Rory quickly develops a crush on Richard's replacement TA and feels compelled to confess the attraction to Logan. But she feels really bad about it and he completely understands and the two of them reassure each other that in the end they are crazy about each other. Meanwhile, Lorelai distracts herself from thinking about Christopher by arranging a memorial service for Michel's dog. Christopher ... See full summary »

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Tucker Culbertson
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Mr. Cannold
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Storyline

Rory quickly develops a crush on Richard's replacement TA and feels compelled to confess the attraction to Logan. But she feels really bad about it and he completely understands and the two of them reassure each other that in the end they are crazy about each other. Meanwhile, Lorelai distracts herself from thinking about Christopher by arranging a memorial service for Michel's dog. Christopher seeks her out, however, and the two are forced to face their problems. Christopher feels like he's been trying to get Lorelai to fall in love with him, and Lorelai realizes that she can't make the marriage work ...

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Comedy | Drama

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TV-PG | See all certifications »
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13 February 2007 (USA)  »

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1.78 : 1
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Did You Know?

Trivia

Although they appear, Keiko Agena (Lane) and Scott Patterson (Luke) have no lines. See more »

Quotes

[last lines]
Lorelai: Hi.
Christopher: Hey. How was the funeral?
Lorelai: Sad. It's not just Luke.
Christopher: Lor...
Lorelai: I mean, you were right. There are feelings there. Because, when that ended I just jumped.
Christopher: I pushed you.
Lorelai: I jumped. But if that's all there was, if that's all it was, we could fix it, you know, with time.
Christopher: But it's not.
Lorelai: You've always been this possibility for me. This wonderful possibility. But it's just not right. And I'm so sorry. I'm so sorry.
[...]
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Connections

References Titanic (1997) See more »

Soundtracks

My Heart Will Go On
(uncredited)
Written by James Horner and Will Jennings
Performed by Todd Lowe
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User Reviews

a little better but not there yet
14 February 2007 | by (Canada) – See all my reviews

In its heyday the G.Gs. came close to be what may be called a rare masterpiece in U.S. TV. Still, papers could be written about it and the series made recommended viewing for Social and Psychological Studies.

For starters, the three female leads were based, intentionally or not, after the Freudian components of the human psyche, Emily being a dead cinch for the Super Ego, the provider of rules and restrictions born of experience. Lorelai would be the conscious, opinionated, analytical mind, the Ego; our open eyes and ears. Rory, the sensible but rather blind Id, the experimenter. Is was this stroke of genius what gave the series its unity, its structure and its dynamics; it provided also an underlying tension upon which the rest was built. Much of it is now gone. Emily is only a shadow of herself, while the jury is still out on Rory. Only Lorelai still soldiers on. She bravely faces the maelstrom at the helm of her ship, keeping things together, carrying the whole circus on her shoulders—as it has been the case since the beginning, anyway. (Sorry, Rory fans, but this is Lorelai's show, her game to lose. When she is doing well, the G.Gs. shines; when she drops the ball—as she did this season--the whole thing stinks. Should she ever fail, this will be a goner, a dead duck).

In classic G.Gs., symbols pop out all over. When Rory goes to Yale, she is rooming with nobody but herself--or rather with three mirrors on the wall. They show her three cohabiting identities: the innocent girl who loves clichés--what is more reassuring than a cliché?--the one who has followed her, quietly, unnoticed, to her adult life; the physically developing 18-year-old; and the mature, if neurotic, woman. No wonder Paris is the only one left after the first year; the others are gone-—but Tanna is back with a vengeance, during the Huntzberger induced meltdown.

Contempt plays also a big role in classic G.Gs.. Contempt Chains can be formed out of it. A C.C. is one where every member feeds its own self-importance on its contempt for the one(s) below (here is one: Jess; Dean; Luke: Emily; Huntzbergers). This series has done for institutionalized social and family life what Dilbert did for the working place. Nowadays, with people falling like flies, characters are spending much time around ERs and being nice to each other. Come on, G.Gs. is not about being nice to others; it is about being mean, even nasty. It is about making a grab at their possessions while carrying their coffins; about throwing them off their tables at the diner—-or off the door, if you are the owner. In G.Gs. world there is always somebody bringing someone else down a notch. And those who cannot do it, rant. The greatest ranters here are people with no authority. A whole book could be written on this sole matter--one that would most certainly include a fat appendix of Paris quotes.

Anyway, the series seems to be crawling back to something resembling its former self, after having hit rock bottom with that embarrassing fist fight in the square (I swear that I saw that gazebo turn red and try to hide in the bushes, during it—and who could blame it..?) Still, it is most mystifying to see Lorelai trying so hard to turn around that turkey of a marriage, as if she owed it to something. Give it a rest, lady, that was a nonstarter, a confirmed D.O.A.; a dead horse—or rather its bone dry skeleton—never meant to run, no matter how much you flog it.


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