A Year in the Hype: Can 'Gilmore Girls: A Year in the Life' Live Up to Expectations?

Ashley K. Petkovski
Lorelai and Rory's "sneakily feminist" eating habits.

Where they lead, we will follow… but what'll we find when we get there?

Gilmore Girls: A Year in the Life

Cast: Lauren Graham, Alexis Bledel, Scott Patterson
Network: Netflix
Airdate: 2016-11-25

To call Netflix's Gilmore Girls: A Year in the Life "much anticipated" is akin to saying matriarch Emily Gilmore (Emily Bishop) is "a little tough" on her maids. Gracing screens across the US over theThanksgiving holiday, the four-episode revival is easily the biggest event of the Fall TV season. No one knows this better than Netflix, which has been over-caffeinating the buzz around Gilmore Girls: A Year in the Life since its official announcement last October, tempting fans with everything from Instagram pics, script previews, and a series of pop-up Luke's Diners across North America.

If the two-hour (plus) lines at faux Luke's are anything to go by, audiences are gleefully lapping up all things Gilmore, and only getting thirstier. There's a distinct difference in the excitement surrounding the beloved drama's resurgence than that of, say, last winter’s Full House reboot. This time, there's no schadenfreude, no mediated expectations. Instead, there’s a palatable feeling that Gilmore Girls: A Year in the Life will do justice to its predecessor, will grow up right and make the Gilmore family proud. The initial reviews have already started pouring in, and they’re by and large glowing. Yet given the shaky track record of revivals and reboots -- and the questionable trailers we’ve seen from the show -- is it realistic to expect that Gilmore Girls: A Year in the Life can actually deliver?

After more than year of small sips, we finally got our first real taste of the new series when the official trailer (below) released last month. As views racked up, the response was -- pun intended -- lukewarm at best. Some fans wept at the second coming, others complained it felt "off"; even more refrained from judging six hours of TV by a two-minute trailer. Whatever one's take, though, being transported to a Stars Hollow that was at once old and new was a strange experience, and not just because Emily was wearing a T-shirt.

The reboot's trailer made one thing clear: Gilmore Girls: A Year in the Life is all about change. It's a scary prospect, especially for a show with such a particular worldview and such a nostalgic appeal. Gilmore Girls is "comfort TV", a warm, dependable, life-affirming blanket spun from clever references, relatable stories, strong women, and small-town charm. Pull the wrong way on any of those threads and the whole thing falls apart, something fans already witnessed when creator Amy Sherman-Palladino left the show before the infamous seventh season (aka, Gilmore Girls: Seek and Destroy).

That's why the fate of Gilmore Girls: A Year in the Life will depend entirely on how it'll negotiate the balance between preserving its original identity and telling new stories, between moving forward and staying the same. If the revival delivers on two key Gilmore non-negotiables, we just might see lighting strike Stars Hollow twice.

What Will They Say?

Gilmore Girls: A Year in the Life needs to rebuild the cocoon of Stars Hollow (and our trust in the series) by sounding like Stars Hollow. Gilmore Girls built its identity on a foundation of intertextuality, a near-constant stream of verbal and visual references that both informed the feeling of the show, and revealed its characters, values, and ideas. By speaking in what Bustle writer Caitlin Gallagher called "utterly outdated and wacky references", Gilmore Girls used a blend of high and low culture, of alienation and inclusion to inform and attract audiences in a way no show has done since The Simpsons. The constant name-dropping, delivered with a precise tone and perspective (often more scathing than we remember), made the Gilmores smarter, worldier, and quirkier than the competition. In less capable hands, the citizens of Stars Hollow could have been detestable snobs. Instead, the careful mix of references made the Girls both approachable and admirable; the sheer volume of namedrops at once reassuring us that we wouldn't always get the joke, and rewarding us when we did.

Gilmore Girls: A Year in the Life needs to nail this careful use of references to protect the identity of the show, to make Gilmore Girls: A Year in the Life feel like Gilmore Girls. What we've seen so far, however, is rightfully making some fans nervous. Remember when Rory once called Gwen Stefani and Gavin Rossdale a classic couple in a show where Old Hollywood was always the blueprint for romance? It was about as awkward and off-brand as that time Rory wore a powder blue turtleneck sweater to a Distillers concert… or that time Rory went to a Distillers concert. Any time Gilmore Girls tried to be too contemporary, too popular, too marketable, or even too alternative, it destabilized that warm and fuzzy, yet intimidatingly, hip Stars Hollow feeling.

That’s why Netflix's very first reveal of Lauren Graham (Lorelai Gilmore) and Alexis Bledel (Rory Gilmore) back in character was wonderfully familiar and kind of funny, but all kinds of blue turtleneck wrong. They look like our girls, scarfing Pop-Tarts in their underutilized kitchen, but they sound like overwhelmed male network execs desperately trying to remind us of how feminist-y and zeitgeist-y the original series was by namedropping Google and Amy Schumer (and, let's not forget, ruining the clip's only tonally appropriate reference by having Lorelai question whether John Oliver would find her hot).

Like International Grab Bag Night at Al's Pancake World, the clip set us up for disappointment. So, when the official trailer gave us nothing meatier than Ben Affleck, Tori Spelling, and Jack Kerouac in a show that used to give us Grey Gardens, XTC, and strolling down Swann's Way, it still fell short of delivering the classic Gilmore tone. The bite and the punch are there -- if you need convincing, check out the first page of the first scene -- but Gilmore Girls: A Year in the Life needs to avoid being too topical, too current, and too desperate to remind us that it's 2016 if it wants to recapture that old Stars Hollow magic.

What Will They Eat?

In a September interview with Entertainment Weekly, Graham called Gilmore Girls "sneakily feminist". Although the actress was commenting on the "Which boyfriend will Rory choose" dilemma, the show's subtle (and not-so-subtle) pro-women messages informed nearly every detail of Stars Hollow life. At its best, Gilmore Girls was a respite from traditional gender norms, audiences could escape to where reading was sexy, women were the boss, and dessert was always on the menu. That's why staying true to the show’s integral feminist identity won't depend on the Gilmore Girls' relationships with men, but rather on their all-important relationship with pie.

Anyone familiar with the show knows the Gilmore universe is synonymous with comfort food, usually presented in "smorgasbordian" quantities. Seeing women celebrate food, eat with abandon, and never, ever discuss their bodies (regardless of the size of those bodies), was revolutionary stuff. Then again, the early '00s were a simpler time for our palates. We hadn't yet become intolerant of anything not sold at Whole Foods, and movie popcorn and pie were "sometimes foods" as opposed to the harbingers of all human suffering that they are today. Gilmore Girls: A Year in the Life will be eating in a culture where Mrs. Kim's (Emily Kuroda) tofu salad can make her a bankable food blogger, and the relationship between women, food, and bodies is more volatile than ever. That's exactly why the Gilmores need to eat like it’s 2003 all over again.

Seeing skinny, sexy women eat so many verboten foods without a trace of reticence remains a revelation; it's sneakily feminist feminism in its finest form. By making its heroines marathon eaters, Gilmore Girls forced us to watch women commit the incredibly rare act of consuming something other than salad, and no one was allowed to guilt them, judge them, or deny them their hunger. Their critics -- mostly diner owner Luke Danes (Scott Patterson) -- never won. No one was allowed to shame a Gilmore Girl for ordering fries. The show pushed the boundaries of what was considered acceptable televised female behaviour, transgressing and utterly destroying the good food equals good body equals good person equation that has become such a defining part of how we think about women in 2016.

Nor did this stereotype-shattering stop with the Gilmores. Women in Stars Hollow came in all shapes and sizes, but not one female character had body issues or derived worth from food choices or clothing size. Although the show's plus-sized characters didn't dine with the same abandon (partly to avoid fat-shaming stereotypes, and partly because smaller bodies could get away with a bigger point), their bodies were still allowed to be "good". They were allowed to feel love, be loved, be sexy, eat, love food, have friends, be successful, enjoy life, and even wear the exact same clothes as their straight friends -- all without the caveat of hating their bodies or "working on themselves" to earn camera time, like we’d see Sookie St. James portrayer Melissa McCarthy do on her problematic post-Gilmore series, Mike and Molly.

Gilmore Girls: A Year in the Life can be a desperately needed pie in the face to our toxic, non-toxic food culture, once again becoming the only show breaking down the prejudices about how women should behave and how we should think about our bodies. Judging by the trailer and script preview, Sherman-Palladino clearly has something to say about the "Goop"-ification of today’s eating habits. So far, it smells promising, but if one of the changes Gilmore Girls: A Year in the Life makes is to the Girls' legendary appetites, Gilmore Girls will become just another show that punishes women for not eating their kale, undoing seven seasons of sneakily feminist feminism and leaving a bad taste in the mouths of the thousands of viewers who will be tuning in with Thanksgiving leftovers and, obviously, another slice of pie.

Until then, the Gilmore Girls revival will continue to tease us, toy with our expectations, make us nervous, and ultimately make us unbearably excited for its return. Come 25 November, we'll all have a different take on the events of the show -- Not enough Paris (Lisa Weil)! Too much April (Vanessa Marano)! What's up with Kirk's (Sean Gunn) beard? -- but the only thing that really matters, that'll really make or break the audience's nostalgia-filled hearts, is whether Gilmore Girls: A Year in the Life will remain true to what defined our favourite little corner of the world.

Then again, even if the reboot throws the entire series under the bus, there's still one comfort we can fall back on: Unless Netflix finds a way to cast Ray Romano as Lorelai's new love interest at the last minute, Gilmore Girls: A Year in the Life will at least never be as brutally unrewarding as Parenthood.

Ashley K. Petkovski is a Toronto-based writer. She can be found yelling at the TV on her blog, Bad Bangs Club.


The Best Metal of 2017

Painting by Mariusz Lewandowski. Cover of Bell Witch's Mirror Reaper.

There's common ground between all 20 metal albums despite musical differences: the ability to provide a cathartic release for the creator and the consumer alike, right when we need it most.

With global anxiety at unprecedented high levels it is important to try and maintain some personal equilibrium. Thankfully, metal, like a spiritual belief, can prove grounding. To outsiders, metal has always been known for its escapism and fantastical elements; but as most fans will tell you, metal is equally attuned to the concerns of the world and the internal struggles we face and has never shied away from holding a mirror up to man's inhumanity.

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In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Two recently translated works -- Lydie Salvayre's Cry, Mother Spain and Joan Sales' Uncertain Glory -- bring to life the profound complexity of an early struggle against fascism, the Spanish Civil War.

There are several ways to write about the Spanish Civil War, that sorry three-year prelude to World War II which saw a struggling leftist democracy challenged and ultimately defeated by a fascist military coup.

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Beware the seemingly merry shades of green and red that spread so slowly and thickly across the holiday season, for something dark and uncertain, something that takes many forms, stirs beneath the joyful facade.

Let's be honest -- not everyone feels merry at this time of year. Psychologists say depression looms large around the holidays and one way to deal with it is cathartically. Thus, we submit that scary movies can be even more salutary at Christmas than at Halloween. So, Merry Christmas. Ho ho ho wa ha ha!

1. The Old Dark House (James Whale, 1932)

Between Frankenstein (1931) and The Invisible Man (1933), director James Whale made this over-the-top lark of a dark and stormy night with stranded travelers and a crazy family. In a wordless performance, Boris Karloff headlines as the deformed butler who inspired The Addams Family's Lurch. Charles Laughton, Raymond Massey, Gloria Stuart, Melvyn Douglas and Ernest Thesiger are among those so vividly present, and Whale has a ball directing them through a series of funny, stylish scenes. This new Cohen edition provides the extras from Kino's old disc, including commentaries by Stuart and Whale biographer James Curtis. The astounding 4K restoration of sound and image blows previous editions away. There's now zero hiss on the soundtrack, all the better to hear Massey starting things off with the first line of dialogue: "Hell!"

(Available from Sony Pictures Home Entertainment)

2. The Lure (Agnieszka Smoczynska, 2015)

Two mermaid sisters (Marta Mazurek, Michalina Olszanska) can summon legs at will to mingle on shore with the band at a Polish disco, where their siren act is a hit. In this dark reinvention of Hans Christian Andersen's already dark The Little Mermaid, one love-struck sister is tempted to sacrifice her fishy nature for human mortality while her sister indulges moments of bloodlust. Abetted by writer Robert Bolesto and twin sister-musicians Barbara and Zuzanna Wronska, director Agnieszka Smoczynska offers a woman's POV on the fairy tale crossed with her glittery childhood memories of '80s Poland. The result: a bizarre, funy, intuitive genre mash-up with plenty of songs. This Criterion disc offers a making-of and two short films by Smoczynska, also on musical subjects.

(Available from Criterion Collection / Read PopMatters review here.)

3. Personal Shopper (Olivier Assayas, 2016)

In the category of movies that don't explain themselves in favor of leaving some of their mysteries intact, here's Olivier Assayas' follow-up to the luminous Clouds of Sils Maria. Kristen Stewart again plays a celebrity's lackey with a nominally glamorous, actually stupid job, and she's waiting for a sign from her dead twin brother. What about the ghostly presence of a stalker who sends provocative text messages to her phone? The story flows into passages of outright horror complete with ectoplasm, blood, and ooga-booga soundscapes, and finally settles for asking the questions of whether the "other world" is outside or inside us. Assayas has fashioned a slinky, sexy, perplexing ghost story wrapped around a young woman's desire for something more in her life. There's a Cannes press conference and a brief talk from Assayas on his influences and impulses.

(Available from Criterion Collection / Reader PopMatters review here.

4. The Ghoul (Gareth Tunley, 2016)

The hero (Tom Meeten) tells his therapist that in his dreams, some things are very detailed and others are vague. This movie tells you bluntly what it's up to: a Möbius strip narrative that loops back on itself , as attributed to the diabolical therapists for their cosmic purposes. Then we just wait for the hero to come full circle and commit the crime that, as a cop, he's supposedly investigating. But this doesn't tell us whether he's really an undercover cop pretending to be depressed, or really a depressive imagining he's a cop, so some existential mysteries will never be answered. It's that kind of movie, indebted to David Lynch and other purveyors of nightmarish unreality. Arrow's disc offers a making-of, a commentary from writer-director Gareth Tunley and Meeten along with a producer, and a short film from Tunley and Meeten.

(Available from Arrow Video)

​5. The Illustrated Man (Jack Smight, 1969)

When a young man goes skinny-dipping with a mysterious stranger (Rod Steiger) who's covered with tattoos, the pictures comes to life in a series of odd stories, all created by Ray Bradbury and featuring Steiger and Claire Bloom in multiple roles. Nobody was satisfied with this failure, and it remains condemned to not having reached its potential. So why does Warner Archive grace it with a Blu-ray? Because even its failure has workable elements, including Jerry Goldsmith's score and the cold neatness of the one scene people remember: "The Veldt", which combines primal child/parent hostilities (a common Bradbury theme) with early virtual reality. It answers the question of why the kids spend so much time in their room, and why they're hostile at being pulled away.

(Available from Warner Bros.)

6. The Hidden (Jack Sholder, 1987)

In one of my favorite action movies of the '80s, a post-Blue Velvet and pre-Twin Peaks Kyle MacLachlan plays an FBI agent who forms a buddy-cop bond with Michael Nouri while pursuing a perp -- a bodiless entity that plugs into the human id. In the midst of slam-bang action comes a pivotal moment when a startling question is asked: "How do you like being human?" The heart of the movie, rich in subtext, finds two men learning to embrace what's alien to them. In pop-culture evolution, this movie falls between Hal Clement's novel Needle and the TV series Alien Nation. On this Warner Archive Blu-ray, Sholder offers a commentary with colleague Tim Hunter.

(Available from Warner Bros.)

7. Twin Peaks: Fire Walk With Me (David Lynch, 1992)

Speaking of Twin Peaks, here we have a textbook example of a movie that pleased almost nobody upon its release but has now generated such interest, thanks in large part to this year's Twin Peaks revival, that it arrives on Criterion. A feature-film prequel to David Lynch and Mark Frost's original TV serial that answered none of its questions and tossed in a raft of new ones, the film functions as one of cinema's most downbeat, disruptive and harsh depictions of a middle-class American teenage girl's social context. Sheryl Lee delivers a virtuoso performance that deserved the Oscar there was no way she'd be nominated for, and she wasn't. The extras, including a 90-minute film of deleted and alternate takes assembled by Lynch, have been available on previous sets.

(Available from Criterion Collection)

8. The Green Slime (Kinji Fukasaku, 1968)

Incredibly, Warner Archive upgrades its on-demand DVD of a groovy, brightly colored creature feature with this Blu-ray. As a clever reviewer indicated in this PopMatters review, what director Kinji Fukasaku saw as a Vietnam allegory functions more obviously as a manifestation of sexual tension between alpha-jock spacemen competing for the attention of a foxy female scientist, and this subconsciously creates an explosion of big green tentacled critters who overrun the space station. While we don't believe in "so bad it's good," this falls squarely into the category of things so unfacetiously absurd, they come out cool. There's a sublimely idiotic theme song.

(Available from Warner Bros.)

If the idea is that earth, water, fire, air and space constitute the core elements of life, then these five songs might seem as their equivalents to surviving the complications that come from embracing the good and enduring the ugly of the Christmas season.

Memory will never serve us well when it comes to Christmas and all its surrounding complications. Perhaps worse than the financial and familial pressures, the weather and the mad rush to consume and meet expectations, to exceed what happened the year before, are the floods of lists and pithy observations about Christmas music. We know our favorite carols and guilty pleasures ("O Come All Ye Faithful", "Silent Night"), the Vince Guaraldi Trio's music for 1965's A Charlie Brown Christmas that was transcendent then and (for some, anyway) has lost none of its power through the years, and we embrace the rock songs (The Kink's "Father Christmas", Greg Lake's "I Believe In Father Christmas", and The Pretenders' "2000 Miles".) We dismiss the creepy sexual predator nature in any rendition of "Baby, It's Cold Outside", the inanity of Alvin and the Chipmunks, and pop confections like "I Saw Mommy Kissing Santa Claus".

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