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Bourgeois Bohemian
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The Bourgeois Bohemian (or "BoBo") is what the Hipster or Granola Girl often turns into once they've hit middle age and joined the management team, or what the New-Age Retro Hippie might have become had they not dropped out. The defining trait of Bourgeois Bohemians is that, while they belong comfortably to the upper or upper-middle class in socioeconomic terms, their tastes and values are often inherited from the counterculture and New Left movements of The '60s. Expect for them to have very open attitudes towards religion and spirituality (or the lack thereof), sexuality (free love, LGBT+), and recreational drug use, and to champion liberal or progressive causes (such as saving the rainforest or protecting endangered species in remote places). They are avid consumers of culture, particularly from left-of-center, state-owned or funded media — e.g. PBS (Public Broadcasting Service, USA), NPR (National Public Radio, USA), CBC (Canadian Broadcasting Corporation), The BBC (British Broadcasting Corporation), and The ABC (Australian Broadcasting Corporation). They love organic, locally sourced, hand-crafted, and artisanal products but will also often buy expensive high-end tools, appliances and gear to pursue their hobbies. Typically disdaining conventional suburban tract housing, their home might be a unique mansion in an affluent old neighborhood or a swanky condo right in the heart of the big city, but it's always decked out in exotic handcrafted decorations and art from around the world, often from their globe-trotting trips. Unsympathetic examples of the trope will often be portrayed as being hypocritical about their wealth, criticizing other wealthy elites while sharing much of their income bracket and lifestyle, including carbon dioxide-producing air travel to far-off countries. Sympathetic portrayals will usually suggest that progressive principles and wealth aren't incompatible, and may, in fact, invoke such ideals as the "Gospel of wealth" or noblesse oblige as a justification for it. They may even be portrayed as a Cool Old Guy or Cool Old Lady. The trope originated in the 1890s as an insulting depiction of well-off city dwellers. The trope emerged among Socialists rather than the nationalists, with Populists in the United States and Labourites in Britain using it to mock their more bourgeois liberal/socialist counterparts. The term changed a bit over the 1900s. These people have also been called "champagne socialists" in the U.K., "gauche caviar" in France, and "limousine liberals" or "latte liberals" in the U.S. Anti-liberal and anti-socialist nationalists and conservatives began to co-opt it in the mid-20th century. The term itself, however, comes from the 2000 book Bobos in Paradise by the conservative New York Times columnist David Brooks. Brooks identified Bourgeois Bohemians — "bobos" for short — as Baby Boomers like himself who had grown up with the individualistic, do-it-yourself ethos of the 1960s counterculture, but now found themselves in The '90s as well-off, middle-aged professionals, often in creative or technology industries. Often someone's Hippie Parents, and often Self-Made Man and Nouveau Riche, having earned their comfortable living after a poor and rebellious youth. A bobo could also be a yuppie if the young urban professional is politically left-leaning. See also: The Man Is Sticking It to the Man, Rich Kid Turned Social Activist, Rule-Abiding Rebel, Fox News Liberal, Upper-Class Twit, and Girlboss Feminist. If the aging character becomes conservative rather than retains their counterculture values, they're a Former Teen Rebel. Cool People Rebel Against Authority may motivate young Hipster Bobos. This has nothing to do with the upper-middle-class citizens of a region in the Czech Republic. |
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In The Island, India is an example of this, although her sister Birdie is much more conservative. India is the widow of a famous artist and she is a college professor. | |
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In Saxondale Tommy Saxondale and Mags are a New-Age Retro Hippie and Granola Girl respectively but live in a fairly middle-class suburban neighborhood, and own their own businesses. Of course, being a Brit Com, this contradiction is the whole point of the show. | |
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Vitriolically parodied in John Fardell's Viz strips "The Modern Parents" and "The Critics". The protagonists of both are wealthy, privileged cultural leftists with shallow, ignorant politics, who are massively socially and intellectually snobbish. | |
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In RENT, a criticism against the character of Mark is that he's from an upper-class background (Scarsdale is a real suburb of New York City and one of the wealthiest in the area), and his poverty is largely self-imposed; even if he doesn't take any help from his parents, he has the skills to land a job in the media but considers that "selling out." Collins is another example, being a college professor between teaching gigs, and what we know of his life implies that he comes from money too. | |
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In Runaways, Frank and Leslie Dean are an extremely cynical version of the Bourgeois Bohemian, pretending to be reformed hippies in order to disguise the fact that they're actually alien criminals. | |
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The Hillard-Findlay family from Maude is an early example: An upper-middle-class household that supports the liberal side of the main issues of the 1970s, most notably feminism. | |
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Varying degrees in the main characters in The Decline of the American Empire and The Barbarian Invasions, by Quebecois director Denys Arcand. They like to talk about sex and left-wing politics and the emptiness of conventional morality, but they're all super-bourgeois types that drink wine and eat fancy salmon dinners. | |
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In Justice League Unlimited, when defending Cadmus' preparations against the Justice League, Green Arrow refers to himself as "an old lefty" and says that "the government must do for people what people can't do for themselves." While he's ultimately proven wrong about Cadmus, he's still portrayed as sympathetic and sincere. Other episodes openly bring up his left-leaning political leanings, though he never gets as vocal about it as his comic self, and it's primarily kept tongue in cheek. | |
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Paul Kinsey on Mad Men is the beatnik version. | |
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Oliver Queen, aka Green Arrow, has become the main superhero comics representative of this archetype over the years. Quite how rich and powerful he is, and quite how sincere and thoughtful his politics are, tends to vary with how sympathetically the writer views him. | |
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Most of the original main characters in Doonesbury are this, to the point where it actually becomes a plot point in the Animated Adaptation A Doonesbury Special. | |
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Dickinson: Thoreau came off like this. Despite his claims about "living alone in the woods" he was actually right near civilization, his mother doing the cooking and his laundry. He's a well-off man who can quit whenever he'd like and is only indulging in this haphazardly to make a point of valuing nature. | |
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Portlandia makes fun of the counter-culture scene of Portland, Oregon. Many characters are middle-aged professionals with bohemian values. | |
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The White Lotus plays with this trope: Tanya is a 60-something wealthy white woman who loves holistic wellness and is impressed when she thinks a date is involved with Black Lives Matter. However, she ultimately falls short of her ideals when she convinces a working-class black woman, Belinda, to believe that she's going to bankroll a business with her only to abandon Belinda (with a huge tip) to work on herself. Olivia is the daughter of a wealthy family and expresses left-leaning political beliefs in conversation. However, she's also a sociopath and is probably just being fashionable. Her friendship with the non-white and less economically advantaged Paula is shown to be a predatory relationship. |
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Family Ties, which is centered around the conflicts between Bobo parents and their Reaganite conservative offspring. | |
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Cleo in The Scribbler. She dresses in hippie/gypsy garb, her speech tends towards Sesquipedalian Loquaciousness, and she doesn't go anywhere without her pet boa constrictor draped around her shoulders. | |
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Irresistible: A Democratic mayoral candidate for a small Wisconsin town must fly to Washington DC to have a fundraiser luncheon with wealthy liberals who will ultimately donate millions of dollars to his campaign. The main character, a Democratic political strategist, is himself an example, being liberal as well as culturally out of touch with working-class America. | |
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In Madicken, Madicken's father is a newspaper editor, so he's rich enough to give his daughters a privileged upper-middle-class upbringing. And the family belongs to the upper crust of the small town. Even so, he is proud to be a socialist and gets really angry when other rich people treat poor people badly. | |
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You could also definitely include Warren and Lois Whelan—Debra's wealthy (or at least upper-middle-class) parents—from Everybody Loves Raymond. When they first appear, Ray, Frank, and Marie are not looking forward to it, groaning about how much Warren and Lois basically embody this trope to a tee, and how different their own blue-collar family is from the Whelans. When they arrive later in the episode, Hilarity Ensues obviously. Over the course of the series, Warren and Lois continue to embody this trope, leading to more awkwardness (and hilarity) when they and the Barones interact. | |
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Persepolis: Marjane's parents. They staunchly oppose the Shah and later the Islamic fundamentalists due to their violations of human rights. At the same time, they're prosperous and keep a girl (then woman) whom they basically adopted during her childhood as their live-in servant, thinking nothing of it. | |
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Schitt's Creek: David Rose and his whole social scene are artistic bohemians from extremely wealthy backgrounds. His photographer ex-boyfriend Sebastien Raine is a specific example, being a globetrotting, pretentious artist who looks scruffy but, as David puts it, "is wearing an expensive sweater that doesn't look expensive." | |
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The show-within-the-game Impotent Rage in Grand Theft Auto V is a mocking parody of this trope. Its protagonist Braxton Hunter is a billionaire liberal CEO who moonlights as the titular superhero like a mix of Bruce Wayne and Ted Turner, and whose efforts to help the world inevitably make things worse. His Arch-Enemy, the Uberman, is an ultra-libertarian Corrupt Corporate Executive who destroys the environment simply because it's fun and frequently thwarts Impotent Rage largely due to the latter's own incompetence. | |
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The Chalfen family of White Teeth is a mixed Jewish/Catholic couple (though they don't practice either religion) who were former hippies with a strong interest in Hinduism and other "alternative" religions. The novel shows that, about two decades later, they are raising a family of overachieving children in a suburb in North London. While (to their credit) the Chalfens send their kids to a comprehensive, they are also shown (by their magazine subscriptions) to be strong aficionados of socialism, anarchism, what-have-you despite their material comfort (the mother is a successful author of gardening books, while the father is a cutting-edge genetic engineer). The book portrays them more or less sympathetically: they are not arrogant or hypocritical, just incredibly clueless about reality (like when they take a gang member who goes to their kids' school under their wing and show him great compassion even though he is very angry and rude and a potential terrorist). | |
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Keating! The Musical has the title character assure the audience that "there's nothing wrong with being inner-city elite" in his first song. Paul Keating, the former Australian Prime Minister on whose career the musical is based, is probably the highest-ranking Bobo in Australian history. In the play, his Bobo mannerisms are contrasted with the bogan-like tendencies of both his predecessor Bob Hawke and his successor John Howard. | |
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Sir Henry Merrivale is the 1930s equivalent: from an aristocratic family, he's nevertheless a Socialist who enjoys an evening in the pub playing darts with the proletariat. | |
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Knives Out has Joni Thrombrey and her daughter Meg as another negative example. Joni is a lifestyle guru who was married to the wealthy Harlan Thrombrey's son before he died, while Meg is a college student majoring in an obscure social science major at an expensive liberal arts college. Both of them espouse progressive, left-wing views while relying on Harlan's money to fund their expensive lifestyles. Once it's revealed that Harlan has cut them out of his will after discovering Joni was embezzling him and plans on giving everything to his underprivileged, in-house nurse and friend Marta, the two of them show their true colors and attempt to blackmail her into giving the inheritance to them by threatening to get her mother deported so they can continue to live their comfy, superficial lifestyles. | |
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Young Jolyon from The Forsyte Saga is very much a political liberal by the standards of the time. He left his first wife and his eldest daughter to live with another woman, start a family with her and become an artist. And even after he inherits his father's fortune, which makes it possible for him to raise also his younger three children in an upper-middle-class lifestyle, he sticks by his ideals and remains the antipole to his conservative cousin Soames. | |
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Anywhere But Here: Unlike the rest of her family, Pink had aspirations of joining the arts (singing mostly) and had various negative things to say about her family's company, both in how it exploits its workers and how much it damages the environment. When it was made clear that her parents and grandmother did not care whether she wanted to join the family business or not, she ended up running away with Pearl, faking her own death, and becoming active protester Rose. | |
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Ben Stiller's real parents in Flirting with Disaster (played by Alan Alda and Lily Tomlin) are a pair of aging, affluent hippies who still use drugs recreationally. | |
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The Rolling Stones's "Salt Of The Earth" from Beggars Banquet is sung from the perspective of affluent liberals who lionize the working class as compliant underclasses who they have never have to interact or deal with personally: | |
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Beef: Jordan, the home improvement chain store owner Amy is hoping to sell her small business to, expresses interest in the art and philosophies of other cultures and has an otherwise 'zen' (read: wishywashy) personality. | |
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Trumbo: Dalton Trumbo is a wealthy screenwriter as well as an unashamed Communist, as was Truth in Television. | |
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Frankie of Grace and Frankie, is a combination of Hippie, New Age, and far-left stereotypes. But she is also clearly accustomed to the high standard of living she enjoyed as a lawyer's wife and has a history of making expensive purchases, ironically intended to help her get more in touch with the spiritual and less with the material. | |
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Father of the Bride (2022): Adan is from a rich family but is a vegetarian and enough of a hippie to want his guru to officiate the wedding. | |
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Jonah in Super Store is a college-educated metrosexual leftist who is the son of two psychologists, working for a dystopian mega-corporation with most of his fellow workers being high school educated at best, and due to their workload and personal problems, unable to care much about anything more than living paycheck to paycheck. The other employees constantly give him shit for it, Garrett especially. This part of his personality eventually develops into leading the attempt to unionise the store, and later he decides to run for city council. | |
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Gary Karkofsky AKA Merciless: The Supervillain without MercyTM from The Supervillainy Saga eventually becomes this. Gary starts off as having a strongly anti-capitalist angry punk view of the world that he is fighting "The Man" as a supervillain against. However, he then actually succeeds (at least in Falconcrest City) and wipes out the establishment (that turned out to be an evil cult) before stealing their billions. From that point on, he uses the money to help the have-nots in the city but is still extremely wealthy. | |
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The Fourth Doctor in Doctor Who is an extremely weird variation of this archetype. His appearance and personality are modelled on Victorian bohemians like Henri de Toulouse-Lautrec and Oscar Wilde, but he has as much material wealth as he needs, is technically a Lord and possesses lots of stereotypically upper-class mannerisms and interests. He makes a great show of being anti-authoritarian and his hatred of it is genuine, but spends much of his run as the puppet of the Time Lords, fulfilling their orders (although he does show notable resentment whenever he's aware this is happening and usually only plays along because not doing so would be catastrophic on a potentially world-or-universe-ending level, which the Time Lords of course exploit). | |
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Dean and Missy Armitage in Get Out are a villainous example. Upper-middle-class suburbanites who go out of their way to present themselves as progressive and non-racist people, this doesn't stop them from being incredibly condescending towards Chris, treating young black people like human props, and ultimately stealing their bodies so they can enjoy extended lives with the "physical advantages" of being young and black. | |
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Mary Parker in Lies of omission has a love of crystals and holistic healing and is a firm believer in them, though Peter claims that it's all a part of her life-defining habit of controlling everything, in this case her health. | |
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In the South Park episode "Smug Alert", the adult residents of San Francisco are portrayed as bourgeois bohemians who are so smug and self-satisfied that they enjoy the smell of their own farts. | |
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thirtysomething also lives for this trope. All of the main characters first became friends as part of the '60s counterculture, and have become standard-issue '80s yuppies. | |
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Keep the Aspidistra Flying: In a period-accurate version of the trope, Gordon’s friend Philip Ravelston hails from an old-money family, yet publishes the melodramatically-named magazine Antichrist which espouses radical Socialism. Ravelston is rich enough that he can afford to crank out this obscure publication, overpay Gordon and several similar writers and lead a relatively sumptuous lifestyle, all the while lacking any actual job. | |
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Everybody in The Big Chill, having been part of the '60s counterculture while studying at the University of Michigan. | |
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Though he's technically part of a blue-collar household, Brian Griffin of Family Guy has most of the stereotypical traits of this type, up to and including driving a Toyota Prius. | |
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Johnny Silverhand in Cyberpunk 2077, is a downplayed version. He's a Bomb Throwing Anarchist who frequently criticizes people for being part of the System and not standing up to the Man, which is perfectly valid considering the dystopian setting, and there is absolutely no reason to believe that Johnny is anything less than absolutely sincere in his beliefs considering he gave his life for the cause. But unlike most of the people he yells at, Johnny is also a wealthy rockstar, edgerunner and investor for whom money was never an issue, making it easier for him to oppose the system when he has nothing forcing him to be a part of it. Jackie Welles' girlfriend Misty Olszewski is implied to be this. While her exact economic status is never made clear, it's implied that she's a lot more well-off than she looks since she makes references to having made trips around the world despite the fact that her day job is running an esoteric goods shop as well as being a Ripperdoc nurse. Unlike Johnny, however, Misty is a genuinely kind-hearted and empathetic woman who does what she can to help the people around her. |
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Coherence: This is Beth's characterization. The film takes place in her very nice home, so she's obviously wealthy. She mentions a number of New Age beliefs and habitually uses recreational drugs. | |
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George in Bored to Death, played by Ted Danson, is a pot-smoking hippie who runs a magazine similar to The New Yorker. He's quite wealthy but still has his left-wing lifestyle and opinions. In the second season, he suffers a serious clash of cultures when his magazine is bought out by a right-wing organization. | |
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1632: Thomas "Stoner" Stone is a last-wave hippie, whose knowledge of chemistry (he made LSD in the sixties) has made him one of the richest men in Europe, with a personal fortune that rivals that of many nations. He is completely devoted to the ideals of peace, love, and understanding, in word and deed. For example, he refuses payment for all medicines he makes, only making money from dyes and cosmetics. Profiting from people's vanity is OK, profiting from their pain is not. | |
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Nora Walker in Brothers & Sisters is a classic upper-middle-class housewife who drives a Prius and fervently supports socially-liberal causes, but lives in a huge house and throws extravagant parties. | |
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