#gilmore girls a year in the life

[a-aexotic]

✫𝒄𝒉𝒂𝒑𝒕𝒆𝒓 𝒐𝒏𝒆, i can see you.

✫ 𝐰𝐚𝐫𝐧𝐢𝐧𝐠𝐬 | fighting, swearing, tristan being an asshole, breaking things (not too graphic promise LOL) ✫ 𝐚𝐮𝐭𝐡𝐨𝐫'𝐬 𝐧𝐨𝐭𝐞𝐬 | hey yall, i'm back! i hope everyone enjoys! also i tagged everyone who seemed interested, i'm sorry for the VERY late update. i'm back, mwahhh. also planning a nate archibald series, who'd be interested? lmk! ✫ 𝐭𝐚𝐠𝐥𝐢𝐬𝐭 | @colbybrocks @weepingwitchofthewest @shady-writtingtalk @zulpix-blog @wheelerslover @dogmom600 @damnhati @remussbitch @yourmumstoyboy2-blog @1-800-starkindustrie

The front door opened suddenly and she whipped her head to make eye contact with... Tristan Dugray? Oh, so that's where she's heard that name!

Y/N couldn't control as her mouth flew open. She also couldn't control the words that came out of her mouth as she saw him. "Oh, you've gotta be shitting me."

After Y/N had locked eyes with Tristan she whipped her head to face her father. "You're engaged to Tristan's mother?!"

Her father and Kristan looked surprised — they both exchanged glances before they looked back at her. "Yeah, I guess I am?"

His answer sounded more like a question rather than a straight up reply. He didn't know why she was now seemingly opposed to the idea of him being engaged to Kristan simply because of Tristan.

Y/N looked shocked, her jaw practically on the floor. "You're engaged to Tristan's mother." Instead of a question, it sounds more like a statement.

Before any of them could reply, Tristan spoke. "Oh, hello step-sister." You could practically hear the smirk in his voice. He was enjoying see your shocked expression. Tristan's smug remark only fueled your growing frustration and utter disbelief. You shot him a glare that could freeze lava before turning back to her father and Kristan, your mind racing with a whirlwind of emotions.

"So, this is what you meant by wanting me to spend time with my old 'friends'?" Your tone was laced with sarcasm as she addressed her father. "You conveniently forgot to mention that my 'old friend' is now my soon-to-be stepbrother?"

Her father shifted uncomfortably under her accusing gaze, realizing he had failed to properly prepare Y/N for this bombshell. "I... I thought it would be best to tell you in person."

Your frustration mounted with each passing second. "Well you thought wrong, Dad."

Kristan interjected, her voice gentle yet firm. "I understand this is a lot to take in, Y/N. But we're all going to be a family now, and I hope we can find a way to make this work."

Y/N fought the urge to roll her eyes at Kristan's attempt to diffuse the tension as she gave her a sarcastic smile. "Right, a family. How convenient."

Tristan leaned against the doorway, his arms crossed with a smirk still playing on his lips. "Well, this should be fun. Welcome to the family, stepsis."

Y/N resisted the urge to launch herself at him as she shot daggers with her eyes. "Don't call me that."

Kristan shot a glare at her son as she turned to you once again. "We didn't realize it would be such a shock to you,. We should have handled this better."

You took a deep breath, trying to calm the storm of emotions swirling inside me. You knew you couldn't blame her father entirely, but the whole thing still felt like a betrayal. "I just need some time to process all of this," Y/N muttered, her voice tinged with resignation. "Excuse me."

"I thought that went great." Tristan mumbled as his mother shook his head, your father pulling her in closer.

You turned on her heel and stormed out of the room, leaving your father, Kristan, and Tristan as your retreated to her old bedroom, you couldn't shake the feeling that your carefully constructed world was crumbling around you, and you had no idea how to pick up the pieces.

You stepped out of the car, dramatically slamming the door as you took in the school: Chilton Prep School, where she would be going to school from now. She heard footsteps from behind her, she already knew who it was.

"Welcome home, Cromwell." Tristan's voice rang. You gritted her teeth at the sound of Tristan's voice behind you. You turned slowly, fixing him with a glare that could cut through steel.

"Save it, Dugray," you snapped, your tone dripping with disdain. "This is hardly my idea of home."

Tristan raised an eyebrow, his smirk never faltering. "Well, get used to it. Looks like we're going to be seeing a lot more of each other from now on."

Tristan raised an eyebrow, his smirk never faltering. "Feisty as ever, Cromwell. I'm just offering a friendly welcome to our new classmate, no need to get all... bitchy."

You narrowed your eyes at his remark, resisting the urge to roll them. "I'll take that as a compliment, Dugray. And I don't need your welcome. I know my way around just fine."

Tristan's smirk widened, clearly enjoying getting a rise out of you. "Oh, come on, Cromwell. Where's that famous New York charm? You're going to need it to survive in this stuffy place."

"I'll manage just fine without your help," you shot back, your voice dripping with determination. "Now, if you'll excuse me, I have better things to do than stand here and listen to your bullshit."

You turned away from Tristan, walking into Chilton. You already hated it, everyone looked so pretentious and elitist, just like Tristan. But you weren't going to let that intimidate you. You had faced down Manhattan's elite, and you could handle a bunch of snooty prep school kids. You had grown up with these kids, they couldn't be that hard.

As you made your way through the halls, you couldn't shake the feeling of being out of place. The students eyed you with curiosity, whispers following in your wake. But you held your head high, refusing to let them see any hint of insecurity.

Chilton was a far cry from the bustling streets of Manhattan, and you couldn't shake the feeling that you were in for a rough ride. But you were Y/N Cromwell, and you didn't back down from a challenge.

With a flick of your hair and a confident stride, you made your way to your first class, ready to show Chilton Prep that Y/N Cromwell was a force to be reckoned with.

"Where are you two going?" You popped a grape in your mouth as you watched Kristan grab her purse from the chair as your father tightened his tie.

"I told you earlier, we have a date."

You raised an eyebrow at your father's response, a hint of skepticism in your voice. "A date? You two are acting like lovesick teenagers."

Kristan chuckled, smoothing down her blouse as she shot you a warm smile. "Well, your father does know how to sweep a lady off her feet."

You rolled your eyes as Kristan and your father shared glances. You all knew what that meant, you had to be left alone with Tristan. You had barely managed to tolerate his presence since arriving at your father's house, and the thought of spending an evening alone with him was enough to make you want to crawl out of your skin.

"Well, have fun on your date," you forced out, the words tasting bitter on your tongue.

With a quick goodbye, your father and Kristan headed out the door, leaving you alone, turning around and seeing Tristan in the spacious living room. He caught your gaze and his lips curved up into a smile.

You felt a shiver run down your spine as Tristan's gaze met yours, his smirk sending a wave of irritation coursing through you. You knew exactly what he was thinking – that he had you right where he wanted you, trapped in his company for the evening.

Suppressing a sigh, you turned away from Tristan, refusing to let him see how much he was getting under your skin. Instead, you busied yourself with anything that would distract you from his presence – flipping through a magazine, checking your phone, anything to avoid acknowledging him.

But no matter how hard you tried to ignore him, Tristan was a persistent presence in the room. You could feel his eyes on you, his smug smirk burning into the back of your skull.

Finally unable to take it anymore, you turned to face him with a glare. "What do you want, Tristan?" you snapped, your patience wearing thin.

Tristan's smirk widened, his gaze flickering with amusement. "Just enjoying the view, Cromwell," he replied casually, as if your irritation was nothing more than entertainment to him.

You let out a bitter laugh as you shook your head. "Real classy, Tristan."

Tristan's smirk only widened at your remark, his amusement evident in every line of his face. "Oh, come on, Cromwell," he said, his tone teasing. "You can't tell me you're not used to being the center of attention. You were in New York for five years and you're telling me you didn't have the boys throwing themselves at you?"

You narrowed your eyes at Tristan, refusing to let his words rattle you. "I don't need validation from boys like you," you retorted, your voice dripping with annoyance. "Unlike some people, I have more important things to focus on than relationships."

Tristan's smirk faltered slightly at your cutting remark, but he quickly regained his composure. "Touché, Cromwell," he replied, his tone laced with amusement. "But don't act like you're immune to a little attention. I've seen the way you strut around like you own the place."

"And you don't? Please, I see the way every girl at Chilton looks at you. And I know you well enough to see how much that strokes your already, inflated ego." You paused, your voice laced with sarcasm as you leveled a pointed gaze at Tristan. "But hey, who am I to judge? If you want to bask in the adoration of your fan club, be my guest."

"Oh, I will, Y/N." Tristan let out a laugh as he watched you get all heated. He continued you watch you as you scoffed, turning your head back to the magazine.

You could feel his eyes on you, his amusement practically palpable. But you refused to give him the satisfaction of seeing you squirm. You weren't about to let him see how much he was getting to you. With a determined flick of your wrist, you closed the magazine and stood up from the sofa, shooting Tristan a glare.

"I have better things to do than sit here and listen to you," you declared, your voice laced with determination. With that, you turned on your heel and marched out of the room, leaving Tristan behind with his smug smirk and his insufferable ego.

You refused to let him drag you down to his level – you had bigger things to focus on than his petty games, like actually getting back to Manhattan where you belonged.

As you walked away, Tristan's amusement turned to frustration. He wasn't used to someone challenging him like this, especially not someone like you. With a determined stride, he followed after you, catching up just as you reached the hallway.

As you stormed out of the room, Tristan's smirk faded into a scowl. He watched you go, frustration bubbling up inside him. How dare she walk away from him like that? Without a second thought, Tristan followed after you, his footsteps echoing in the hallway as he caught up to you just as you reached the foyer.

"Hey, where do you think you're going?" Tristan called out, his voice sharp with annoyance.

You stopped in your tracks, turning to face him with a glare. "Away from you," you replied sharply, crossing your arms over your chest. "I can't stand being around you for another second."

Tristan's jaw clenched, his own temper flaring. "Oh, please," he scoffed, his tone dripping with sarcasm. "Like you're any better. You're nothing but a spoiled brat who thinks she's better than everyone else."

The words hit you like a slap in the face, igniting a firestorm of rage within you. "At least I'm not a narcissistic asshole who gets off on belittling others," you spat, your voice rising with each word. "You think you're so much better but you're not."

Tristan squared his shoulders, meeting your gaze head-on. "I want to know what your problem is," he replied, his tone angry. "You've been acting like you a complete bitch when I'm all trying to do is be your friend."

You scoffed, shaking your head in disbelief. "Oh, spare me the act, Tristan," you shot back, your voice dripping with sarcasm. "We both know that's not what you're after. You just want to play your little games and stroke your own ego."

Tristan's jaw clenched, his frustration bubbling to the surface. "And what about you, huh?" he retorted, his voice rising in anger. "You act like you're too good for everyone, like you're above it all. Well, let me tell you something, Y/N – you're not as special as you think you are."

"You know what, Tristan. I don't care about you or your stupid games because all I'm trying to do is get back to New York. All this shit is just a rock in the road," you spat as you turned around, walking away.

"Oh really? What about your obvious drinking problem, that's why your mom sent you away, right?"

You stopped in your track as you took in Tristan's words. Fury was etched across your features as you spun around to face him, your fists clenched at your sides. "How dare you," you seethed, your voice trembling with rage. "You stupid asshole!"

You pushed him as hard as you could, causing him to trip and fall into a table. You heard a loud shattering and both of you just stared at each other before looking down to see glass everywhere.

"Shit, that's my mom's vase." Tristan's eyes widened in shock as he glanced at the shattered remains of the vase on the floor.

Your chest heaved with anger as you glared at Tristan, your fists still clenched at your sides. "You deserved it," you spat, your voice thick with venom. "You had no right to say that."

"Y/N, this vase is like two grand. It was my mom's favorite vase," Tristan scoffed as he stared down at the ground. "She's gonna be fucking pissed, idiot."

You stared back at him with anger but you knew that you needed to figure something out. Taking a deep breath to steady yourself, you clenched your jaw and met Tristan's gaze head-on. "I know I messed up," you admitted begrudgingly, your voice tight with frustration. "You shouldn't have been a bitch."

"Well you shouldn't have pushed me, like an psycho." Tristan's voice was sharp, but there was a hint of surrender beneath his irritation. He knew that pointing fingers wouldn't solve anything, but he couldn't help but feel defensive in the face of your accusation.

"Well I'm not apologizing-"

"Y/N, we need to figure out what to do before they come home."

And right on cue, the front door opened, revealing your father and Kristan, who froze in shock at the sight of the shattered vase and the two of you standing next to it.

Your father's expression hardened as he took in the scene, his disappointment evident in his eyes. "What in the world happened here?" he demanded, his voice a mix of frustration and disbelief.

masterlist !

series masterlist !

[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.

[zanephillips]

Matt Czuchry as Logan Huntzberger Gilmore Girls: A Year in the Life 1.04 “Fall”

[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.

[silent-idea]

Favorite Characters (no particular order) ↴ Jess Mariano ⇢ Gilmore girls

[lgbtjess]

my take on jessdean

[kaitlinamberxo]

“Life's short. Talk fast.”

kaitlin's 100 favorite female muses — 10/100: Lorelei Gilmore

[greenandsorrow]

Flowers in December, a mini series

Luke Danes x fem!reader ☕🧣🧤🌨️

Summary.

A gal in her early twenties moved to Stars Hollow three months ago and since then, Luke's Diner has practically become her second home. Twice a day, like clockwork, she's sat at a table, sipping her coffee... Not to mention all the to-go cups.

Warnings.

slow burn, jealousy, possessiveness, sexual content, big age gap, cunningulus, size kink, touch-starved!Luke, dom!Luke, virgin!reader, sassy!reader, selfish!reader, grumpy x sunshine trope, hurt, comfort, angst, feelings of inadequacy, alcohol consumption

Author's note.

Not me entering ANOTHER fandom. I can't be stopped and I so declare myself a public threat. Yep, I'm new to the Gilmore Girls fandom, so nice to meet you all! <3 Um... I just finished S1, so my knowledge isn't very broad and I'm also trying to avoid spoilers. I haven't even read any Gilmore fics... YET. Luke is Dilf material and this fic is very self indulgent… I can't help myself. But hey, maybe that is good for you 👀

Ch.I (24/12)

Ch.II (25/12)

Ch.III (30/12)

Ch.IV (31/12)

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My masterlist.

THE NYMPH'S DAILY GIFTS. ❄️

Fic title -> Flowers in December by Mazzy Star

Dividers by @strangergraphics and @saradika-graphics.

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Please do not copy or repost my work anywhere.

[sweetnnaivete]

i wanna read jess mariano's book so much i bet it would be a 10/10 stellar read

[emilydickinsonsghost]

Rory Gilmore in Gilmore Girls a Year in the Life was the most relatable neurodivergent former gifted kid with parent issues portrayal ever, like I understand if people didn’t like it or thought it was out of character, but to me it was real as fuck.

Like, being a parentified, highly perfectionistic, mature for your age teenager only to then completely drop off the curve as an adult because you can’t keep up the act any longer.

Yea not gonna lie I kinda felt that!

The only thing that was unrealistic about that sequel was Rory not ending up with Paris.

[callmebrycelee]

MY MAN CRUSH MONDAY IS...JARED PADALECKI

FULL NAME: Jared Tristan Padalecki

DATE OF BIRTH: July 19, 1982

PLACE OF BIRTH: San Antonio, Texas

AGE: 41

SIGN: Cancer

BEST KNOWN FOR: Portraying Sam Winchester in the WB/CW dark fantasy drama series Supernatural; Dean Forester in Gilmore Girls and Gilmore Girls: A Year in the Life; Cordell Walker in Walker.

HEIGHT: 6 feet and 4 inches tall

[lovealwayssay]

I’m re-watching Gilmore Girls: A Year in the Life and I’m realizing why I didn’t like it the first time I watched it. The whole plot doesn’t make sense for the time period. All the things, sans Richard’s death and Sookie being gone, don’t make sense for 10 years after the finale, they make sense for the characters at their season 7 ages. Lorelai and Luke shouldn’t have waited 10 years to discuss kids and marriage, that should have been a season 7 plot. Rory shouldn’t be wandering from home to home and sleeping with an engaged Logan at 32, she should be doing that at 22/23. Jess shouldn’t still be waiting for Rory, they should have figured it by now. Their character development should have continued through the ten years, not gone stagnant.

[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.

[stellatekintsugi]

Rory Gilmore

[lightgaswaterelectricityrent]

absolute hottest thing a man has ever said

[silent-idea]

Favorite Characters (no particular order) ↴ Lorelai Gilmore ⇢ Gilmore girls