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Date: 14.10.2017

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Rory Gilmore is complex, and therefore a human character. Since then, the revival peaked and its buzz went away, and nothing in it was more controversial or discussed to exhaustion than the characterization of the younger Gilmore.

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Rory Gilmore is a monster. Rory Gilmore is a disaster. Rory Gilmore never became a real adult. Rory Gilmore is… complicated. Before the revival hit Netflix, Amy Sherman-Palladino wanted us to wonder in which newspaper Rory would be working and whether she would have already won a Pulitzer.

By the end of the original series Rory was fresh out of Yale and working as a journalist following the electoral campaign of the then-candidate to the presidency of the United States, the Democrat Barack Obama , good times.

The revival comes to disappoint everyone that saw Rory as a role model. The year we follow in A Year in the Life leaves the younger Gilmore feeling even more lost and uncertain about her future. Rory apparently has a boyfriend, Paul Jack Carpenter , so uninteresting to the whole family that no one — not even Rory herself — seems to remember he exists. Paul is not a character; he is a recurring joke through the four episodes, so Rory conveniently forgets to break up with him, finding it easier to have an affair with Logan.

The affair is one of the most complicated issues of the revival: The irony is that in the past Rory herself went through similar situations: Nothing, however, makes Rory nurture any kind of empathy towards Odette, the never-presented bride — she is not a character, she is an obstacle.

Once again, Rory takes on her most selfish side, of someone incapable of thinking about anyone other than herself.

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This is the same character that, in the past, had an affair with a married man without thinking twice, that was never capable of recognising her privileges and that has always thought herself superior, even if she never said it out loud. By the time she turns 32, Rory seems to have learned nothing at all from her previous experiences. Throughout the classic series of Gilmore Girls, Rory gave us enough proof she was far from the picture that dehumanized her full time: She was the leading lady of her own story, the kind, smart and understanding heroine loved by all, the young girl with the best grades who never got into trouble and had a promising future ahead of her.

At the same time, Rory would walk on the thin line between being herself and being what others expected her to be. The sixth season of the classic series is essential to this line of thought because it presents a Rory that is far from perfect. However, at age 32, being back to the starting point is not the ideal and Rory knows it just as much as everyone else around her.

Though she is reluctant to admit her alleged failure and finds it profoundly difficult to deal with it, Rory knows her life is far from what she expected it to be when she was The difference is that instead of trying to evolve and mature she continues to be the same immature and presumptuous Rory she always were, who believes the world owes her a special future just because. All of these — and many others — recurring slips on the plot have us wondering whether the Palladinos underestimated our judgment capacity, which evolved properly along the years.

Taking the lead in the Stars Hollow Gazette was the desperate way she found to fill her time in a way that kept her connected to journalism — even though the citizens are more concerned with the seasonal first-page poem. When she decides to write a book about her relationship with her mother, a suggestion from Jess Milo Ventimiglia , Rory seems to have found her true project. It is comprehensible that Rory clings to the idea of the book because, amongst her great professional crisis, it comes as a gift and gives her a north.

Rory is not a monster for it, of course. These are desperate times for her obviously according to her point of view, that of someone who still has a ceiling to live under and means to travel around as she wishes. Who can judge her so easily? Who would give up such a concrete, real and doable project, when there is nothing left? What we see in Rory throughout the revival, what bothers us, is the presumption that she deserves certain things simply because.

Rory has all the right in the world to believe she can do something better than working in a hip website — showing a very conservative opinion, by the way, of what it takes to be a Real ProfessionalTM. Rory also has the right to think that writing about people queuing in lines in order try new things everyone is talking about is boring. But her choice to look down on both things as if they were inferior creates a profound unease, because it sounds as if Rory still believes on the version of facts people used to sell her when she was little: In an interview with Vogue , she declared that she gave the character this complicated path because it seemed very real to her.

However, regardless of their intention, it was still a bad call, a badly stitched attempt at multitasking that is unable to not make anything coherently. Why is Rory still put on a pedestal, as if her conflicts were so much bigger, so much more complex than the feelings of many others that find themselves in the same situation?

To problematize or not the Rory Gilmore we have last seen is a hard task because the truth is that analysing the revival critically is a complicated — and a bit ungrateful — task. The Palladinos seem to have never accepted their own premature departure from the series or the ending it was given without their approval, just like they seem to have not accepted the fact that ten years that separate the series finale and their chance to revive it on their own terms.

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What is left to see, even when we glance beyond Rory at Luke and Lorelai, for example, and the fact that they did not discuss marriage and kids for nearly a decade , is that the Palladinos decided to write a story that did not remain frozen in time in theory — time left its mark on the cast, after all — but did in practice.

But the way in which they coped with the unexpected paths life takes seems rather immature, contradicting the foundations of their own story. Rory Gilmore is still the complex and human character she always was, but ten years later perhaps she is no longer the woman with whom we identified so long — or not so long — ago; the girl that inspired us deeply the way only well-constructed and coherent characters can do.

For better or worse, Rory Gilmore has grown, became a woman who is far from what we expected, but this does not make her a monster. Life is not a magical genie lamp that grants us all our wishes, and Rory learned it the hard way.

However, in choosing to treat her once again as a little snowflake, Gilmore Girls: A Year in the Life shows a reductionist view of an entire generation, disregarding the fact that the privileged youngsters who had a great education and constant parental support are not all simply spoiled people who believe they are too good to do anything other than the dream job, and that behind all the frustrations there is a world of expectations and pressures that do not exist in the void.