#Ayitl

[not-with-you-but-of-you]

GILMORE GIRLS | AYITL “Fall”

Requested by @jess-stolengnome

[stellaluna33]

So... what do we think was behind the decision that Jess's final scene in the Revival would be him shouldering his Army-green duffle bag (a different, nicer one, but noticably a visual call-back to the one he carried in his youth) and, with a regretful look back, leaving again? We know it's just for the night and we KNOW he's coming back! But it's... The VISUAL SYMBOLISM. It's his LAST SCENE.

Was it just an echo? A callback to his character's past? Or did it MEAN Something?

[doverstar]

I'd love to defend Gilmore Girls: A Year In The Life for a minute (I don't usually make long posts and may delete this later for that reason) because I feel like writing something inconsequential.

Other people get lots of comfort watching the original show (especially in the fall). I feel cozier watching AYITL. The characters are much older; the dizzy, flighty, still-growing-up feelings for Lorelai and Rory have faded, and it's full of moments that make it clear that certain things in their lives are definitely always going to be there. Constants. Luke, Stars Hollow, family, Kirk, Taylor, the changing of the seasons. Now - for my defense. (I'm rambling.)

Okay, many, many people don't like the revival. I understand. It's different in a lot of ways from the original show, and lots of expectations were not met. When I first saw it, it threw me too. But I didn't dislike it. In fact, the more I rewatched it, the more I thought it was almost better than the first show. The leading ladies are not flashy young stars anymore - Rory is Lorelai's age when the OG show first began, and Lorelai is gracefully and fabulously careening toward grandma times with all her wit and charm, all her most comfy habits, and it makes me want to hang out with her more than Season 1 of the show ever did. And I think the fact that ASP came back to write for these characters again and end it on her terms, at last, was an absolute win, and I love how she did it because it fixed so many things I thought were wrong in the show.

Lorelai is self-centered, terrified of commitment, and has no idea how to put others before herself and not run away during the hard times - unless something involves Rory.

Rory is self-centered, thinks she is special, and has no idea how to deal with not getting what she wants. The consequences of her actions almost never directly affect her, and when they do, said consequences are quickly stamped on and snuffed out by her mother/friends/family.

Emily is self-centered, desperate to be in control, and finds her worth in what other people think, in how things look, and that includes what Richard thinks.

In the show, Lorelai has moments where she learns to stay and learns to put other people who are not Rory before herself. Those moments don't last. She definitely has good intentions, but they're all conditional. She only has good intentions up to a point - and that point is usually when someone or something threatens her happiness and feeling of safety, or Rory's happiness and feelings of safety (understandable; that's her child).

In the show, Rory is told she is the sweetest kid in the whole world. Rory is told she'd never do anything to hurt anybody. Rory is told she's special, she's smarter than her peers, she's not like other girls. Rory 100% believes that. She also probably has a bit of a problem with living up to that image - she wants to be all of those things, and thinks she is, and can't handle it when it seems like people think she's not. (That may or may not have something to do with Christopher, who always had somewhere more important to be, or with Lorelai, who was so cool and strong and sure of Rory.)

And the show has moments, too, where Lorelai has to face the music and see that she's screwed up or is hurting someone with her behavior (Max, Chris, Luke, Jason, Emily, Richard, Sookie), but very very often, Lorelai breezes her way through that music and keeps moving, and flits to the next thing or person that will make her happy, because she does not know how to stay and stand and fix what she's broken. Because it only matters if she is happy and if Rory is happy. (The same thing goes for Rory in the show - consequences come, but Rory rarely has to properly deal with them herself. She is coddled and propped up the whole way.)

Now, to my point!

I watched AYITL and noticed something was different right away. Lorelai is with Luke (she should be), who is the opposite of her - constant, loyal, selfless, determined to stay no matter how hard things get. But they're not married. Lorelai is scared to really commit, and marriage is one of the hardest things you can commit to - ever. And Lorelai is not happy. Rory, for her part, is not perfectly settled as a reporter or a journalist or any of the things she was always told she could be. And she's not happy. And Emily, bless her, has lost her husband and her false sense of control is spinning away, and of course, she is not happy.

And A Year In The Life takes the show's clumsy half-arc of these three Gilmore women and perfectly completes it.

Lorelai's fear of commitment and habit of bolting when things get hard drives her to push every new chef out of the Dragonfly, refuse to expand the inn to better accommodate Michel's needs, shun Rory's tell-all of her past mistakes, shame Richard at his funeral and break Emily's heart, and worst of all, nearly wreck the closest thing to a proper relationship she's ever had: the one she has with Luke. She can't face that she misses her father, loved her father, and that maybe her mother is right about her relationship status. She can't face that people might read Rory's writing and see all her flaws and all her mistakes growing up in printed ink, and she can't run from that. And when Rory insists, Lorelai cuts ties. Lorelai has spent years avoiding marriage with Luke. She has spent years hurting her mother in an effort to defend herself at all costs. And she has spent years ensuring the Dragonfly Inn is exactly what she wants it to be; because changing it would be uncomfortable, and as a result, she won't commit to a new chef, she won't expand, and she's about to lose Michel the way she lost Sookie.

Rory's bubble of self-centeredness and assurance that she's special is popped with the needle of reality at last: she is not special. She's a young woman who has to actually work hard to find a job and make some money, like everyone her age. She is talented and she is smart, but she's not God's gift to journalism, and people keep saying no, and people keep asking her to prove her skills and her merit, and she doesn't know how to deal with that because everyone has always told her she can do anything she wants and she's the best. She wants a distinguished career and can't find anyone who will take her on; she tries to write for a raging batty feminist (hello Alex Kingston I love your work) and that goes sideways; she wants Logan Huntzberger but she turned down his proposal and now he's engaged and it has to be a secret; she wants somewhere to live - just not Stars Hollow because she's better than the thirty-somethings stuck back home. She wants Lorelai to approve of her book and insists her mother give her this, as if Lorelai hasn't always given her whatever she could. And when Lorelai says no, Rory does what she wants anyway and almost fractures their relationship over it.

Emily's control is completely gone - she can't control her emotions, she can't control her tongue, she can't control her maid or her maid's handy family, she can't even control a stupid painting of her late husband. She's on a downward spiral and her anchor is dead. She tries to regain a sense of worth, because surely that will bring happiness back. She tries to gain it from how many possessions she has, that doesn't work. She tries to gain it from Jack, who is not well-suited to her but he makes a matching accessory to the life other people will see. That doesn’t work. She tries to gain it from therapy with Lorelai, control her daughter at last, that doesn't work. She tries to control Richard's headstone, that doesn't work. She even tries to find solace with her beloved D.A.R, and she finds that emptiest of all.

A Year In The Life has these women finally face their flaws head-on and grow. The way characters should.

Rory: Rory is confronted with the fact that she is not special and has to move home like everyone else her age and get a job she does not want, because that's life, and that's what everyone else has to do in the real world. And when she's at her lowest, pouting, she gets advice from someone who has faced his own flaws long ago and has grown and who knows her at her best, and encourages her to get up and work hard (Jess Mariano, ladies and gentlemen). And she does. Rory hits bottom and takes Jess's advice and works at understanding her mother, who is not perfect, and even goes to interview her father, who is also not perfect. She fights with Lorelai over the book and insists on her own way, and when Lorelai refuses, Rory can only blame herself. She has a rabble-rousing night with her LaDB boys and winds up sleeping with Logan in one more bubble of fantasy, one more umbrella-jump of escapism, like the old days, because Logan is her weakness. And when she wakes up the next morning, Rory turns and walks away from Logan and the affair and her insistence on having what she wants regardless of who she hurts (hello, Dean Forrester and her affinity for taking spoken-for men) for the final time. And the consequences of her desires? She’s pregnant. (Come on, we all know the baby is Logan’s; Rory’s life rhymes with Lorelai’s.) She goes to Christopher to interview him for the book and is subtly asking her father why he wasn’t in her life, because she needs to know what to do with her baby and her lover. She didn’t go to Lorelai to figure that out. She went to her dad, because the truth is, Rory didn’t have her father, and part of dealing with the consequences of her actions is to work out how to take care of this baby and whether or not that means involving the father. She’s owning up. She goes to Lorelai and offers to give up this book; she doesn’t make excuses or whine, she wrote the book anyway because she believes in it, but when she’s gotten three chapters in, she respectfully goes to her mother and asks her to read it and then, for the sake of Lorelai, not herself, Rory promises to quit and throw the book out if Lorelai does not approve. Because Lorelai is more important to her than herself. Rory has worked hard and made mistakes and gotten pregnant and she has stared the world in the eyes and seen she’s not special. And she has to deal with that. And she does, finally, deal with it. And she’s happy.

Emily: Emily is confronted with the fact that nothing is inside her control—except what she does. Worth does not come from what she owns or who she’s with or what she’s wearing, and it didn’t come from her marriage, either. That wasn’t why she married Richard anyway. She is miserable and alone, and part of that is her fault. She married Richard because she loved him, and she keeps coming back to Lorelai because she loves her, and she opens up her house to Rory when Rory needs a place to write because she loves her. Emily looks around at what she has and recognizes what has worth and what doesn’t, maybe for the first time, with clear vision. She recognizes that she can’t control everything. At first, that fact keeps her down. She forgets what day it is, the curtains are closed, and she doesn’t get up in the morning. No Richard, no Lorelai, no reason to move. And then Lorelai calls her, and tells her about who Richard was and what Richard did and how it mattered, and that inspires Emily. She can get up. She buys a place on Cape Cod, totally opposite of the sort of life everyone admires and expects to have worth, and she does what she’s really always been best at—she loves. She takes care. She took care of Richard, she took care of Lorelai and Rory when they needed it, and she takes care of Berta and her wonderful family, instead of having a maid take care of her needs. She packs up and moves out, she sends Jack away, she reveals the D.A.R. for what it is and quits them forever, and she takes a job at a whaling museum because she just likes it. It’s nothing fancy, and neither is her oceanic house or the music she plays in it or the clothing she wears, because none of that is worth anything anyway. Her family is. Her friends are. She gets the painting of Richard done right and brings it with her, and she gives up attempting control of everything and only takes control of how she behaves. She gives Lorelai what Lorelai needs for the Dragonfly, and her only stipulation is that she gets to spend more time with her daughter and Luke. She loves, she takes care of others, she helps. And she’s happy. And now, the best for last. The star.

Lorelai: Lorelai sits in that stupid Stars Hollow Musical and hears a song that perfectly describes her problem—it’s never or now. Make a commitment. Do something hard. Make your life about something other than your momentary present happiness and comfort, the way you do with just Rory, sometimes, but make it a permanent change. Make change permanent! Don’t run away! …And then she runs away. She’s been miserable, she’s hit bottom, like her mother before her and her daughter after her. She’s losing friends, she’s losing Luke, she’s losing Emily, she’s losing Rory over the manuscript, and it’s all her fault. Lorelai tries to breeze past it. She does Wild. She does what she’s never done before, she does something hard and uncomfortable, but she does it for herself, and therefore it doesn’t quite work. She tries to hike, Dipper Pines won’t let her hike, she meets other women her age who think this hike is gonna fix things, it doesn’t, and she gives up and goes to get coffee because that’s her go-to. (Coffee is speedy, bad for you, and only a temporary rush—kind of everything Lorelai clings to, actually.) But the coffee shop is closed, and when Lorelai is denied that allegorical Band Aid, she goes around back and sees a great view and finally finds clarity. She didn’t need the hike—she needed to think. She needed a moment of silence and introspection to gain the insane courage to finally stop moving, stick around, and face her fears. To put her eyes on herself and then take her eyes off herself and onto other people—namely the people she loves. Lorelai calls Emily and cries, because it’s hard to do this, it hurts, but with one story, she proves she loved her father, and she knows her father loved her, and the fact that she’s calling shows that she knows Emily loves her too, and she loves Emily, and has loved them both all along. It gives Emily the strength she needs to get out of bed. That was hard, but Lorelai did it. And now she’s going to do more hard things—she’s going to commit. It’s never or now, and Lorelai chooses now. She goes home and the first thing she does is propose to Luke and become Lorelai Danes overnight. Hard. Scary. Just right. She patches things up with her daughter, and chooses Rory over herself—for the hundredth time, yes, but when it’s at its hardest for her to do. “I’ll read it when it’s done.” Lorelai expands the Dragonfly. She goes to Emily for help, which is also super hard, but this time it’s not for Rory – it’s for her, and it’s for Michel, and it’s for the Dragonfly. And she accepts Emily’s affectionate terms. Lorelai chooses Rory, Luke, Emily, and Michel over herself, and commits, and she doesn’t run away. And she’s happy.

And all of it is earned. Finally earned.

I could talk more about the incredible writing, about ASP at her best, about the perfect themes and scenery and the very intentional end to Paris, Lane, Kirk, Taylor, Dean, Jess, Logan, Chris, and the general cast’s stories, but I’ve already rambled for too long.

Suffice it to say: A Year in the Life is my Gilmore Girls. It’s best version of the story. I think it was expertly done. Not perfect, but an ending that was earned.

[mozzzz05]

I was thinking recently about Lane Kim (my beloved) and how I’ve always kind of hated her arc (bcos ASP is obsessed with getting people pregnant) and I think her own story line would have been so much more interesting if she did become a rockstar.

I just love the idea of Rory, who had everything handed to her to her on a silver plate -an encouraging, happy home life, an expensive education, contacts with people in the industry she wanted to be in, being accepted to every college she applied for, going to a fucking Ivy League college - failing. (As we know she does) just becoming this absolute mess of a journalist. I love the idea of her throwing it all away because she took it for granted.

But her friend, the one who’s family never supported her - not in the way that mattered - who didn’t have industry contacts or the musical education or experience, who didn’t have a leg up, who had to sneak about in order to practice, to perform gigs, to improve at all in her field of interest. I would love to see her succeed, the girl who no one thought was going anywhere - the girl that didn’t even think she was going anywhere. The girl who for so long had to live vicariously through Rory.

I would love for Mrs Kim to come around eventually and be proud of her daughter because even though it’s not what she wanted for her, it’s what her daughter wanted for herself and she got it. I want her to be proud that her daughter is this headstrong woman that fights so hard for what she wants and doesn’t let anything get in the way of that.

It would make me enjoy Rory’s arc a lot more too, for once she’s in Lane’s shadow & Lane finally gets what she’s always wanted. I just love that juxtaposition. And I hate that Lane never got what she wanted, I hate that her life feels entirely overshadowed by men and babies.

[jessmmariano]

What if Lane Kim inherited the antique shop from her mother and turned it into a music store/school where she taught lessons and inspired the next generation of music listeners much like how Luke turned his father’s old hardware store into a diner?

[garbinge]

Not Much To Tell

Jess Mariano x F!Reader

30 Day Fic Challenge

Word Count: 1.6k A/N: I've been rewatching gilmore girls and I'll always be a team jess girlie <3

Warnings: All my fics are 18+ regardless of content. Mentions of pregnancy and toxic ex who suggests “taking care of it.” *Want to clarify we are pro choice in this house!!!* All Writing Taglist: @drabbles-mc @justreblogginfics @kmc1989kmc1

“So, Doose's Market is right downstairs across the block, the post office is on Peach Street, bookstore is on Plum, and the bakery is on Apricot Ave.” 

As you stood in what used to be Luke’s apartment which used to be a hardware store office surrounded by your luggage and all your personal belongings, you rested your hand on your stomach which was showing your obvious pregnancy. 

“One more fruit street name and you’d have a salad.” Your voice cracked at the awkward joke but you quickly smiled at Jess’ response. 

“Well I did forget to mention the gas station and Gypsy’s Auto repair which is on the corner of Cherry and Walnut.” 

“Walnuts in a salad, my God Mariano, the years have changed you.” You teased your old best friend.

It brought you back to being 16 in New York and teasing each other, spending all of your free time together. In all honesty, where you were at in life you wished you could just go back to that simpler time. Where your biggest issues were getting Jess to actually show up to school and not mark up all of your books, But seeing how that was impossible, you’d have to make due with what was in front of you. You supposed it wasn’t all that bad, Jess had swooped in and come to your rescue. But when you spoke the words “the years have changed you”, you couldn’t help but notice his eyes move down to your stomach for a millisecond before coming back up to your eyes. 

Yes, the years had changed you as well, although it was more like the months did. You were 6 months pregnant with no where to live, no where to go, no job, just $500 in your bank account with no expectation of anymore deposits to be made. But in this moment none of that mattered because Jess took one worry off your plate. A place to live. 

“You know I remember that one time I came to visit you here.” Your hand cupped your stomach instinctually before moving to look out the window. “You met me at the bus stop,” you pointed to the bus stop in view, “and then took me to the diner and made me a burger.” With that, you turned back to him. 

“Old habits die hard.” Jess shrugged since it was exactly what he just did. Picked you up at the bus stop and brought you to Luke’s. 

“Caesar made me my burger this time.” You corrected him. 

“And with no ketchup smiley face, I have to add.” Jess tilted his head and lifted his eyebrows. 

“Really changed the whole experience.” You nodded in agreement and then the booth of you laughed. 

“So, there really isn’t any food here, and I think the only soap Luke has here is an Irish Spring bar from 2002.” Jess was going to the linen closet to look for anything that resembled a toiletry. “But we have sheets.” He pulled out a blanket and a sheet from the closet on the side that used to be his. 

“Jess.” You interrupted him, you could have given him a funny sarcastic response but you saw how much he was scrambling. 

He was placing the linens on the bare mattress and turned to look at you, tucking his long hair behind his ear. 

“I can go to the store, it’s okay.” It was then when you were grabbing your bag from the kitchen table. 

“You want company?” He was asking, grabbing his keys. 

“Would love that.” You smiled and with that, you were off walking to Doose’s. 

The market was cute and had everything you could need in a off-brand label. Jess was holding the basket for you as you added in food and shampoo. As you two stood at the frozen food section, debating the art of the perfect hot pocket, Luke appeared. 

The whole interaction was short, less than 2 minutes but it felt like eternity. He was talking to Jess about his mom and TJ, something that honestly was too complex for someone who was new to the conversation to understand, but for someone like Jess who not only knew TJ and Liz but also was privy to information regarding their current distress the answer seemed pretty simple to him despite Luke’s clear frustration. His frustration soon turned to fluster because his eyes moved to your stomach. 

It was obvious, he did a full double take. Mid-sentence he looked at you, smiled, greeted you because he remembered you and then went back to talking in a distressed manner to Jess before his brain caught up to his eyes. His eyes moved directly to your stomach and then went wide as his stare went directly to Jess for an explanation. 

It was obvious what Luke was thinking despite his lack of ability to say it outloud. The stutters that left his mouth were incoherent but obvious. It was then clear that Jess was related to him because he matched his uncle’s fluster with his own. Trying to explain the situation in stutters, grunts, confused noises and head shakes while Luke similarly flailed around. 

When Jess told you Luke was willing to give his apartment up for super cheap every month, you had assumed he was aware of your situation but leave it to Jess to leave out any and all crucial details. 

“It’s not Jess’” You interrupted the two men with a neutral voice. “He’s just helping me out in a tough time.” 

Luke stood up straight, confusion still littered on his face but relief starting to wash over it. “Oh, uh, it wouldn’t have mattered, I just– kid doesn’t tell me much you know, never has and still doesn’t…” Luke pushed Jess awkwardly with a smile on his face. “I’ll uh,” He brought his hand up to scratch behind his neck and then brought his thumb out to point behind him and just turned to leave. 

A chuckle left your mouth as you turned to Jess who looked equally frustrated and embarrassed. 

“I’m sorry, he uh, is–” 

“So much like you.” You finished the sentence for him and smiled before turning to the freezer section and grabbing the pint of ice cream. 

Jess looked at you grabbing the mint ice cream and smiled. 

“Toothpaste ice cream really?” He grabbed it from your hand and placed it into the basket. 

“Always been my favorite, you know this.” You moved to the check out lanes. 

“I thought maybe pregnancy would have altered your taste buds to realize the true disgust of it.” He started to place all the items on the belt. 

It was honestly his first time really acknowledging the pregnancy. He obviously was aware of it, but even when he ran into you in New York a week ago he never really said anything about it. He just realized you were struggling and knew he was in a position to help. 

“You don’t really talk about it.” You passed him items from the basket as he placed them down. 

“I figured you’ll tell me when you want.” He wouldn’t make eye contact with you. 

“Not really much to tell.” You shrugged and moved to the cash register as he unloaded the rest of the items. 

“$72.56” The cashier spoke as they dropped the items into multiple bags. 

As you went to grab cash from your bag, Jess moved and handed the person a large bill before you could even get the zipper open. 

“Jess.” You said it calmly, but clearly feeling some way about it. 

“I wanted to do this for you before you got here but I got caught up in Philly.” His eyes were genuine, and you took a minute to decide if you were going to continue arguing or not. Ultimately you raised your hands and stepped back and let Jess pay. 

As you stepped outside with the bags in your hand, Jess immediately came from behind you and took them out of your arms. 

“I don’t want you thinking I’m a charity case.” 

“Do you not remember that you paid for everything when we were kids? Pizza, refilling my metro card, my CDs.” 

“I didn’t pay for your CDs, just lended you the ones I bought for myself.” You corrected him. “Plus, I had a good job making stupid good money for a 15 year old.” 

“Well I have a good job making stupid good money for a 30 year old.” He shrugged. 

“His name was Glen and he was in a band and decided touring was probably more important than this. Gave me $500 to take care of it.” You blurted out the sentence while both of you were crossing the street, although you stopped to let the words flow out of your mouth so when Jess turned around he was a few steps ahead of you. 

“Glen is a really lame name.” He said it so soft, and you knew what he was really saying with that sentence. 

“It was the name of his band, too, The Glen.” You felt the tears in the back of your eyes but you didn’t let them escape. 

“Even lamer.” He nodded. 

“Thank you.” You stared directly at him. 

“Don’t thank me yet, I’m ordering Thai food for us tonight and we’re watching Almost Famous.” Jess was turning around to keep walking towards your new place. 

You picked up your pace to keep up with him and called out, “I don’t know if you want to give the pregnant lady Thai food!” 

[queenunderthatmountain]

do you ever just think about how it might have been if Jess had moved in with Luke just a few years earlier

[duncantashi]

i hate almost everything about ayitl but jess mariano? never.

[starshollowconfessions]

[kissandships]

Sorry, but the funniest running joke in Gilmore Girls is Lorelai thinking that Luke is Jewish

[not-with-you-but-of-you]

I mean, you’re saying you’re this loser, and what, you don’t wanna take me off this terrific path I’m headed down right now?

GILMORE GIRLS | 3.21 + 6.18 + AYITL “Summer”

For @jess-stolengnome ♡

[stellaluna33]

On the one hand, Lorelai's immediate reaction to Jess being the one who inspired Rory to write her book in AYITL is annoying, because she's making such a big deal about it, even now... But on the OTHER hand, it's DELICIOUS because she- and through her, the writers- are making such a big deal about it, even now. Jess coming back into Rory's life is NEVER an insignificant thing, he shakes up her whole world every time, and none of the characters seem to think it's insignificant either.

[theonethatwatchesalotofshows]

"He's liked you for ten years? That's some Gatsby level pining"

[weepynymph]

Revival Rory

I’ve just started reading @rhiawriter ‘s. The Writers (SO GOOD by the way) and it got me thinking about how the revival kind of failed Rory in terms of where she’d be with her career. Not so much just hitting a rut, but ending up in stars hollow for a year.

I think when talking about Rory’s storyline in the revival it’s important to not that ayitl is not just a continuation of Gilmore girls but kind of a fan service (to a certain extent) celebration of the show.

Therefore when writing it they needed a storyline that would include as many of the old characters as possible depending on what actors wanted to come back.

They also needed a way for Rory to be back in stars hollow.

Hence her moving home and having a kind of ‘I don’t know what I’m doing with my life’ crisis storyline instead of being out in the world thriving the way that most of us would envision for her from seeing how talented and adaptable Rory is as a character. (I’m not saying it’s totally out of character for Rory to find herself a bit lost or hitting a rut, it’s just a very specific choice for her character that conveniently puts her back in stars hollow for the duration of ayitl because we need her to be there so the Gilmore girls can talk really fast in person instead of over the phone)

Even in terms of the Logan stuff they obviously wanted the character to be in the show so he needs a reason to be there without making him Rory’s endgame because we don’t want to side overly with one ship - so he and Rory are having an affair, and what are the only circumstances under which Rory would do this? When she’s at rock bottom. (As we’ve seen from the whole dean incident where she was so lonely and heartbroken over Jess that she didn’t think through what she was doing with dean she just wanted to feel loved and important)

Anyway I just think it’s interesting how the nature of the revival impacted Rory’s storyline (as well as others see Luke and Lorelai not being married or having discussed kids in ten years just because we don’t want to throw new kids into the mix and we want a fan service loreluke wedding) and whilst I’ve actually grown to like ayitl for what it is, I do think that it suffers from the constraints of being a revival and I wonder what the writer would have envisioned for Rory at this stage of her life if it weren’t for those constraints.

[jessmmariano]

I’m sorry but what was with all the millennial hate in ayitl? Does ASP not know her key demographic? Sure, some things certain millennials do are ‘embarrassing’ or easy to pick on, but the way the show completely made fun of the generation as a whole was stupid. So many Gilmore Girl viewers are millennials and making fun of them for absolutely no reason was annoying.

[blairwaldcrf]

this literally the best Rory/Logan AYITL endgame take I've ever seen and I'm just!!

from Augustine90 on reddit:

I also just rewatched an episode of Gilmore Girls and it also got me thinking about the enigma that is Rory's and Logan's relationship. I'm a hopeless romantic and determined Rory & Logan shipper, so here is my theory :) Fun fact - I already had this theory at the end of the original series! I absolutely believe in the circle of life theory. However, people seem to forget that there is a third Gilmore Girl, Emily, who in my opinion plays a very important role for the storyline to come to a full circle. When Emily and Richard first met, Richard was to marry another girl. However, he fell in love with Emily and despite his family's disapproval, they ended up together and were beyond happy (most of the time). While Lorelai distanced herself from her parent's world and rebelled against their values and views, it's thanks to Rory that Lorelai eventually reestablishes a relationship with her parents. In that sense, I felt like Rory - having grown up in simpler circumstances than Lorelai - managed to recognize and appreciate the value of Richard & Emily's world in a way that the rebellious and proud Lorelai never could. While Emily and Lorelai represent two extremes, Rory is the link between these two worlds. There seem to be clues for that all over the original series. While it's important for Rory to work hard for her accomplishments, she also made many choices that brought her closer to her grandparent's world, such as for example choosing Yale and supporting her grandmother's social functions, such as her involvement in the DAR. Rory is not a posh snob, but I think she sees the value in her family's heritage. This bond only strengthens when Richard, whom she dearly loved, passed away. The fact the only right place for Rory to write "Gilmore Girls" is in Richard's old office, highlights the importance of the role her grandparents play in her and Lorelai's life. So in that sense, while Logan may have some similarities with Christopher, to me, he has more similarities to Richard (they met at Yale, he's a boy from a good family, but not scared to choose love over family, he's intellectual and smart but also funny, etc.). Just because they are not together now, it doesn't mean that they never will be. I have a strong suspicion that he won't get married to Odette and that he and Rory will find their way back together eventually. Most people never talk about this, but what bothered me in the revival is that we never learn who actually bought Emily's house resp. whether she actually ended up selling it after all. I have this idea that Rory and Logan end up together and they will raise their child in Emily's and Richard's house. As for the really big question, why they didn't end up together right now: Well, first of all, I think they needed to keep the fans longing for more :) It's a cruel and very Woody Allen-esque thing to do, but it's the imperfection of the (still) unfulfilled romance that makes the storyline of Rory and Logan so romantic. It's clear that they both love each other. But the timing is not right. When Logan first proposed to Rory, the timing was not correct because Rory wanted to find her own way in life prior to settling. The revival reveals that clearly, Rory hasn't exactly found her place yet since the whole journalism thing hasn't worked out yet. I think it's very important for Rory to be strong and happy by herself, before committing to someone else - something she got from her mother.