christian path. The love of God is a safeguard, a guarantee of repentance, whatever transgressions we may commit. A child who loves God is safer than a child who is restricted to the point where he rebels against God. A girl asked a Christian adult once how she should dance, and the adult answered, “Dance in a such a way that you enjoy yourself; but enjoy yourself in such a way that when you come home to your room, you can face the icon of the Lord and thank Him—not so that you come home and feel ashamed to look upon His face.

PICTURE A CREAM-COLORED couch. Now visualize one brooding dark-haired sex machine (I’m assuming, but I have a strong feeling about this) sitting on one end and one golden being of near perfection on the other. Then there’s me, in the middle, literally squished between two yummy smelling men, and…I just want to escape. The pizzas have been demolished (I ate half of one myself) and now an awkward silence has descended. It doesn't help that I keep thinking of pornos and threesomes. I am honestly waiting for corny seventies music to start. I was here first. I don’t feel like I should have to be the one to move. But I’m awfully uncomfortable. There are other places to sit in the room; a recliner even. Ya know, super comfy, so comfy you can recline. So one of them could move to that. I almost think they’re enjoying this. Like, they’re having fun at my expense because they know I think they’re hot. Why did I blurt that out? “So, what’s with the name Kennedy?” Blake wonders in his deep timbre that doesn’t really sound like Graham’s, but reminds me of him all the same. I turn my head to the right, careful not to move any other body part, and meet his challenging gray eyes. He’s, like, two inches away. So close I can see green flecks in his eyes. I think he’s a little too amused by my predicament, if the upward curve of his mouth is anything to go by. One inky black eyebrow lifts as he waits. “It’s my name.” I raise a single eyebrow back. I can do that too, the look says. His smile deepens. “Yeah, but, what were your parents thinking? Kennedy? For a girl? And technically it’s a last name.” My eyes narrow. Oh, so it’s to be like that, is it? “So is Blake,” I retort and give myself an imaginary pat on the back. “And Graham,” I add triumphantly. “Leave me out of this,” Graham states from my left... “Did your parents have a thing for the Kennedys?” Two eyebrows go up this time. I get my mental pistols ready—it’s obvious there’s going to be a showdown. I straighten my spine. “What do you mean by a thing?” My, totally in this moment one hundred and forty-nine percent resented, roommate groans. He shrugs one broad shoulder. “You know. An infatuation. An unhealthy obsession. Fanaticism. A thing.” “You really shouldn’t have started this,” Graham intercedes, leaning around me to give his brother a look. My face is on fire and my hands are in tight fists in my lap. I stare at the television, which is on and no one’s paying attention to, and say very softly, “I’ll have you know, the Kennedys were, and are, an iconic family. I feel it an honor to be named after them.” Blake grunts. “Do you deny it?” I ask the TV. “Nope. I just wondered about your family.” I jerk my head around and give him a look full of venom. “We will not discuss my family.” He holds his hands up in surrender, but there's a gleam in his eyes. What is wrong with this guy? “Easy there, Ken.” I growl. Graham sighs beside me. “Don’t call me that,” I state through gritted teeth. He looks over the top of my head. “Touchy, isn’t she?” Graham’s head slumps against the back of the couch. “So, Blake,” I begin in a sweet voice, “what’s up with you and red?” I go still, holding my breath. Did I really just say that? That was so not nice. I wait with anticipation and dread. Graham stops moving on the other side of the couch. Blake stares at me, his lips parted. Then he looks at his brother. “What’s she talking about?” My about to be annihilated roomie makes a sound of dismay. I twist around to glare at him. He looks like a young boy who just had his hand caught in the cookie jar; guilty and disappointed that his fun has been halted. “Don’t say the word red, huh?” I jump to my feet and back away until both men are within my line of vision. “You know what?” They both look at me, obviously not knowing what. “This means war!

Culture is a vehicle for true self-expression. The flowering of individual creativity takes place in the context of culture. When a child becomes peer-oriented, the transmission lines of civilization are downed. The new models to emulate are other children or peer groups or the latest pop icons. Appearance, attitudes, dress, and demeanor all adapt accordingly. Even children's language changes — more impoverished, less articulate about their observations and experience, less expressive of meaning and nuance. Peer-oriented children are not devoid of culture, but the culture they are enrolled in is generated by their peer orientation. Although this culture is broadcast through media controlled by adults, it is the children and youth whose tastes and preferences it must satisfy. They, the young, wield the spending power that determines the profits of the culture industry — even if it is the parents’ incomes that are being disposed of in the process. Advertisers know subtly well how to exploit the power of peer imitation as they make their pitch to ever-younger groups of customers via the mass electronic media. In this way, it is our youth who dictate hairstyles and fashion, youth to whom music must appeal, youth who primarily drive the box office. Youth determine the cultural icons of our age. The adults who cater to the expectations of peer-oriented youth may control the market and profit from it, but as agents of cultural transmission they are simply pandering to the debased cultural tastes of children disconnected from healthy adult contact. Peer culture arises from children and evolves with them as they age. Peer orientation breeds aggression and an unhealthy, precocious sexuality. The result is the aggressively hostile and hypersexualized youth culture, propagated by the mass media, to which children are already exposed by early adolescence. Today's rock videos shock even adults who themselves grew up under the influence of the “sexual revolution.” As the onset of peer-orientation emerges earlier and earlier, so does the culture it creates. The butt-shaking and belly-button-baring Spice Girls pop phenomenon of the late 1990s, as of this writing a rapidly fading memory, seems in retrospect a nostalgically innocent cultural expression compared with the pornographically eroticized pop idols served up to today's preadolescents.

For nearly two centuries, everyone but trans women have monopolized the meaning of trans femininity. Fearful of interdependence, many have tried to violently wish trans femininity away. The non-trans woman has become gender critical, willing to dispose of her trans sister to secure her claim on womanhood. The gay man celebrates queens as iconic but separates himself anxiously from faggotry’s intimacy with trans femininity, claiming he is only on the side of sexuality, not gender. The straight man acts out in violence to disavow his desire for the girls he watches in porn, the girls he cheats on his wife with, and the girls from whom he buys sex. The state has used trans femininity most of all to generate the pretense it needs to expand its sovereignty as a monopoly on violence. And even queer and trans people, whether as cultural producers, activists, or scholars, have used the symbolic value of trans femininity to guarantee their political authenticity. But this is only to tell half of the story. The anxious and angry rejection of everyone’s interdependence with trans women is an attempt to refuse a social debt accrued, to refuse the power trans femininity holds.