Gilmore Girls: A Year in Life (SPOJLERI!)

Kinder Lad wrote:pa i to je promena. ne, sveukupno, imali su dovoljno vremena da uhvate promenu zajtgajsta i uspeli su. Svi glavni likovi iz prvih sedam sezona, osim Luka i Dzesa, su mracniji, barem za tratincicu.

In Gilmore Girls: A Year in the Life, however, Emily is given a Clinton-era makeover. She has not, you may be glad to learn, exchanged her classic Chanel for those dreadful pantsuits, but she is recast as a Woman Who Lived In The Shadow of a Man. As if the pallor of great wealth ever makes one truly uncomfortable. I should say that Mean Emily is reanimated briefly, after we watch five hours of her decomposing liberal corpse. The final episode sees her, now a widow, as a docent in a Nantucket whaling museum, where she describes the violent slaughter of great mammals with joy. This is my favourite bit. We can easily imagine Hillary performing a similarly meticulous description of Gaddafi’s death at a future George Patton Museum installation.

As for Rory, well, she can go and fuck herself. What a vile, entitled idiot whose daddy issues could be easily overcome if only she cashed in her frequent flyer miles—she travels from Heathrow to JFK every week to covertly pork her Ivy League inamorato—and engaged a therapist. But, what might we expect from one raised by Lorelai, who takes her partner Luke’s trust fund and uses it to fulfil her own dream to build a humble luxury day spa?

William Murderface wrote:

As for Rory, well, she can go and fuck herself. What a vile, entitled idiot whose daddy issues could be easily overcome if only she cashed in her frequent flyer miles—she travels from Heathrow to JFK every week to covertly pork her Ivy League inamorato—and engaged a therapist. But, what might we expect from one raised by Lorelai, who takes her partner Luke’s trust fund and uses it to fulfil her own dream to build a humble luxury day spa?

What are we to do with these sweeping changes of character? We could posit that Rory’s professional indifference is the result of burnout or honest failure, but A Year in the Life offers no indication that she ever had a real career to burn out from, or that she was ever working toward concrete goals to begin with.
We might suppose that Sherman-Palladino wanted, understandably, to write the final-season arc she never had a chance to write, and did so at the cost of Rory’s character consistency.
Or we could assume that, despite what we were led to believe during Gilmore Girls’ original run, Rory genuinely never had the ambition, nor the drive, nor the talent, nor the passion to actually become a journalist. That’s a miserable way to view Rory; it’s a read that paints her actions throughout all seven seasons as being motivated primarily by her need for external approval and a wish to please others, rather than to heed her own wants.
Viewed through this lens, her success throughout the show becomes primarily an object lesson in millennial entitlement. Rory becomes a stereotype — a prematurely talented wunderkind whose belief in her own extra-specialness failed to prepare her for the harsh reality of real work in the real world; who ends up moving back home and relying, if only temporarily, on her harder-working parent for support.