Tag: Relationship Insight

The Holy Barbarians

RORY: The Holy Barbarians. I mean, what a title. And it’s by a Venice Beach beatnik about Venice Beach beatniks, and to top it off, the beatnik who wrote it is the father of the guy that does those Actor’s Studio interviews on TV.

The Holy Barbarians, a 1959 non-fiction book about the “Beat Generation” subculture by poet, critic, and jazz teacher Lawrence Lipton. The book is an insider’s look at the beatniks, and an interesting piece of social history. He is the father of James Lipton, the host of Inside the Actor’s Studio, previously discussed.

We can see in this scene how Rory and Jess are still enjoying sharing and discussing books together, and that Rory is having a lot more success getting Jess interested in the books she is reading than she had with Dean.

Lord of the Rings DVD, Footloose

RORY: Do you wanna watch more of the extra supplementary stuff on the Lord of the Rings DVD?
LORELAI: Well, it’s just the drawings and that fat guy talking.

RORY: Well, let’s watch Footloose again.

At this point, only the first film in the trilogy, The Lord of the Rings: The Fellowship of the Ring, previously discussed, had been released on DVD. An extended edition was released in November 2002, with 30 minutes of new material, added special effects and music, plus 19 minutes of fan-club credits. The DVD set included four commentaries and over three hours of supplementary material. The “fat guy” was the film’s director, New Zealander Sir Peter Jackson (he has since lost weight). You can tell this is a Daniel Palladino script, with someone’s weight being mentioned like this!

You might remember that Rory balked at watching The Fellowship of the Ring with Dean another time, even though he reminded her that she had earlier said she wanted to watch it “a hundred times”. Obviously it was Dean she was sick of, not the film, as she and Lorelai got it on DVD and are even watching the extra stuff on the disc together.

Footloose, previously discussed and frequently mentioned as a favourite film of Lorelai’s.

During this scene, Lorelai and Rory have to coordinate their schedules, because with both of them so busy, it’s getting harder for them to spend mother-and-daughter alone time. Each of them are getting more conscious of the fact that Rory will be going to college later in the year, and their time for having their “secret little club” is fast coming to a close.

Sunday is the only day they have to spend together now. As they immediately start getting ready to watch a movie together, it suggests that this scene takes place on Sunday 9th February.

Cabana Boy, Schlepped

EMILY: And then she just brushed me off with a wave of her regal hand. Not even a word, just a . . . like I’m her cabana boy. Next thing you know, instead of just walking out of the room, she’ll make me bow and back out. Imperious attitude, she never gives it a rest. I schlepped her to the doctor the other day – by command, not request – and the elevator operator there greeted us nice and friendly. Her doctor’s on the second floor and by the time we got there, that operator was in tears.

In North America, a cabana is a hut, cabin, or shelter at beach or swimming pool, often part of a resort. They can be quite elaborate or luxurious. The word comes from the Spanish for “hut, cabin”. A cabana boy [pictured] is a young male attendant who serves guests from the cabana – typically, these young men are treated like servants by the wealthy, and will be willing to do many little tasks for them in the hopes of receiving tips or favours in return.

Schlepped: Informal American English, meaning “walked or proceeded somewhere in a reluctant manner, typically in the fulfilment of some unwanted burden or duty”. It is from the Yiddish shlepn, meaning “pull, drag”.

Trix moved back to her house in Hartford in January 2003, citing health concerns. It’s only early February, and she is already driving Emily up the wall, treating her like a servant.

Note that Trix had a doctor’s appointment, as a reminder that her health needs monitoring. By the way, Trix previously said that she couldn’t abide women driving, so how did Emily transport her to the doctor’s office?

Family Portrait

The episode ends with a close up of the painting that holds pride of place in the Gilmore mansion – a family portrait over the mantlepiece. It is a young Lorelai with her parents, aged perhaps twelve or so, and it is a picture of the Gilmores before Lorelai became a rebellious teenager, and before their family was torn apart in circumstances that have never quite healed. It is a very poignant moment.

Flashback 7

In the final flashback, we see Emily and Richard coming downstairs, ready to go out. Emily comments that for the first time in a year, she hasn’t tripped over Rory’s baby stroller, which Lorelai never puts away. Emily finds a note on the hall table and begins to cry – it is obviously the note that Lorelai wrote when she left home, taking Rory with her.

It’s interesting to speculate as to where this flashback comes from. It can’t be Lorelai’s memory, because she never saw this happen. Is it Emily’s memory? Or is it Lorelai’s imagining what must have happened, based on what she knows? Or is it somehow an objective picture from the past of that moment?

The seven flashbacks in this episode encapsulate the central conflict in Gilmore Girls – that Lorelai got pregnant as a teenager, and then left home with her baby, leaving only a note.

It seems clear during the episode that Lorelai, through Sherry’s birthing of Georgia, gets to relive and re-examine some of her past behaviour and choices. We get to see that Richard and Emily may not have been perfect parents, but they are by no means monsters who deserved to be abandoned and shunned by their daughter.

Emily was a staunch advocate for Lorelai when she discovered she was pregnant, and stood up for her against the cruel insults of Christopher’s parents. Richard and Emily never rejected Lorelai, or kicked her out. She still had a home with them, and they continued supporting her and baby Rory.

Obviously Lorelai was very unhappy, and wanted to make a life for herself, but in retrospect, some of her decisions seem cruel – I think even to herself. She left for the hospital to give birth by herself, not allowing her parents any role in that, and she left home the same way, leaving only a note.

We already know that Emily was so devastated by Lorelai’s leaving that she was confined to bed for a month, and much of the coldness and harshness that we see from Emily and Richard in the present stem from this rejection by their daughter, which they have never really got over.

I think Lorelai’s generous and thoughtful gift of the DVD player and nine musicals on DVD that are a combination of Emily’s favourites and hers is her way of trying to … not to erase the past, but to make a kind gesture to her mother and to try to connect with her by sharing something they both enjoy, in recognition that Emily’s life is far lonelier than Lorelai’s.

Flashback 6

In the hospital, Lorelai shows Christopher his daughter Rory, who is a newborn in the nursery – a clear parallel with Christopher showing her Georgia in 2003. Christopher says that Rory is “pretty”, which Lorelai firmly corrects to “perfect”, in parallel to Christopher saying Georgia is perfect in the present day scene, with Lorelai saying she is “beautiful”, but a “solid second” to Rory.

Although slightly insulting, Georgia literally is Christopher’s second daughter after Rory – it’s as if Lorelai is keen to remind Christopher that Rory comes first.

We already know that Christopher proposed marriage to Lorelai, and she turned it down – a point of conflict between she and her parents, and something Christopher continued to feel aggrieved about well int adulthood. In this flashback, we actually see the proposal. Christopher uncertainly says, “So, I guess we should get married”, and then the scene ends.

We never see Lorelai turn this half-hearted non-proposal down, but can understand why she does so. It’s hardly the stuff of romance, and it’s clear that Christopher doesn’t really want to, and isn’t committed to the idea. Richard’s plan of Lorelai and Christopher marrying and living with the elder Gilmores comes to nothing.

Apparently Christopher was only going to be given a job at Richard’s company once he was married, as that never happens either. Richard feels resentful about his “plan” not working out, and continues to blame Lorelai for that right up to the present day.

Christopher Shows Lorelai His Baby Daughter

Christopher takes Lorelai to see the newborn Georgia in the nursery (Rory is understandably asleep). He is still on a high from watching the birth of his second daughter, saying that it was amazing, and he’d never seen anything like it.

Lorelai, with devastatingly understatement, agrees that she does know how amazing it is, and that Christopher hasn’t seen anything like it before. Her expression says that she is reliving her own nursery moment, which we see in the upcoming flashback.

Due to the fact that we don’t know what happened, it isn’t possible to know for sure whether Lorelai feels resentful that Christopher wasn’t there for Rory’s birth, or whether she feels a b it guilty for shutting him out and denying him the chance to see his daughter being born.

Luke and Nicole Get Back From Their Date

They were gone for four hours, from 7.30-11.30 pm, and they both had a good time, even though both of them hated the restaurant that Luke picked out. In other words, it was a successful date. Jess none-too-subtly asks Luke if he’d like the apartment to himself for an hour so he and Nicole can have sex, which results in a comic argument which the viewer can see through the window, but not hear. You can’t help getting the feeling Jess is only too pleased for Luke to pursue any woman who isn’t Lorelai.