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bfbronpa-school-on-an-island · 8 months ago

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found out that i made the first post on OCTOBER 22 2021???? anyways hi im jay and im the creator of bfbronpa school on an island. this is very sadly cancelled, so heres everything!

so i first had the idea on july 6 2020, where i put it on my fandom (wikia at the time) user blog. the cast was:

Leafy, Ultimate Motivator (protagonist)

Ice Cube, Ultimate Ice Skater

Firey, Ultimate Pyrokinetic

Liy, Ultimate Lightswitch Manufacturer

Coiny, Ultimate Luck

Book, Ultimate Publisher

Blocky, Ultimate Daredevil

Flower, Ultimate Florist

Pen, Ultimate Author

Pencil, Ultimate Illustrator

Match, Ultimate Chandler

Teardrop, Ultimate Aquatics Expert

Woody, Ultimate Prankster

Gaty, Ultimate Bench Joiner

Eraser, Ultimate Detective

Loser, Ultimate Idol

i only have one memory of the death order, and it was that blocky would have killed woody

as you can see here. it wasnt very good. so i remade it as a whole

it was on instagram, but inspired by gregory despair show (@/gregorydespairshow) i thought it should go on tumblr too. didnt feel like it after a bit tho. the cast was:

Firey, Ultimate Winner (protagonist)

Woody, Ultimate ??? (no talent)

Flower, Ultimate Fashionista

Leafy, Ultimate Motivational Speaker

Pencil, Ultimate Team Leader

Match, Ultimate Team Leader (yes they share a talent)

Blocky, Ultimate Prankster

Loser, Ultimate Idol

Golf Ball, Ultimate Scientist

Needle, Ultimate Slapper

Marker, Ultimate Digger

Tennis Ball, Ultimate Assistant

Bubble, Ultimate Unlucky Student

X, Ultimate Cohost

eventually, i decided on replacing X with Spongy, Ultimate Airplane Sailor, and added Teardrop, Ultimate Comic Book Typist (eventually shortened down to just Typist) and Eraser, Ultimate Jock

the host (or headmaster as i called them) was MonoFour

the death order went like this: blocky kills woody, match kills golf ball, bubble kills pencil, eraser disappears, teardrop kills yellow face and marker, firey kills leafy (we play as needle now), the current survivors meet with the survivors of the sequel, and loser is revealed to be the mastermind, leaving needle, tennis ball, spongy, and tennis ball. eraser was planned to survive too but once i thought up a sequel that idea went out of the window

speaking of the sequel, that wouldve had plot relevance! the cast was:

Gelatin, Ultimate Comedian (protagonist)

Lollipop, Ultimate Debater

Winner, Ultimate Secondary Idol

Snowball, Ultimate Fighter

Stapy, Ultimate RPS Champion

Bracelety, Ultimate Fangirl

Liy, Ultimate Lifesaver

Fanny, Ultimate Critic

Cloudy, Ultimate Collector

Book, Ultimate Autobiographer

Ice Cube, Ultimate Placeholder

Price Tag, Ultimate Entertainer

Pin, Ultimate Baker

Eraser, Ultimate Jock

the headmaster was MonoTwo

the death order went like this: bracelety kills price tag, book (accidentally) killed ice cube, snowball killed liy who killed eraser, fanny killed herself, and loser killed stapy. everyone votes wrongly and is executed, winner sacrifices themselves and everyone but them lives, the current survivors meet with the current survivors of the prequel, and loser is revealed to be the mastermind and eraser the traitor, leaving gelatin, lollipop, cloudy, and pin

after that, the entire thing was rebooted with a different cast and NO DEATH ORDER. the cast was:

Pin, Ultimate Baker (protagonist)

Leafy, Ultimate Helper

Golf Ball, Ultimate Inventor

Tennis Ball, Ultimate Assistant

Coiny, Ultimate Comedian

Match, Ultimate Gossip

Pencil, Ultimate Alliance Leader

Bracelety, Ultimate #1 Fan

Ice Cube, Ultimate Alternative

Book, Ultimate Biographer

Liy, Ultimate Lifesaver

Flower, Ultimate Fashion Designer

Fanny, Ultimate Critic

Fries, Ultimate Gardener

Woody, Ultimate Coward

Blocky, Ultimate Prankster

Needle, Ultimate Track Star

Teardrop, Ultimate Typist

the headmaster was MonoTV

now i know i said there was no death order but there were some scattered ideas here and there. for example, leafy would have died and pin (who liked leafy here) wouldnt exactly take it well. but i also wanted to make her be a killer in the penultimate trial, and have her take over when pin fails to choose her. eventually i just decided to scrap everything as a whole

and thats all! special thanks goes to my friend rex, gregory despair show, the five people that saw bfbronpa: school on an island on here, and just anyone who wanted to see this thing come out. cya

#submission #bfdi #danganronpa

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josephemily004 · 1 year ago

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Fanny Flowers offers reliable and prompt flower delivery services in Arcadia, California. With a wide selection of stunning floral arrangements, our dedicated team ensures that every bouquet is crafted with care and delivered with a touch of elegance. Brighten someone's day in Arcadia with the beauty of Fanny Flowers.

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fannysflowers1 · 4 years ago

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Fanny's Flowers

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#Fanny's Florist #Florist #Flowershop #Flower delivery #florists #local florist

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temple-city-florist · 3 years ago

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Temple City Florist - Local Flower Delivery in Temple City CA

Buy flowers from your local florist in Temple City CA. We are Specializing in bespoke flower designs for all occasion and daily flower deliveries throughout Temple City CA. Fanny's Flowers Temple City Florist will provide all your floral and gift needs with Same-Day Flower Delivery by Local Temple City CA Florists.

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keepingitneutral · 7 years ago

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Six Gallery, via Scaldasole, Milan, Quincoces-Drago & Partners,

Florist: Irene Cuzzaniti, Photography: Alberto Strada

#art #interior design #design #Architecture #six gallery #milan #monastery #david lopez quincoces #fanny bauer grung #nature #florist #gallery #alberto strada #wicker #irene cuzzaniti

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dwellordream · 2 years ago

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“...Unlike the self-exile of the Byronic hero—the man who fails to live in the everyday world of people—the Silver-Fork dandy is eminently successful as a social animal; he lives and moves as a defining element of what it means to be inside. The dandy, unlike the Romantic antihero, lives to represent, to present; he is a play of surfaces, of image, of an aesthetic subjectivity. In Bulwer-Lytton’s Pelham (1828), the title character decides to “set up a character. . . . I thought nothing appeared more likely to be obnoxious to men, and therefore pleasing to women, than an egregious coxcomb: accordingly, I arranged my hair into ringlets, dressed myself with singular plainness and simplicity (a low person, by the by, would have done just the contrary), and, putting on an air of exceeding languor, made my maiden appearance” (25).

A dandy’s role required, as Domna Stanton points out, the epicure’s “divination of the trivial” (39). Hence the dandy’s only spirituality lies in an ultrarefined relation to the material object, specifically here personal appearance (the cut of his clothes), food, and horses. The character Russelton in Pelham, said to be modeled after Beau Brummell, finds at a young age that he cannot write poetry, so he instead becomes a poet of appearance. “Finding, therefore, that my forte was not in the Pierian line, I redoubled my attention to my dress; I coated and cravatted with all the attention the very inspiration of my rhymes seemed to advise” (73).

The text to be deciphered is not a bottomless interior, as with the Romantic hero, but rather the most superficial drapery. That most social of acquirements—manners—are also seen as a site of transcendence. “What a rare gift, by and by, is that of manner! how difficult to define— how much more difficult to impart! Better for a man to possess them, than wealth, beauty, or even talent, if it fall short of genius—they will more than supply all” (31). Pelham “almost die[s] with rapture” (49) over a foie gras. Taste takes precedence over emotional experience: a bad dinner is “the most serious calamity . . . for it carries with it no consolation: a buried friend may be replaced—a lost mistress renewed—a slandered character be recovered—even a broken constitution restored; but a dinner, once lost, is irremediable; that day is forever departed; an appetite once thrown away can never, till the cruel prolixity of the gastric agents is over, be regained” (123).

With a vast emptiness inside him that can never be filled, the Byronic hero is the figure of insatiable hunger. The dandy satisfies himself by filling himself up in a very un-Romantic way: by eating. While Pelham goes into raptures about the culinary arts, he initially casts a satirical eye on romantic passion. He comments on an acquaintance, “I hear he is since married. He did not deserve so heavy a calamity!” (27). Mr. Trebeck in Thomas Henry Lister’s Granby (1826) (an early Silver-Fork with its heels still in the eighteenth-century novel of manners—e.g., Maria Edgeworth and Fanny Burney) was also modeled after Beau Brummell. Trebeck “wished to astound, even if he did not amuse; and he had rather say a silly thing than a common-place one” (54).

William Hazlett commented that Brummell’s sayings “were predicated on devaluing the important through ‘utmost nonchalance and indifference’ on the one hand, and on the other, on ‘exaggerating the merest trifles into matters of importance” (quoted in Stanton, 43). The dandy’s unattainability lies not in a deep interior—a blighted spirit—but rather in superficial externalities such as his genius for inimitable style, a brilliant social intercourse so dazzling it can’t be grasped, a performance of personality that is unreadable not because of its obscure hiddenness but rather its over-signification in the realm of the marketplace. It appears sometimes that the dandy’s soul can be located by discovering the name of his tailor, his florist, and his horse dealer.

Emotions, even subjectivity, take on an inauthenticity and so clearly mirror fashionable desire outside him that the Byronic idea of the utter singularity of the soul is dissolved out into the social world. According to Bulwer-Lytton’s son, he intended Pelham as “a person who took to himself the form and color of the society in which he moved” (quoted in Christensen, 46). The sublimity of the dandy takes on a humorous banality; it is the “heights of the soul from which even tragedy ceases to look tragic” (my emphasis; 42)—the other half of Nietzsche’s words, quoted in the last chapter. Interestingly, the dandy’s influence on the social world was more complicated and far-reaching than as merely the first word of fashion.

Bulwer-Lytton was obsessed with Byronism and dandyism in his own personality and dress, as well as in his fiction. Yet he often argued vehemently against the Byronic stance; in the beginning of his career he made a call for reform: “The aristocratic gloom, the lordly misanthropy, that Byron represented, have perished amid the action, the vividness, the life of these times” (quoted in Christensen, 7). He even argues that his Pelham “put[s] an end to Byron’s Satanic mania” (quoted in King and Engel, 278). Clearly, his stated project with Pelham is to empty the Byronic hero of his sublime meaning, but this evacuation points again and again to Byronism itself.

The dandy’s relation to the sublime lies in his opposing it, his consistent gesturing to its outside. Many Silver-Fork heroes define themselves precisely in distinction to the Byronic pose. At the end of Pelham, the title character apologizes for not being Werther-like: “forgive me if I have not wept over a “blighted spirit” . . . and allow that a man who, in these days of alternate Werters [sic] and Worthies, is neither the one nor the other, is, at least, a novelty in print, though, I fear, common enough in life” (230). The depiction of the dandy was a way to domesticate the Byronic figure, to bring him from the outside to the inside; to control him by making the immaterial material.

However, Moers points to characteristics of the dandy that might begin to explain his appropriation by the romance, and they also provide a key to his eroticism. She discusses the subversive aspects of dandyism—the irony of Brummell’s status as the perfect gentleman. “The dandy,” Moers asserts, “stands on an isolated pedestal of self” (171). Albert Camus felt the dandy stood for the individual in revolt against society: he places himself inside, even as the creator of the inside, yet he uses this inside to foreground his superiority, the elevation that locates him both above and as other. Trebeck in Lister’s Granby expresses the isolation of misanthropy— thus serving to bring the dandy more clearly into the trajectory of the dangerous lover—by his insolent disdain of earnestness, of real work and caring in the world.

“Gracefully indolent,” he had a “reputation of being able to do a great deal if he would but condescend to set about it” (52). As Caroline, Trebeck’s love interest, thinks to herself, “There was a heartlessness in his character, a spirit of gay misanthropy, a cynical, depreciating view of society, an absence of high-minded generous sentiment, a treacherous versatility, and deep powers of deceit” (77). Trebeck’s brilliance, his superior sparkle, tends to be not of this world; his misanthropy ruins him for feeling deep passion for others, for showing any real concern for a society he rules by its superciliousness.

His cynical life represents exactly the kind of man who has run through his successes too quickly; like Childe Harold he has “felt the fullness of satiety . . .” (I, 34) and he is “secure in guarded coldness . . . and deem’d his spirit now so firmly fixed” that it is “sheath’d with an invulnerable mind” (3.82–85). While seeming somehow “used up” by depleting the sources and life of the world, Trebeck might also, like the Byronic figure, have an interior void, where the endless riches of life and love he obtains instantly drain away.

Another particularly Victorian translation of the Romantic dangerous lover with a mix of Byronic sublimity and early nineteenth-century antiheroic epicurism can be found in Disraeli. Disraeli’s Silver-Fork dandy, in Vivian Grey (1826), moves from being a Pelham-like star to a self full of a melancholy sublimity, tempered from the wild passions of Byron and the Gothic and softened from tragedy to a pallid sadness. Vivian Grey exemplifies what could be called a “hinged” sublime. The “hinge” refers to the way the Silver-Fork dandy throws out nonmeaning here and there but will sometimes, suddenly, point to a secret interiority of meaning.

And this hinge turns on failure; when the brilliantly successful dandy begins to fail, he moves toward sublimity, as well as the kind of Byronism that later dangerous lovers exemplify. Vivian Grey’s astonishingly influential personal charm and his genius for literary quotation and wit bring him, at a young age, to the center of the haute ton. Vivian is a dandy of the intellectual type, as opposed to the picturesque kind: here we can mark the contrast of the hidden soul in its brilliancy and infinity—the intellectual dandy—to the glittery externality of the soul—the apparent or picturesque dandy.

Vivian, while a dandy, is far more ambitious than the typical picturesque type; he “was a graceful, lively lad, with just enough of dandyism to preserve him from committing gaucheries, and with a devil of a tongue” (17). His constant study is of human nature, how to please and win over others. The intellectual dandy often hides behind his bright, frivolous façade the activity of the researcher who studies both books and the ways of men. Pelham admits that “there has not been a day in which I have spent less than six hours reading and writing” (201). He also often hides the ambitious politician, and, sometimes, the romantic soul which feels deeply.

As Matthew Whiting Rosa argues, the dandy, as a fashionable fop, needs to be a literary man, yet he has to hide his hours and hours of study. Intellectuality, like every other accomplishment, needs to appear effortless for the illustrious young buck. Hence a secret interior, a Byronic private soul, distinguishes the intellectual dandy, a superior man among men. In his bid for a place in Parliament, Vivian Grey wheedles his way into the good graces of several influential politicians only to find, when his prize seems within reach, his “friends” turning against him for petty and backbiting reasons.

Forced to fight a duel, he accidentally kills a man whom he deeply esteems. Vivian weeps “as men can weep but once in this world” and flees the country, disaffected with society, bitter with his life and his own false and manipulative ways. “He felt himself a broken-hearted man, and looked for death, whose delay was no blessing” (175). Vivian Gray appears here as a tempered Byronic hero, a softened Manfred. Vivian Grey’s fallenness doesn’t lead him to exile, or to transcendental homelessness and all the world-hating bitterness that a Manfredian Byronic hero would feel.

Manfred and his ilk become demonic and otherworldly, while Vivian Grey’s torments take him merely into a melancholy darkness. The melancholy sublime, as Weiskel argues, differs from what could be called a powerful, satanic one because, in the latter, the realization of the self’s abyss, of the terror of annihilation and harm, leads to an aggressive identification with what terrorizes, what causes failure. This type of identification brings with it various forms of grandly destructive impulses, to a laying waste on a large scale. Mournful sublimity lacks the grandeur of Manfred and the malevolence of Melmoth or Heathcliff.

The melancholy sublime comes from another kind of identification with this aggressive instinct, one that causes feelings of defeatist guilt, partially or wholly sublimated, which brings about a gloomy, thoughtful sense of loss. The Romantics’ freedom to delve into transcendence, leading to a positive, Wordsworthian sublime, or a negative Byronic one, shifts here to a wearied worrying, a feeling of agitation and oppression. Vivian Grey finds himself desired by the ton in Europe for very Byronic reasons; he represents now a gloomy mysterious figure. He retains his ability to please fashionables, to be an astute satirical eye on the empty manners of the upper classes.

A disappointed man, he is not exactly a ruined one. His world is not Byronically blackened; rather, it is painted in subtle tints of blue. Melancholy evacuates the present of immanent meaning, leaving only a pale semblance of life, an empty play of glittering movement. Gently lost, not angry, Vivian Grey falls in love with a woman who might be his salvation, but he is doubly cursed when she dies suddenly of consumption. In the end, Vivian disappears in an apocalyptic storm, not as a part of its own elemental power—as Manfred would feel—but rather as another stroke of bad luck, a closing stroke in a promising life which ends in failure.

Vivian Grey, unlike Manfred or the Corsair, sees his failure as stemming from a lack within him, a failure to see deeply enough, to understand fully, to make a positive decision at the right time. Hamletlike, Vivian Grey is sad for the whole world; he mourns it, caresses it with his lamentation. Like a young Werther, he falls into the Heiligtum des Schmerzes, the worship of sorrow. In addition to heroes who fail and are overcome by melancholy or a cynical recklessness or weariness, another trait of both the Silver-Fork novel and the contemporary regency romance is the satirizing of certain aspects of the Byronic pose. Byron in some sense preempted such a stance by himself ridiculing the Byronic pose in Don Juan.

We have already seen some of this deliberate un-Byronizing in Pelham, and its manifestation in the Victorian period takes on a moral taint. Thackeray and Carlyle, representing a Victorian disapproval of the wasteful, selfish, and idle type, famously criticize what they see as the silliness and final immorality of the dandy and the particularly Byronic aspects of the dandy. Rosa argues that Silver-Forks culminate in Vanity Fair (1848). Thackeray here does even more explicitly what many Silver-Forks have already done: criticize the moral vacuity of Regency society and particularly of the Regency dandy.

Jos Sedley represents the puffed-out, indolent, false self, a heap of clothes who can only repeat again and again a few simple stories about himself that have little basis in fact. His only success lies in his resplendent personal appearance: “A very stout, puffy man, in buckskins and Hessian boots, with several immense neckclothes, that rose almost to his nose, with a red striped waistcoat and an apple-green coat with steel buttons almost as large as crown pieces (it was the morning costume of a dandy or blood of those days)” (29).

A picturesque dandy, he revels like Pelham in food and drink, yet unlike Pelham he represents merely an empty joke, an attempted gesture at a once successful performance which now only tries to shore up usefulness, waste, the dead end of everyone’s scorn. George Osborne, while something of a dandy, puts on a performance of erotic Byronism. “George had an air at once swaggering and melancholy, languid and fierce. He looked like a man who had passions, secrets, and private harrowing griefs and adventures. His voice was rich and deep. He would say it was a warm evening, or ask his partner to take an ice, with a tone as sad and confidential as if he were breaking her mother’s death to her, or preluding a declaration of love” (202).

Yet Thackeray’s continual deflation of George as not worthy of Amelia’s love, as a superfluous being whose selfishness wounds others, serves to point to Byronism as merely a gesture, since George is never any of these things; he’s only a selfish cad. But with the true dandy, there always remains some quality about him that can not be fully explicated. Like the dangerous lover, the dandy’s mythic stature, his symbolic stance of always pointing to something larger and indefinable, create a character that is both complete and difficult to permeate. His wholeness of meaning (or meaninglessness) and his success belie dissection, linearity, teleology.

Moers writes similarly of the mesmerism of the dandy, represented by Beau Brummell. “There remains an indescribable firmness to the Brummell figure, something compounded of assurance, self-sufficiency, misanthropy, nastiness, even cruelty that made him feared in his lifetime and will never be explained away” (38). The “firmness” or complexity of the dandy character frees him to represent a plethora of identity traits, contradictory posturings, and moral messages. His flatness can be spread out to signify almost endlessly, and from this comes the difficulty in describing definitively his relationship to Byronism and the dangerous lover.”

- Deborah Lutz, “The Absurdity of the Sublime: The Regency Dandy and the Malevolent Seducer (1825–1897).” in The Dangerous Lover: Gothic Villains, Byronism, and the Nineteenth-Century Seduction Narrative

#deborah lutz #the dangerous lover #regency #romantic era #literature

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idiottweets · 3 years ago

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40, 48, 50?

40. If you could do some kind of historical swap (i.e. place a ghost in a different period from their own), who would you choose and what period are they from now?

My first thought was Mary in current times! I would be really interested to see how her personality and beliefs would work these days (as a human, not a ghost), and how she would live, and how she would die.

48. What do you think the ghosts' jobs would be in a modern living-human AU where they're all just chaotic housemates?

Cap: headmaster

Mary: gardener? florist? something with plants

Robin: electrician (heh)

Thomas: struggling writer

Julian: i cannot see Julian as anything but a politician

Kitty: singer/dancer

Pat: a primary school teacher, and probably still a scout leader

i can't think of anything for Fanny and Humphrey!

50. Name an AU you haven't seen someone create content for, but which you'd love to read a fic or see some art for.

I'm not a big AU person, but I would really like a fic where other paranormal creatures exist in the Ghosts universe, so eg whenever there's a full moon you have a werewolf running around the woodland area outside of Button House, and Mary was an actual witch

#sorry if the formatting looks weird i wrote it down in my notes app #ask #anon #ask game

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fictionalgardens · 4 years ago

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fanny packs have become essential for me, being a florist/delivery driver

#self

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floristusa · 3 months ago

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Flower Delivery La Canada Flintridge California- Fanny's Flowers

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mirdaniaa · 5 years ago

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all i want is a florist/tattoo artist AU for gimli/legolas

“Okay, can I have one venti caramel macchiato with almond milk, four grande hot chocolates--”

The tugging on Legolas’s shirt makes him grit his teeth. Being independent sucks. His job at the florist shop had been a nice way to pass the time when his dad was paying for everything, but ever since he’d decided to cut ties and make his own way in the world, he’d begun to realize that his florist shop job was not enough to sustain his kind of lifestyle. Babysitting had seemed like an easy solution...until he’d gotten stuck with these four.

They’re nice kids, really. Frodo spaces out a lot and Sam is kind of a whiner, but they’re angels compared to Merry and Pippin, who are always spilling things and drawing on surfaces that should not be drawn on.

It’s Sam tugging on his shirt now, his eyes wide. “Merry and Pippin are gone.”

Legolas whips around, seeing that sure enough, only two of his charges are leashed to his belt; the other two child harnesses are empty. “Where did they go?!”

“That way.” Sam points in the general direction...but as it’s a shopping mall, “that way” doesn’t necessarily mean anything.

Legolas abandons the Starbucks, Frodo and Sam running to keep up with him as he stands at the railing and looks at the five levels of the shopping mall. Think, Greenleaf. Where would I go if I was two troublemakers? A toy store? A candy shop?

“There they are!” Frodo cries out, pointing to the third floor below them.

Sure enough, Legolas can see Merry and Pippin by the escalator talking to a hirsute man covered in tattoos.

“Shit!” Legolas hisses. “They’re going to get kidnapped!”

“They are?” Sam asks, terrified.

“No! I was joking! Come on, let’s go!” He hops down the escalator, Frodo and Sam trying to keep up, and dashes towards the two troublemakers. “There you are!” he shouts.

“Hullo, Legolas!” Merry says cheerfully. “We were talking to our new friend Gimli.”

“Gimli?” Legolas repeats, staring at the man. He looks like he’d win a bar fight; he has a thick, bushy beard, a bandana covering his head, and his denim jacket has had the sleeves removed, leaving his arms bare. Or they would be bare, were they not covered in a maelstrom of ink.

“He’s a tattoo artist,” Pippin adds.

“I see.”

“Legolas has a wrist tattoo,” Merry tells Gimli.

“And one on his butt.”

“How do you know that?!” Legolas yelps. Then, seeing the amused look on Gimli’s face, adds, “It was a long time ago. I was in college. And--”

“Drunk?” Gimli supplies cheerfully.

“On spring break,” Legolas says, emphasizing the words so Gimli won’t say anything inappropriate in front of the children. “Pippin, have you been spying on me?”

“You’ll never know,” Pippin says cryptically.

Gimli reaches into his breast pocket and pulls out a business card. “I also do removals. If you’re interested,” he offers, and though it’s hard to tell behind his bushy beard, it almost looks like he’s winking at Legolas.

“Uh, thanks,” Legolas says, putting the card into his fanny pack. “And thanks for grabbing these two.”

“Anytime.” Gimli lumbers off; while they’re distracted, Legolas snaps the two deviants into their harnesses.

“You can’t just wander off like that!” he scolds.

“Yeah, but you got a guy’s number,” Merry points out. “So really we did you a favor.”

“Meriadoc Brandybuck, I swear on all that is holy...” But secretly, Legolas is already thinking about Gimli’s offer.

#this is very silly #and only kind of florist/tattoo artist #but i hope you like it anyway!#legolas x gimli #fic by me #murraybaeman

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penzyroamin · 4 years ago

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Hi I know it’s been a bit but I’m the confused bi anon. I really really appreciated your response and it wasn’t too long. You made me feel a lot better. I was wondering if you could maybe suggest some books, tv, movies with bi female characters. Thanks soo much for the entire last response . You are absolutely incredible and so sweet. This means more to me than you could ever know❤️

of course!! i’m glad that my first response helped <3

disclaimer of course: i’m not bi! so i’m not an Authoritative Source on bi rep and what people want to see more of. i do actively seek out stuff about lgbtq+ characters, specifically girls and women, so i have some recs! however, i’ll also be adding some things that some bi folks i know have recommended because while lesbians and bi women have a lot in common, these are at the end of the day representing them, not me :)

extra-super favorites will be bolded! i’m putting this under a read more because... i read a lot of books. and recommended a lot of them.

books:

her royal highness by rachel hawkins-- this book is a pretty easy read-- don’t expect any massive revelations about life from it, and you’ll have a good time!!! essentially, a bi texan girl named millie, after having her heart broken by her friend-turned-sort-of-gf, goes to boarding school in scotland and ends up rooming with the princess, flora. if this sounds outrageous and sappy, that’s because it is! and i love it! sexuality isn’t a BIG part of this book, but it’s discussed, and it’s just a generally fun enemies-to-lovers story about a bi aspiring geologist and a no-fucks-to-give lesbian princess and them falling in love!

fried green tomatoes at the whistle stop cafe by fannie flagg-- hello this is actually my favorite book! unlike hrh it is... a LOT to read. it essentially follows 2 stories-- one about a housewife named evelyn and her friendship with an old woman named ninny threadgoode who she meets at the old folks home her mother-in-law stays at, and the other about the stories ninny tells her about her sister-in-law idgie and her partner, ruth. the book was published in 1987, and ruth and idgie’s story is set during the great depression, so they aren’t actively labeled as lesbian or bi, but it’s made obvious enough through coding and the fact that ruth has relationships with men prior to idgie while idgie spends her entire childhood pining after ruth. both storylines are fantastic-- they have a lot to say about the lives of southern women in the 30s and 80s, and about race relations at both periods. i’ll warn you that there are depictions of extreme racism and of abuse, but it handles both delicately. it’s a critical piece of southern literature, and a landmark for lgbtq+ storytelling. as a bonus, my copy has a bunch of great recipes in the back, so if you read it you might chance upon an edition with those in it. if you like poignant period pieces about wlw relationships, women losing their damn minds, and abusive men getting what they deserve, this is the book for you! you will sob. this is a fair warning.

you should see me in a crown by leah johnson-- i haven’t personally read this one, but i’ve heard great things about it from everyone i know who has! an anxious black bi girl in indiana has to win prom queen at her mostly-white school in order to get enough scholarship money to go to the college of her dreams, but ends up falling for mack, another girl running for queen.

@landlessbud wanted me to shout out red, white, and royal blue by casey mcquinston-- you’ve almost definitely heard about it before (first son and prince of wales, enemies-to-lovers with a side dish of political drama), and it is primarily about a mlm romance, but nora is a fabulously fun bi girl side character and there’s a lot of great stuff about figuring out your sexuality in it.

leah on the offbeat by becky albertalli-- i’ve read a lot of complex thoughts on this book, and mine are... i like it! it’s flawed, sure, and i wish it had handled a few things a little better, but you know what? it’s cute as fuck! leah is a fat bi drummer, and she’s super cool! abby is a great love interest, and she goes through a whole bi realization throughout the book. all in all, it’s just a fun wlw high school romcom with a couple solid dramatic beats and a lot of goofball shenanigans. also, if you were an american girl kid??? one scene in this book will make the entire experience worth it for you.

harley quinn: breaking glass by mariko tamaki and steve pugh-- hey, we’re in graphic novel territory now! this book is RAD. a really neat look at gentrification, community solidarity, giving people what they deserve, and fantastic lgbtq+ found families. teenage harleen quinzel is taken in by a group of drag queens, and is caught between two sort-of love interests-- mysterious vigilante the joker and classmate and community activist ivy-- and the different forms of protest and resistance they represent. the art here is STUNNING, and it’s a great read!

laura dean keeps breaking up with me, by the great mariko tamaki with art by rosemary valero-o’connell-- the vast majority of the characters are lgbt, with a lesbian main character, and the supporting cast including a bi nonbinary character, a bi girl character, and two mlm characters! this is mostly a piece about modern lgbtq+ teenagers and the way toxic relationships take over our lives. it’s one of the most cathartic things i’ve read in a LONG time, and especially if you’re at a point where your sexuality feels kind of vague, this is a great read because it embraces that vagueness by not needing to clearly label the characters and celebrates whatever point of clarity the characters are at. probably some of the most gorgeous art i’ve ever seen in a book, with a beautiful black-white-and-pink color scheme and a really neat approach to visual storytelling.

movies:

i don’t watch many movies, because i get bored really quickly hskdhskhds. but the movies i DO watch are usually gay!

wowie zowie its fried green tomatoes again!-- fannie flagg came back to adapt this into a film and HOT DAMN is it just as good. the plot is primarily the same, with some stuff obviously cut or trimmed to make it a two hour movie instead of a 450 page books fhsjdhsjhds. mary-louise parker plays ruth!!! it got a GLAAD award and an oscar nomination, and god it’s good. there are a couple scenes in here that i think are going to be in my mind until the day i die. the level of pure butch energy that idgie radiates in this film is a one-hit k.o. and it KILLS me.

birds of prey-- listen. this is not a profound movie. harley’s bisexuality isn’t emphasized, and romance is basically nonexistent in this movie. there is some... quite graphic violence. that said, this movie is so fucking fun. it’s mostly just a bunch of women fucking up everyone who crosses them while margot robbie gives a gleeful performance that you can just TELL she enjoyed the fuck out of. the last 20-30 minutes of this movie are the absolute best part, with a long sequence that kind of reinvented what an action/superhero movie could be for me. again, bisexuality isn’t a massive part of this-- it’s mentioned, and then harley just continues on in her gloriously campy outfits and breaks peoples’ knees. again, i CANNOT overemphasize just how fucking good the last 20-30 minutes are. this movie knows what it is and it embraces it. also, women beating people up in costumes that don’t horrifyingly objectify them is always a plus!

imagine me & you-- i’d be remiss if i didn’t mention this one, considering it’s probably one of the most iconic wlw romcoms. a woman named rachel, while at her own wedding, meets a florist named luce, and they fall in love. it’s a very sweet look at questioning your sexuality when you were already secure in it, and rachel’s husband wins “most genuinely understanding guy in a wlw movie” award. it has a lovely happy ending, and articles have been written about the importance of rachel being a bi character who a) gets a happy ending and b) isn’t shamed for figuring out her sexuality later on or slutshamed. this is just... a sweet movie. it’s the romcom a lot of us need in our lives. also, a LOT of floral imagery.

tv shows:

ok, i’ve got a confession. i reaaaaaaally don’t watch much tv. seriously, the only shows i’ve watched a substantial amount of recently have been parks and rec, schitt’s creek, the good place, and gilmore girls. i have a really REALLY short attention span.

that said, eleanor from the good place is bisexual!! the good place is a really wild ride, it’s half afterlife comedy half philosophical musing, and it will almost certainly make you gasp, laugh, think, and also probably cry. also, eleanor is just buckets of fun and she, like many of us, is often blown away by tahani (jameela jamil) and her beauty.

ummm shows i haven’t watched entirely or at all but that have bi women in them and seem pretty good: black lightning, sex education, jane the virgin, arrow.

if you haven’t already watched it, do not believe what people are going to tell you about watching glee. it will drag you into a pit of despair and white men rapping, and it’s quite biphobic to top it all off.

i hope you enjoy at least some of these!! i tried to include some of my own favs and some that were pointed out to me, so i hope that at least a couple connect with you and make you feel better. again, the bolded ones are my 100% favorites. i love you and i’m glad you reached out again!!! feel free to send some more asks later on <3

#asks #anon #bi anon #ily <3 <3 i hope these help #if anyone wants to add please do!! specifically bi women of color since theres a shortage of them in fiction and media #dont talk abt b/9/9 though id like to not praise diversity in a show glorifying cops

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bella-donna-energy · 5 years ago

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What are some of your favourite lesbian movies & tv shows (books too if you want) that you think are really good and you would recommend to a lesbian looking for good representation?

This is a great question, thank you Anon! There are definitely plenty of lesbian films that are known for how bad they are—cough, Loving Annabelle, cough—but lots of good ones exist, too! Unfortunately, most of them still end with someone dead or the couple torn apart. So, I’ll list the ones with happy endings first.

Imagine Me & You is one of my favorites. It’s probably the closest thing I can think of to a pure, fluffy lesbian rom-com. Lena Headey’s character is the florist at Piper Perabo’s wedding. It’s love at first sight when their eyes meet as she’s walking down the aisle, but neither fully realize the connection until they begin a friendship several weeks later.

The Handmaiden is another one that’s just brilliant. It’s a Korean film about a young woman and thief who is hired to help con a Japanese heiress, but the two start to bond.

I’m gonna out myself here and say that I’m not actually a huge fan of Carol personally, but it is probably one of if not the most iconic lesbian romances out there. It stars Cate Blanchett, who plays a woman unhappily trapped in a marriage who meets Rooney Mara’s character, a retail worker, and has an affair with her. There are some sad moments and there’s a lot of social commentary because it is set in the 40s, but it does have a happy ending.

Reaching for the Moon is particularly important because it’s about the real-life romance between the famous poet Elizabeth Bishop and architect Lota de Macedo Soares. If you don’t know anything about their lives, I’ll warn you the story doesn’t end happily, but it is very impactful.

I just saw Portrait of a Lady on Fire and it’s beautiful, so go see it in theaters if you haven’t already! It’s also a historical one and deals with a lot of social issues.

Mulholland Drive is definitely not for everyone. It’s very abstract and I do not recommend watching it in the middle of the night like I did because nothing will make sense. Maybe it’s not supposed to make sense. But there are lesbians, and it’s the kind of romance where you’re convinced there’s subtext and don’t think it’s going to be more than subtext but then it IS.

I also have to include Fried Green Tomatoes here. It’s been a favorite movie of mine since childhood, and every time I watch it, it gets more gay. While Ruth and Idgie arguably never pursue a romantic relationship (on account of they’re living in 1920s Alabama), there’s plenty of subtext and their bond is the center of the movie. Harold, they’re lesbians. The book (by Fannie Flagg) hides it less, with one of the most well-known quotes “she was as happy as anybody who is in love in the summertime can be.”

Some I haven’t watched but have heard pretty good reviews for are Madchen in Uniform, Vita & Virginia, Tell it to the Bees (though apparently the book is much better and has a better ending), Gia, Disobedience, and Jennifer’s Body.

As for TV shows, literally no show can compare to Sense8. It’s got characters of all different races and nationalities, characters representing every letter of LGBT, monogamous and poly couples, and a great plot besides. Truly a show about human unity. I love it. Euphoria I haven’t seen but features a lesbian couple and is apparently really good. I’m also a big fan of The Bold Type. One of the main characters goes through a lot of questioning about her sexuality, and I love the show’s discussions around the topic of sex in general. I’ve also been recommended Skins and The Fosters. Killing Eve is also a great one.

Books I’m not sure. I honestly don’t read much these days besides fan fiction because I find they have so much more lesbian content. I do love Virginia Woolf, and I know there’s a sequel to the book Love, Simon is based on about Leah coming out as bisexual and dating a girl—Leah on the Off Beat, I think it’s called. But, Fried Green Tomatoes at the Whistle Stop Cafe by Fannie Flagg, and Tell It to the Bees by Fiona Shaw (not that Fiona Shaw).

#kristen’s askbox #this was such an exciting ask to get #i hope you enjoy these recs!

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