By the end of the episode, Lorelai has received what she said she wanted – she and Max have taken a break from their relationship. Moreover, she doesn’t need to feel guilty as it was he who asked for some space to think things through. And she shouldn’t feel rejected either, as Max has indicated he really does like her, but that things have become too complicated for him.
Of course getting her wish does nothing to make her feel better, and leaves her heartbroken. To her credit, Rory comforts Lorelai in her misery, even though Lorelai has treated her really badly as well during this episode. Hopefully she apologised to Rory off-screen, as we never see her do so on the show.
MAX: I’m the one that started the kiss.
LORELAI: And I’m the one that knocked it up to NC-17.
In the US, a rating of NC-17 means that a film is not suitable for children, and nobody aged 17 or under will be admitted to a movie theatre. It replaced the X-rating on films in the 1990s.
Lorelai is saying that their kiss is something the children shouldn’t have been allowed to see.
LORELAI: I freaked out. I’m so sorry. I never meant to treat you like that; I’m not very good at this, ask Skippy.
When she apologises to Max for the awful way she treated him, she mentions Skippy the hamster, that she abandoned rather than care for. Skippy was also treated appallingly, and Lorelai recognises that the hamster is symbolic of the way that she tends to dump people rather than deal with any problems in the relationship.
Sookie and Jackson have been shown doing nothing but bicker over the quality of his produce since the start of the show. In the conventions of romantic comedy, when two people keep arguing “like an old married couple”, the audience knows they are destined to be together some day.
Sookie is genre-savvy enough to know that the person she has been bickering with must be her romantic destiny: Jackson even acted like a jealous lover when Sookie checked out somebody else’s fruit. She takes immediate action, showing that she really is quite the relationship expert.
Her choice of Jackson is a practical one for another reason: she said she didn’t have time to meet people as she was so busy at the inn, so it makes sense for her to ask out someone she knows through work.
It is notable that while Sookie is always interested in Lorelai’s potential relationships, and gently pushes her toward Luke (her obvious romantic destiny in the show), Lorelai doesn’t reciprocate. She’s never said anything to Sookie except to grumpily tell her that as a long-term single, her opinion on relationships is worthless, and has never given her the tiniest nudge towards Jackson, who they both see nearly every day.
PARIS: I do like Mr. Medina.
RORY: Well I’d take some dance lessons ’cause the way you express yourself needs a little work.
Rory is referring to interpretive dance – a modern dance style which seeks to express human emotions through the medium of dance. The style was pioneered by Isadora Duncan around 1900.
This is the book that Rory is reading in the school cafeteria just before she confront Paris about the the gossip she has been spreading about Lorelai and Max.
New Poems of Emily Dickinson, edited by William H. Shurr and others, presents 500 new poems that were found embedded in Emily Dickinson’s correspondence. The book was first published in 1993, and republished in 1999.
This isn’t the textbook that the English Literature class used to study Emily Dickinson, and that assignment is over anyway. It shows that Rory continues to follow up and expand on things she learns at school for her own interest and satisfaction – one sign of an excellent student.
EMILY: A mistake? A mistake? Is that what you call it – a mistake?
LORELAI: Well I tried to call it “Al” but it would only answer to “mistake”.
Lorelai is referencing the 1986 pop song You Can Call Me Al by Paul Simon. The song was the lead single from his hit album Graceland, which won the Grammy Award for Best Album the following year.
The song’s lines about the narrator calling the woman Betty while she can call him Al was inspired by a party he attended with his then-wife, Peggy Harper. A French guest misheard Paul’s name as “Al”, and his wife’s as “Betty”. However the song is about a midlife crisis which becomes a cultural crisis and spiritual redemption when he goes to Africa, as Paul Simon did for the Graceland album.
The song was Paul Simon’s biggest solo hit single around the world, but struggled at first in his home country, eventually reaching #23 in the US.