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Before we really get into this, let me be crystal clear. This is an attempt to try to understand the method behind the mystifying, yet often delightful madness. My colleagues were not wrong to suggest that certain elements of the new miniseries made absolutely no sense , nor to acknowledge that the years have not been kind to Rory Gilmore, who left us in a starry-eyed Yale grad with a promising future as a political reporter, and who returns in a wayward, insolvent, burgeoning alcoholic trading on the glory of a single New Yorker Talk of the Town byline.
Neither of my colleagues even went so far as to point out what I see as some of the biggest problems with the reboot: the terrible production values, the jarring transitions between plot lines, the fact that each of these episodes could have used a minute haircut.
A toupee? Hair plugs? A small mammal? How is it plausible that he has more going on up top now than he did nine years ago? That follicular debacle is one of many loose ends never addressed by the Gilmore Girls reboot. The four ninety-minute chapters some longer that comprise A Year in the Life feel like four self-contained seasons of television, played in fast-forward by actors who popped a healthy quantity of uppers prior to filming.
The jokes are swifter, the references denser, the pace even more frenetic. This is Gilmore Girls in the age of anxiety. Down one Richard RIP Edward Herrmann, who passed away in , Emily, repressed as ever, is channeling her feelings into redecorating.
