Road to Gilmore Girls: Trailer of Melancholy
I love the way the fans are being treated with the Gilmore Girls revival. There is a treat every other week. It’s kind of ironic, because wild horses couldn’t drag these fans away.
And this trailer delivers all the goods. Every face you wanted to see, right? There’s Logan! There’s Taylor! There’s OMGJess! There’s Lane, there’s Paris, there’s Kirk(!?), there’s Gypsy, even…
…and now I say ‘enough already’.
I’ve been struggling a lot with watching broadcast network shows this fall. Even though shows like This Is Us and Pitch are aimed squarely at me, we have evolved as viewers in the past decade (I’ll elaborate more on these soon). Shows are different. They’re much more sophisticated, of course, and give audiences much more credit – but they go at a different pace.
Gilmore Girls is of a different time. I’m enjoying my rewatch and also enjoying watching Lainey watch for the first time – but the sophisticated parts of the show, the ones that were ahead of its time—they come piecemeal, because they can afford to. Because 22-episode seasons were the way they were.
So, just as I wrote in February, back when Melissa McCarthy said no one asked her back to Stars Hollow, I want the revival to spend time on what matters. That moment when Lorelai and Rory are crying at the funeral, and you marvel that, years later, their eyes are still the same shade of blue… I will take that over Sookie splooging all over the kitchen—even though I know how much more effort went into the latter.
Ultimately, I don’t care about Taylor. Like Lorelai, I want to skip the town tour. Call it blasphemy if you must.
None of this feels happy. All of this, even Michel’s gold MacBook, feels melancholy. And that’s exactly what I do care about.
I care about Rory always trying to be a little less rigid and Lorelai always realizing, in retrospect, that maybe she should have been. I care about Emily, and what doesn’t spark joy, and that she doesn’t know how to ‘do’ this (I had a fleeting moment of vomit-glee when I hoped 'this' was therapy). It’s more important that these women reconcile their still-evolving feelings with money and men and the loss of Richard Gilmore (and, if I’m not wrong, no eyes on Christopher?) and what it means to be rootless or unsettled, a decade or more after you ‘follow your dream’.
The whimsy and the escaped pigs and even, one could wager, First Ladies, are just the decorations – the juice of this show has always been in how the hard stuff doesn’t ebb away even if you have endless food and coffee, the roles we write for women and what we’re supposed to do when they’re not enough, and how the people who love you also want more from you than you think you can give, sometimes.
Maybe the show does fit into our modern era, after all.