1. American Graffiti Abroad
My wife and I started watching Gilmore Girls in Helsinki when our first daughter was a toddler. My wife is Finnish, and the show has been with us through the childhoods of all four of our kids.
For better or worse, American high school is now an international experience, shared around the world. My three daughters and one son are all in Finnish grade school or preschool, but many of the rituals of teen America have already entered their imagination, just as they entered mine when I was a boy in Seattle and D.C. Helsinki mean girls operate differently from Hollywood’s Mean Girls, yet the movie helps frame the concept of teen cruelty here, just as Heathers and The Virgin Suicides help frame international views of why teens kill themselves. My own kids, from their distant Nordic nook, love Ferris Bueller and Willow Rosenberg, and they’re primed for American-flavored teen adventures they might never have.
Out of all the teenagers Hollywood has launched overseas, Rory Gilmore — the main character of Gilmore Girls — is the one I like best, at least in her high school years. It’s not just that she’s smart and fiercely dedicated to literature and learning. The teenage Rory has her weak points: her mistreatment of Dean, her self-absorption, her cluelessness about some of her impulses. In general, though, she maintains a core of common decency and fair play while facing off against a series of narcissistic little tyrants. The show’s central joke is the comedy of the bookish and reasonable Rory holding her own against people who bully everyone around them.
2. The Dorothy Parker Reader
Across the Internet you can find lists of all the books Rory read or talked about over the series’ seven seasons, which originally ran between 2000 and 2006. The lists conjure up not so much the millennial preferences of Rory’s generation as the Baby Boomer preferences of the series’ talented creator, Amy Sherman-Palladino. The novels are almost all safe, traditional choices, from Madame Bovary and Moby Dick to The Metamorphosis and Ulysses.
If Rory’s literary leanings tend to be old-fashioned, they reflect a larger retrograde bent in the series. As Rahawa Haile has deftly documented, the show reserves almost all its speaking roles for white actors, and compounds the problem by casting actors of color mainly as silent tokens. The town of Stars Hollow has less cultural variety than the bridge of the Starship Enterprise, and Rory’s classics-oriented reading choices can’t even make room for, say, The Tale of Genji or The Blind Owl. While Finland doesn’t have quite the same culture wars as the U.S., it faces similar problems with the rise of rightwing hate groups, and the overwhelming whiteness of Stars Hollow — like the whiteness of the casts in Buffy the Vampire Slayer and Dawson’s Creek — now looks more obtuse and offensive with each passing year. When I watch Gilmore Girls these days, Rory’s fixation on famous old novels by famous old authors feels less quaint and more ominous — more like a reinforcement of Europe’s new line of bigoted and belligerent reactionary nationalists.
Still, I’m wary of generalizing about the ways Europeans absorb U.S. films and TV shows, because America’s influence cuts in so many different and contradictory directions here. From a Nordic perspective, for instance, it’s obvious that Rory would join most Finns in opposing the EU’s current assortment of jingoist demagogues, and would fight back against the attempts of those demagogues to use her favorite authors for their narrow political purposes. Also, Gilmore Girls is popular in Finland in part because this is a nation of readers, and I know two young Helsinki journalists who — despite their anger at America for our military and economic activities — found Rory’s love for books an inspiration when they were growing up.
After all, how many other TV teenagers can convince you they’ve not only read Anna Karenina and Swann’s Way but have made their reading a part of their decisions and their personality? Rory’s books aren’t just fashion accessories, as they are with most TV characters. Her relationship with Jess turns on him filching her copy of Howl and then proving he can catch the Charles Dickens reference she makes (“Dodger”). At the same time, we see some of the limits of her connection with Dean when she tries to teach him how to read Leo Tolstoy.
More broadly, her devotion to the writing of Dorothy Parker sharpens Rory’s natural ear for snappy dialogue — and this isn’t simply an aesthetic preference but the key to her entire approach to life. She values good talk because she values the ability to connect with other people and to have them connect with her. The contrast between Rory’s sleepy-eyed manner and her Parker-like flair for keeping a conversation in play is a major part of the show’s appeal. Her closest friendships — with Lorelai, Lane and Paris — are built on quick, casual banter. The jokes aren’t laboriously set up for a punchline in the old sitcom style. They dart along, one after another, easy and light and always moving on. Trying a video game with Lane, Rory says: “So this is what teenage boys are doing instead of watching television? Seems like a lateral move.” When Rory reacts to a comment from Lane by saying, “Sarcasm does not become you,” Lane answers, “No, but it does sustain me,” and keeps talking. In season three, Lorelai tries to suss out the degree of Rory’s interest in Jess: “Okay, now let’s say he’s in the house and there’s a fire, and you can save either him or your shoes — which is it?” Rory hedges, saying: “That depends. Did he start the fire?” Rory and Lorelai can’t stand together at a checkout line without slipping into their usual patter:
Lorelai: I hate crossword puzzles. They make me feel stupid.
Rory: Then don’t do them.
Lorelai: But if you don’t do them, you’re not only stupid—you’re also a coward.
Rory: Or you’ve got better things to do with your time.
Lorelai: You think people buy that?
Rory: The people who line up on a daily basis and ask you if you do crossword puzzles and then when you say no, challenge you as to why? Yes, I think they will buy it.
Lorelai and Rory are, famously, best friends as well as mother and daughter. Their friendship has its problems, but at its heart is the pleasure of their conversations. They’re bound to each other by language, their feel for the rhythms of each other’s phrases. Gilmore Girls belongs to the tradition of the great screwball comedies, films like Bringing Up Baby and Talk of the Town: the skill of the writing is largely in the lightness of the touch.
3. Early Rory
Lauren Graham plays Rory’s mother to perfection: she makes Lorelai wickedly charismatic. Driven and resourceful and a bit devilish, Lorelai typically sports a big knowing grin that’s up for all kinds of mischief. She takes command of the series 30 seconds into the first episode, when she looks at diner owner Luke Danes with the profound desire of someone who needs her next cup of coffee and will stop at nothing to get it. She’s a treat, and she brings a delirious energy both to her work as an innkeeper and to her love for Rory.
Yet she’s also a bit of a monster. She insists that Rory tell her everything, and places practical and emotional demands on her daughter that would break many children. Pregnant at 16, Lorelai ran away from her rich parents and rich boyfriend to raise Rory on her own. Lorelai envisions Rory’s future as a rebuke to the privileged Gilmore background — though another of the show’s nice comic touches is its recognition of how much this background defines Lorelai and Rory, and how heavily they still rely on it. Lorelai has encouraged Rory’s childhood dream of going to Harvard, and together they’ve built Rory’s life around reaching that dream.
It’s a potentially ugly situation for Rory, especially since Lorelai has a habit of bending others to her will. As Rory, Alexis Bledel lacks Lauren Graham’s I-can-do-anything-I-want-with-a-line acting chops, but her unnervingly serene demeanor brings something original to the mix. She’s quietly compelling when she spars with her mother, and usually acts like the adult in the relationship. Lorelai, with her playful eat-the-world smile, is like an insanely cheerful cartoon character turning the barrels of a Gatling gun, shooting out swirls of rapid-fire sentences and mowing down anyone in her path. Rory is less overwhelming, but she knows how to put forward her opinions. In her low-key fashion, she refuses to let her voice get lost in the onslaught of Lorelai’s presence. She’s much tougher than people assume, and this makes listening to her a constant pleasure.
Rory prefers to work things out, to understand the other person’s position and find a shared solution. Lorelai’s nature is simply to push and push until she gets what she wants, even if it often turns out she doesn’t want what she gets. During the first three seasons of the show, when Rory is a student at the pricey private school Chilton, Lorelai and she bring out the best in each other. If Lorelai is a great mother — one of the most complex and intriguing parents on television — she owes part of her success to Rory’s strength of character. Not every child would’ve prospered under the Lorelai Gilmore regime.
4. Occupying Paris
In high school, as Rory goes from bewildered outsider to top student, we see her at her best. Standing up to her mother has taught her how to stand up to the other megalomaniacs she meets: most notably, the immortal Paris Geller.
My kids are wild about Paris, and they’ve got a point. Paris is so mercurial—and Liza Weil inhabits the role with such virtuosity—that the character delivers comic bliss. Paris alternates between self-aggrandizement and self-hatred, between feeling superior to everyone and feeling crushed by her own inadequacy. She has a dazzlingly unhinged compulsion to scold people, and to control their every thought and deed.
As editor of the Chilton newspaper, Paris tries to sabotage Rory by giving her a lame assignment, a piece on repaving the school parking lot. Rory buckles down and does a good job on the article, and then confronts Paris directly. With calm force she explains that nothing Paris does will make her quit the paper. It’s the turning point in their relationship. Able to strike sensible compromises and work well in hostile circumstances, Rory also shows she can fight back when Paris is malicious or unreasonable. Bit by bit, Paris is impressed, and eventually becomes one of Rory’s best friends.
Rory’s success with Paris mirrors her success with the other little dictators in the series, like her charming but domineering grandparents Emily and Richard, and the pompous Stars Hollow autocrat Taylor Doose. (It’s easy for Europeans to imagine that if Taylor were French he’d be a Marine Le Pen supporter, and if he were Danish he’d vote DPP.) In situation after situation, Rory demonstrates the strength behind her decency, the ability to defend herself and assert her viewpoint while winning over those who at first want to control or hurt her. She lives out a fantasy of good faith—of a world where understanding beats aggression, and where intelligence and compassion defeat unfairness and cruelty.
5. The Corleone Connection
Gilmore Girls is full of references to The Godfather, and Lorelai and Rory quote from the film repeatedly. The first three seasons of the show set up the possibilities for Rory’s future so we can watch her, in seasons four through six, grow increasingly unbalanced and misguided. She’s the Stars Hollow version of Michael Corleone: she changes from a fresh and appealing college student to someone who has lost her way, becoming a dark and negative image of her former self. In season five she drops out of Yale, cuts off contact with Lorelai, and devotes her time to Emily’s social circles and a relationship with the rich and creepy Logan. The change is nightmarish to watch, because we can see our own bad decisions in her, and our own fears about what we might become. Even after she returns to Yale, she keeps dating Logan, and it’s clear she still hasn’t fully come out of the crisis that started when Logan’s father told her she doesn’t have what it takes to be a journalist.
Because of a contract dispute, Sherman-Palladino left the series before its seventh and final season, and she was never able to finish Rory’s story. Now, thanks to the show’s popularity on Netflix, Sherman-Palladino has had the chance to make Gilmore Girls: A Year in the Life, a revival in four 90-minute parts. She’s gone back to her original conception, and to her old plans for Rory. The revival is ambitious, and compared to the series, it places the emphasis much more on drama than on comedy.
The Rory we now find, 10 years after we last saw her, is slowly disintegrating, and we follow her as she falls apart. Her journalism career has stalled, and she seems to have lost the ability to finish an article or even pitch an idea. Some reviewers have blasted Rory for her lack of professionalism, but we know from her years on the Yale Daily News that the mistakes she’s making aren’t due to ignorance or stupidity. She’s sabotaging herself, and part of her knows it while part of her denies it.
At the same time, she’s carrying on a degrading affair with Logan, who’s engaged to someone else. The revival takes pains to show that Rory’s view of Logan is a fantasy, a damaging illusion. The long party sequence with Logan and his friends is a dream: at the start, a sign magically changes from the word “Flowers” to the word “Tonight,” and the sequence closes with Rory caught in a burlesque of Dorothy’s farewells in The Wizard of Oz. This is the Logan she wants to believe in, a Gatsby/Kennedy hybrid who would care enough to give her a final night of Jazz Age entertainment. The real Logan is much colder: he lets Rory break things off with him over the phone and simply goes on with his life. Always polite, always superficially concerned, he can’t be bothered to make much of an effort with her.
The revival’s last four words, which Sherman-Palladino always planned to use for the final scene of the series, turn out to be chilling. Rory says she’s pregnant, and since the baby is probably Logan’s, the effect is grim. Rory’s transformation is complete. The girl who planned to leave Stars Hollow and become an overseas correspondent is gone, replaced by this eerie ghost-Rory who might never find her way forward again.
The ending isn’t hopeless. Rory has started writing a book about her relationship with her mother, Chilton has proposed a job for her as a teacher, and her connection with Lorelai is strong. You can picture a happy future for Rory, if you want. Still, the overall mood of the revival is bleak, and the darkness that always hovered behind the comedy of Gilmore Girls has now swallowed everything else.
This makes the revival very much a show for our time. We’ve all sensed it, of course, these past few years: the feeling of disaster in the air, of violence and anger and a rampant, all-devouring bad faith. This isn’t an era when people like Rory flourish. Instead, they tend to fall into self-doubt and self-destruction, and to become as narcissistic and manipulative as the culture around them. Rory has always carried her share of flaws. We all do. If we don’t like what we see in her these days, it’s because Sherman-Palladino has been pitiless about showing what can happen to us when we go bad. The Gilmore Girls revival is an odd, somber way to end a series that built its reputation on quick-witted comic brio. Sherman-Palladino has shifted us from the realm of Dorothy Parker to the scarier and more disorienting realm of Jean Rhys — and the revival makes Rory’s teen years now look heartbreaking in their wasted promise.
A new edition of Voltaire’s Candide with a cover by Chris Ware came out a few months ago. At the time, it was announced that there would other books in this series with covers by other famous artists, and I’ve been waiting to see them ever since. The other other day Penguin’s Summer 2006 catalog arrived, and I was excited to see that the covers are in there. I was going to wait until the pictures were up online somewhere before posting them, but it was taking too long, so I scanned them. Candide is already out, the rest are out on March 28:Fairy Tales by Hans Christian Andersen, Cover by Anders NilsenThe New York Trilogy by Paul Auster, Cover by Art Spiegelman Cold Comfort Farm by Stella Gibbons, Cover by Roz ChastThe Portable Dorothy Parker, Cover by Seth The Jungle by Upton Sinclair, Cover by Charles BurnsCandide by Voltaire, Cover by Chris WareSee the full-size pictures hereUpdate: See Part Two