This past Sunday was supposed to be just like any other day at church—quiet, reflective, and full of reverence. However, something caught my eye during the service that I simply couldn’t ignore: a woman sitting near the front pew with bright pink hair. I was stunned. I know we live in a time where self-expression is celebrated, but I can’t help feeling like this was completely out of place in a sacred space like church. To me, church has always been about modesty and respect, not making bold fashion statements.
I tried to focus on the sermon, but the vibrant color of her hair kept pulling my attention. It wasn’t just a subtle pastel pink—it was bold, neon, the kind that makes you do a double-take. I grew up in a time where people dressed modestly for church, where muted tones and simplicity were signs of respect. Is it wrong that I feel like pink hair, especially that loud, is disrespectful in a place of worship?
After the service ended, I saw the woman standing outside, chatting with some people. I hesitated for a moment, wondering if I should say something, but my curiosity—and concern—got the better of me. I approached her with every intention of being polite.
“Excuse me,” I started cautiously, “I couldn’t help but notice your hair. I just wanted to share that I feel like such bright colors might not be appropriate for church.”
Her eyes widened, and for a brief moment, I thought she would apologize or at least explain. Instead, her response shocked me.
“Well, I don’t think it’s any of your business,” she replied sharply, with a slight smile that didn’t seem friendly. “I come to church to pray, not to be judged for how I look.”
I was completely taken aback. I hadn’t expected such a curt reaction. My intention wasn’t to offend her, but simply to express my feelings on what I thought was an important matter of respect for the church. However, her words left me feeling conflicted. Had I overstepped?
Now, I’m really struggling with this situation. I’ve always believed that there should be certain standards when it comes to how we present ourselves in church. It’s not about suppressing individuality, but about showing respect for a space that many of us hold sacred.
Was I wrong for speaking up? Maybe I’m just being old-fashioned, but it feels like we’re losing a sense of reverence for tradition and sacred spaces. Am I the only one who feels this way? Has anyone else experienced something similar in their church?
I’d really love to hear your thoughts on this. Do you think I was out of line, or is there still room for certain standards when it comes to respect in church?
Child star Mara Wilson, 37, left Hollywood after ‘Matilda’ as she was ‘not cute anymore’
In the early 1990s, the world fell in love with the adorable Mara Wilson, the child actor known for playing the precocious little girl in family classics like Mrs. Doubtfire and Miracle on 34th Street.
The young star, who turned 37 on July 24, seemed poised for success but as she grew older, she stopped being “cute” and disappeared from the big screen.
“Hollywood was burned out on me,” she says, adding that “if you’re not cute anymore, if you’re not beautiful, then you are worthless.
In 1993, five-year-old Mara Wilson stole the hearts of millions of fans when she starred as Robin Williams’ youngest child in Mrs. Doubtfire.
The California-born star had previously appeared in commercials when she received the invitation to star in one of the biggest-grossing comedies in Hollywood history.
“My parents were proud, but they kept me grounded. If I ever said something like, ‘I’m the greatest!’ my mother would remind me, ‘You’re just an actor. You’re just a kid,’” Wilson, now 37, said.
After her big screen debut, she won the role of Susan Walker – the same role played by Natalie Wood in 1947 – in 1994’s Miracle on 34th Street.
In an essay for the Guardian, Wilson writes of her audition, “I read my lines for the production team and told them I didn’t believe in Santa Claus.” Referencing the Oscar-winning actor who played her mom in Mrs. Doubtfire, she continues, “but I did believe in the tooth fairy and had named mine after Sally Field.”
‘Most unhappy’
Next, Wilson played the magical girl in 1996’s Matilda, starring alongside Danny DeVito and his real-life wife Rhea Perlman.
It was also the same year her mother, Suzie, lost her battle with breast cancer.
“I didn’t really know who I was…There was who I was before that, and who I was after that. She was like this omnipresent thing in my life,” Wilson says of the deep grief she experienced after losing her mother. She adds, “I found it kind of overwhelming. Most of the time, I just wanted to be a normal kid, especially after my mother died.”
The young girl was exhausted and when she was “very famous,” she says she “was the most unhappy.”
When she was 11, she begrudgingly played her last major role in the 2000 fantasy adventure film Thomas and the Magic Railroad. “The characters were too young. At 11, I had a visceral reaction to [the] script…Ugh, I thought. How cute,” she tells the Guardian.
‘Burned out’
But her exit from Hollywood wasn’t only her decision.
As a young teenager, the roles weren’t coming in for Wilson, who was going through puberty and outgrowing the “cute.”
She was “just another weird, nerdy, loud girl with bad teeth and bad hair, whose bra strap was always showing.”
“At 13, no one had called me cute or mentioned the way I looked in years, at least not in a positive way,” she says.
Wilson was forced to deal with the pressures of fame and the challenges of transitioning to adulthood in the public eye. Her changing image had a profound effect on her.
“I had this Hollywood idea that if you’re not cute anymore, if you’re not beautiful, then you are worthless. Because I directly tied that to the demise of my career. Even though I was sort of burned out on it, and Hollywood was burned out on me, it still doesn’t feel good to be rejected.”
Mara as the writer
Wilson, now a writer, authored her first book “Where Am I Now? True Stories of Girlhood and Accidental Fame,” in 2016.
The book discusses “everything from what she learned about sex on the set of Melrose Place, to discovering in adolescence that she was no longer ‘cute’ enough for Hollywood, these essays chart her journey from accidental fame to relative (but happy) obscurity.”
She also wrote “Good Girls Don’t” a memoir that examines her life as a child actor living up to expectations.
“Being cute just made me miserable,” she writes in her essay for the Guardian. “I had always thought it would be me giving up acting, not the other way around.”
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