Warning! Spoilers!

There really isn't another show quite like THE GILMORE GIRLS. No other series so thoroughly dedicated to words. There are no doubt other series with great talk: BUFFY THE VAMPIRE SLAYER definitely comes to mind. But no other show that I know put language and witty talk so completely at the heart of what it was trying to do. Creator Amy Sherman-Palladino said that she was inspired by great Hollywood comedies like the Thin Man series and HIS GIRL FRIDAY (one of the few films where the characters talked faster than they did on THE GILMORE GIRLS). And for five absolutely brilliant and one less than brilliant season the show was magical beyond any reasonable expectation. Then came Season Seven. I still watched with great interest. Well, until the marriage to Chris part (I asked a friend to tell me when Lorelei and Chris busted up and stayed away until they did). Season Seven was not a truly awful season. There were still many great moments during the year, including an absolutely splendid series finale, but by the end the show was having fewer and fewer of those wonderful moments that made it so special.

One major reason Season Seven struggled so much was the absence of the show's guiding genius. During contract negotiations at the end of Season Six, the WB offered Amy and her co-producer husband Daniel Palladino a one-year contract. She wanted the respect to be offered a two-year contract. The WB refused to budge and she and Daniel left the show. Since the two of them had either written or directed separately or together the bulk of the episodes on the show, the loss was irreparable. The show was built mainly around great talk, but what happens when the person most responsible for that talk leaves? Unfortunately, the brilliance of the talk went with them.

Those left behind tried gamely to carry on. But they also had the misfortune to be left with the remnants of an exceedingly bad story arc that Amy left behind. Most fans of THE GILMORE GIRLS came to dislike Lorelei at times during Season Six, including Lauren Graham. While most agreed that Luke was being too secretive about learning that he had a daughter he knew nothing about, most also felt that Lorelei's reaction was excessive. She became pushy and needy and impatient and just generally unlikable. Then incredibly stupid by giving Luke an ultimatum to either elope on the spot or lose her. And Season Six ended with her sleeping with Luke.

This whole story arc has to be laid at the feet of Amy Sherman-Palladino and the show had no choice but to continue the arc in Season Seven. As brilliant as Amy was over the first five seasons, the falling apart of Luke and Lorelei's relationship in Season Six and then whole Chris mess in Season Seven were her worst contributions to the show. Luckily, it didn't last forever. By the end of the season Rory had graduated from Yale and Lorelei was yearning to be with Luke, acutely conscious of what she had lost.

The season ended on some of the best moments of the year. One memorable episode had all of Stars Hollow laid out as a vast maze, in a weird plan by Taylor that for once truly worked out. Lorelei and Luke meet and express some of the regrets that they had felt for some time. It was a great moment. But the highpoint of the season and one of the highpoints of the entire series occurred in a scene in which Rory gets her mother drunk enough to sing on karaoke night. She starts off singing Dolly Parton's "I Will Always Love You" (and the Dolly Parton arrangement, not the overly ornate butchering that Whitney Houston did) in Rory's direction. But Luke walks in as she sings and inevitably her gaze shifts. As she sings (and quite well, thank you), you see a world of conflicting emotions overcoming her: regret, yearning, hope, resignation, good will, and love. I don't know of another actress on TV other than Lauren Graham who could have pulled it off. It was one of those utterly perfect TV moments that reminded me not just why I watch THE GILMORE GIRLS but TV in general.

Until the very end of the season it appeared that there was going to be a Season Eight. The CW (which had taken over the show when the WB and UPN merged) hoped to have a 13 or 16 episode shortened season, but in the end Lauren Graham and Alexis Bedell, who were both up for contract renewal, declined to sing new contracts. But after seeing what turned out to be the series finale I am almost grateful of their decision. What a lovely end to a wonderful series! Few shows get to go out perfectly, but THE GILMORE GIRLS managed one of the most perfect finales ever. As Luke marshals the town for a farewell party (on one day's notice) we get a beautiful episode that allows us both to see all our favorite characters one last time and to say goodbye to them. Everything that should have been done was done. Rory is off to join the Barack Obama campaign as a reporter. Lorelei, when Sookie tells her that the planning of the party "was all Luke," realizes that Luke, who is sometimes slow to speak, has shown how he feels about her with actions. When she thanks him and he tells her that he likes to see her happy you know that they are going to be fine. You don't even need the kiss that follows. And the series ends just as it began seven years earlier, Lorelei and Rory sitting in Luke's diner.

I'm not sure that this is a show that can be replaced. Some shows are sui generis, truly one of a kind. This is one of those. The premise of a mother and daughter who were best friends was at the heart, but it didn't make it unique. It was the combination of the amazing group of characters, the wonderful town, and the endless stream of magnificently written scripts.

I want to end by praising Lauren Graham. This was a great cast with a number of remarkably gifted actors. But Lauren Graham towered above them all. The Emmys never did her justice. It is almost inconceivable that she never received a single Emmy nomination. Yet for seven years she was without serious competition the finest actress on television. How can such a travesty occur and the Emmys not feel a profound sense of shame? It is true that last year the Emmys were "reformed" in order to make it possible for deserving performers more likely to be nominated. Lauren Graham's name was the one mentioned as an example of such a performer. Yet even with reform she didn't receive a nomination. But to me her performance as Lorelei is one of the great achievements of television acting. No one came anywhere close to her in handling comedy; no one could rival her delivery of the machine-gun like dialogue. But neither could many rival her with drama. The karaoke scene I mentioned is a perfect example.

I will truly miss this series.

This is a truly amazing film brought to life by four truly amazing girls-- Alexis Bledel as shy Lena, Amber Tamblyn as rebel Tibby, Blake Lively as fun-loving Bridget, and America Ferrera as writer Carmen. Each girl has a different story to deliver from different parts of the world. Lena's in Greece with her grandparents, Tibby's at home working a dull job at Wallman's, Bridget is at soccer camp in Mexico, and Carmen is visiting her father in South Carolina.

Together, they form the Sisterhood of the Traveling Pants after discovering that a hot pair of Levi's fits each of their different body types perfectly. They decide that the best thing to do is to share the jeans since they'll be spending the summer apart, wearing them for one week and then mailing them to the next person. Lena gets them first, almost drowning the first day she wears them, only to be rescued by a cute Greek boy, who will no doubt get her out of her shell. Tibby gets them next, who is staying home to work to get money for more camera equipment to make her "suckumentary." She meets a vivacious 12 year old named Bailey, a girl who loves life as opposed to Tibby's "life sucks" attitude. Carmen then gets the jeans-- she learns that her father (who left her when she was young) is remarrying a woman with two children. She feels like an outcast in a see of blonde Brady Bunchers. Then the jeans head to Bridget. She's still coping with her mother's suicide, and flirts with the off limits soccer coach because it gives her something to do other than be sad.

So the jeans travel between each girl throughout the movie, each time getting a new story and opening up new chapters in these girls' lives. This is a wonderful movie. Very well played out and extremely well written, surprisingly so for a film about girl power... it stacks up much better than films like Sleepover or New York Minute, which absolutely stink compared to this rare summer jewel. RECOMMENDED!!

Just so you know, this is the IDENTICAL PILOT THAT IS IN THE COMPLETE FIRST SEASON SET. I give the show itself 5 stars, and for everyone who just wants a taste, buy the DVD. BUT if you own the first season, there is NO NEED to buy this one.

So few short films become commercially available on DVD you can't help but think a better collection could have been culled here. But "Celebrity Mix" (presumably so named because people you've heard of appear in some of the films) has its worthwhile moments, as well as one true gem.

Most of these eight films classify as comedies. Of them, only "Laud Weiner" - an incredibly obvious take on shallow Hollywood producer/managers (see the feature "The Player," the TV show "Action," and about a million other sources for smarter, funnier treatments of the same topic) falls completely flat. "Dysenchanted" offers a few smiles but never overcomes the cuteness of its premise; "Media Whore" mocks vapid entertainment reporters but needs more bite to be truly memorable; "Mr. Dramatic" (yet *another* swipe at Hollywood - can any shorts auteurs see beyond their disillusionment with LA-types?) takes an okay but underdeveloped concept and slo-mo's it to death.

But "Dependable People" has some very funny bits, even if they never coalesce into a whole that's as good as its parts, and "Curiosity" is a sharp, if simple, thriller with some edge. "House Hunting" bears an obvious literary imprint (it's based on a Michael Chabon short story) in its dialogue and themes, and remains watchable throughout its often uneven execution.

And then there's "Waking Dreams," by far the most accomplished piece of filmmaking here. Though not a comedy, its smart humor makes it in some ways the funniest short in the collection - as well as the best written, best directed, and best acted. Inadequately described on the DVD packaging as a "paranormal thriller," it takes a sharp turn toward the sublime at the end and actually gets there. Remarkable for its subtlety, this is a pitch-perfect, deftly done film - more resonant than most features - that changes and expands to become quietly moving by the end. Some of the other filmmakers on this DVD show promise, but writer/director John Daschbach seems fully arrived, and I can't wait to see what he does next. Forgive the cliché, but "Waking Dreams" alone is worth the price of purchase. It's a five-star film camping out on this three-star DVD.

"The Show That Almost Wasn't."

That's the most surprising lesson learned about the nature of television production -- as told by the show's creator Amy Sherman-Palladino -- in the WB's stellar GILMORE GIRLS release: Ms. S-P had pitched a variety of programs for WB executives, and, when they asked for more, she made up an idea on the spot -- with no preparation or background detail -- which the executives took! Then, Ms. S-P had to go and create it.

GILMORE GIRLS arguably stands as a benchmark in television history. In some ways, the program is like SEINFELD: if you don't get it, you won't get it. In other ways, it's a high quality Hallmark Channel movie-of-the-week, currently stretching out beyond its fourth season and soon to be entering its fifth. Still, in more ways, there's absolutely nothing else like it on television.

GG is far more than just the story of Lorelai Gilmore and her daughter, Lorelai "Rory" Gilmore: it's the story of the fictional town known as Star's Hollow -- the dreamland for bed-n-breakfast businesses -- and the odd assortment of characters who happen to live, work, and breathe there. While the centerpiece is clearly the Gilmore family -- a contemporization of the BRADY BUNCH, if there could ever be such a thing -- the spin of the show is, to its benefit, the plethora of wonderfully imagined and uniquely quirky townsfolk who populate the secondary storylines.

And, yes, the acting is top notch. The direction is absolutely superb. The writing is, by far, some of the most deserving work being put up on the boob tube today.

Still, GG is on the WB, meaning that it will, more than likely, never find the kind of ratings the show deserves. Like STAR TREK, GILMORE will find its true financial potential in syndication and DVD releases ...

much like this current release of the 21 1st season episodes.

To my delight, I'm just discovered these television characters. My wife has watched the show since the beginning, but I always dismissed it as a "chick flick," tuning it out to spend my time on other shows. However, she convinced me to give it a chance this past season (its fourth), and now -- here am I -- writing a review for Season 1 that we watched together virtually non-stop. Others here have raved about the quality of the writing -- the true lifeblood of the program -- and I wouldn't even attempt to do GILMORE a disservice in discussing it other than to add "every good thing that's been said here is absolutely not enough to sanctify how well, apparently, every episode is written."

Honestly, GILMORE is really that good.

Truth be told, the extras are surprisingly thin -- but of good quality -- on this 1st season release, especially considering the fact that the show is currently in production for the WB. Disc 6 includes a handful of deleted scenes; a mini-doc with some revealing insights from the show's creator, cast, and crew; and some scenes from various episodes edited together in a piece that tries to capture the 'essence' of what makes GILMORE GIRLS as remarkable a television achievement as it is. One would think that Warner Brothers would've offered more -- in-depth interviews with the series cast OR, minimally, an audio commentary or two -- but, sadly, that isn't the case. As a result, one could argue that the studio -- as Amy Sherman-Palladino points out in the scant 30 minute documentary -- has underestimated the intelligence of its audience, focusing only on the commercialism of the program and not feeding the fanbase brain.

The 6-disc set is presented in full screen format. The video quality is excellent. The sound quality is excellent (there are a handful of scenes that are hard to hear b/c of verbal pacing, not production issues). Overall, this is one great package only lessened by what they chose not to provide: audio commentaries.

This is a truly amazing film brought to life by four truly amazing girls-- Alexis Bledel as shy Lena, Amber Tamblyn as rebel Tibby, Blake Lively as fun-loving Bridget, and America Ferrera as writer Carmen. Each girl has a different story to deliver from different parts of the world. Lena's in Greece with her grandparents, Tibby's at home working a dull job at Wallman's, Bridget is at soccer camp in Mexico, and Carmen is visiting her father in South Carolina.

Together, they form the Sisterhood of the Traveling Pants after discovering that a hot pair of Levi's fits each of their different body types perfectly. They decide that the best thing to do is to share the jeans since they'll be spending the summer apart, wearing them for one week and then mailing them to the next person. Lena gets them first, almost drowning the first day she wears them, only to be rescued by a cute Greek boy, who will no doubt get her out of her shell. Tibby gets them next, who is staying home to work to get money for more camera equipment to make her "suckumentary." She meets a vivacious 12 year old named Bailey, a girl who loves life as opposed to Tibby's "life sucks" attitude. Carmen then gets the jeans-- she learns that her father (who left her when she was young) is remarrying a woman with two children. She feels like an outcast in a see of blonde Brady Bunchers. Then the jeans head to Bridget. She's still coping with her mother's suicide, and flirts with the off limits soccer coach because it gives her something to do other than be sad.

So the jeans travel between each girl throughout the movie, each time getting a new story and opening up new chapters in these girls' lives. This is a wonderful movie. Very well played out and extremely well written, surprisingly so for a film about girl power... it stacks up much better than films like Sleepover or New York Minute, which absolutely stink compared to this rare summer jewel. RECOMMENDED!!

This is a truly amazing film brought to life by four truly amazing girls-- Alexis Bledel as shy Lena, Amber Tamblyn as rebel Tibby, Blake Lively as fun-loving Bridget, and America Ferrera as writer Carmen. Each girl has a different story to deliver from different parts of the world. Lena's in Greece with her grandparents, Tibby's at home working a dull job at Wallman's, Bridget is at soccer camp in Mexico, and Carmen is visiting her father in South Carolina.

Together, they form the Sisterhood of the Traveling Pants after discovering that a hot pair of Levi's fits each of their different body types perfectly. They decide that the best thing to do is to share the jeans since they'll be spending the summer apart, wearing them for one week and then mailing them to the next person. Lena gets them first, almost drowning the first day she wears them, only to be rescued by a cute Greek boy, who will no doubt get her out of her shell. Tibby gets them next, who is staying home to work to get money for more camera equipment to make her "suckumentary." She meets a vivacious 12 year old named Bailey, a girl who loves life as opposed to Tibby's "life sucks" attitude. Carmen then gets the jeans-- she learns that her father (who left her when she was young) is remarrying a woman with two children. She feels like an outcast in a see of blonde Brady Bunchers. Then the jeans head to Bridget. She's still coping with her mother's suicide, and flirts with the off limits soccer coach because it gives her something to do other than be sad.

So the jeans travel between each girl throughout the movie, each time getting a new story and opening up new chapters in these girls' lives. This is a wonderful movie. Very well played out and extremely well written, surprisingly so for a film about girl power... it stacks up much better than films like Sleepover or New York Minute, which absolutely stink compared to this rare summer jewel. RECOMMENDED!!

The third season of "Gilmore Girls" offers a lot of ups and down for Lorelai and Rory, not to mention pretty much everybody else at Stars Hollow or Chilton. I was prepared to declare that this was my least favorite season of the series because I did not like Jess and I though Rory's choice to ditch Dean for Jess was the lost of the innocence that made the character so endearing in the first place. Then I took into account that "Gilmore Girls" airs on the WB and from Felicity choosing Ben over Noel and Joey picking Pacey over Dawson I have been nothing but disappointed with the romantic choices of their ingénues. Buffy chose Angel and then she ended up killing him. If Lorelai and Luke do not end up happily ever after I might be compelled to give up on the show (consider this fair warning, WB), but if Rory could dump Dean I knew Jess could never go the distance and I could take heart in that fact.

What defines this third season for Lorelai and Rory are not the men (or boys) in their lives but rather their goals of realizing their dreams. For Lorelai this means opening up her own inn with Sookie. That dream gets put on the front burner when a fire damages the Independence Inn ("A Tale of Poes and Fire"), but buying the Dragonfly Inn (the house from "The Waltons" if you know your television history) proves to be a problem ("Say Goodnight, Gracie"). When Lorelai insists on spending the money she got from her father on her daughter's education at Yale it is Rory who has to cut her own deal with Richard and Emily so that her mother can get her dream too ("Those Are Strings, Pinocchio"). It is supposedly a "win-win-win" situation, but that remains to be seen.

Of course, Rory getting into the college of her dreams is the real defining element of the season. I came to the show late (mea culpa, mea maxima culpa) so I knew that Rory was at Yale and wondered what on earth had happened to keep her from going to Harvard. Well, in Season 3 we find out. The dream starts to turn into a nightmare when Rory's application for Harvard has to be put together ("Application Anxiety"). When Paris did not get into Harvard ("The Big One"), I was terrified the same fate awaited Rory. But when Richard manipulates Rory into an interview at Yale ("Let the Games Begin") my biggest surprise was that Lorelai was actually wrong in an argument with her father (the end of the episode indicates she knows that too). This one has two of Rory's best moments in this season are when she tells Richard he did the right thing the wrong way in this episode and when she apologizes to Dean and I could feel she was still a good kid at heart. I also like it in the season finale when she tells Emily she is being stupid in shutting out Lorelai and if I could use my one free spin in this life to get Rory to say something it would be to tell Emily, "Grandma, I love you, but no matter what you do I will never love you more than I love my mother."

The best part of Rory and Jess was Lorelai giving Luke lessons on what it means to be a parent of a teenager in love. Other big moments are the dance marathon ("They Shoot Gilmores Don't They?"), the poignant flashback's to the pregnant young Lorelai ("Dear Emily and Richard"), and Emily standing up to Trix ("That'll Do, Pig"). For me the funniest moment of the entire season is in "I Solemnly Swear" when Emily reads the transcript of Lorelai's deposition. I almost busted a gut on that one. Yes, I cried when Rory talked about her mom in her graduation speech, but the sweetest moment of the season was when they came up with the great payoff for the running gag about the t-shirts Kirk was selling at the end of "A Tale of Poes and Fire" (Admit it: You wish you have a "Rory's Going to Yale" t-shirt). Now we can send Rory off to college in Season 4 so that Luke and Lorelai can finally get on the same page and kiss already.

The DVD offers up extra scenes, which is certainly ample justification for fans of the show to check it out in this format. Besides, if you have waiting to see baby pictures of Lauren Graham or Alexis Bledel, Liz Torres and Kelly Bishop in their dancing days, or having a burning desire to see Sean Gunn do the robot again, then the featurettes on the childhood stories from the cast and their best 1980s dance moves are going to allow you to move on to having other images on your visual wish list.

The second season of "Gilmore Girls" is when a lot of things did not happen to Lorelai Gilmore. It started with Lorelai not marrying Max ("Red Light on the Wedding Night") and ended with her not marrying Christopher ("I Can't Get Started"), but Sookie got married so at least there was some progress in that area, although the duo's plan to open an inn together hits a major roadblock ("The Ins and Outs of Inns"). Of course, the most important thing that did not happen to Lorelai was that she manages to really notice Luke despite the fact he is pretty much there in front of her every morning at the diner. Clearly the creators of "Gilmore Girls" remember what happened to "Moonlighting" once Dave and Maddie stopped bantering and started kissing and other things, so the agenda is to put off the inevitable for as long as possible. So even if it is obvious to everyone else in Stars Hollow (to wit, Emily), does not mean that Lorelai has a clue.

As for Rory, her junior year at Chilton has its ups and downs. and not just because of Paris. The ups would be "The Road Trip to Harvard" and making her society debut ("Presenting Lorelai Gilmore"), while the downside would be the rift between her and her grandfather because of Dean ("Sadie, Sadie") and the problems with Dean because of Jess ("There's the Rub" and "A-Tisket, A-Tasket"). If anything, the common denominator is to make sure that none of the Gilmore women are happy, which means Rory is mad at Lorelai for blaming Jess for the accident ("Help Wanted," Lorelai is mad at Emily for arranging their going to a spa together ("There's the Rub") and Emily is mad at Richard for quitting his job without consulting here ("The Bracebridge Dinner"). What? You thought Emily was going to be mad at Rory? Are you kidding? Have you not been watching this show?

For me the fascinating part is watching the yang of Lorelai and Emily's relationship compared to the yin of the Lorelai and Rory dynamic. For me some of the most memorable moments from season two are when Emily orders Richard to make up with Rory because if their granddaughter ever gets married she to know about it (Lorelai did not tell her parents about her engagement to Max) and the look on her parent's face with Lorelai gets her business school diploma ("Lorelai's Graduation Day"). But then a good rule of thumb is anytime we see a chink in Emily's armor it is a moment that will be hard to forget. I am still trying to make up my mind as to whether or not Lorelai has an even more strained relationship with her father than her mother, given his visit to her place of work ("Richard in Stars Hollow") and her visit to his new office ("Help Wanted"). I am certainly leaning in that direction, but it is still open to debate.

But overall the two emotional highpoints of the second season finding Lorelai giving and then receiving as good as she gets. The giving happens in "Teach Me Tonight" when a totally distraught Lorelai goes after Luke because of the car accident where Rory gets hurt (slightly hurt, but hurt is hurt, and there is a cast on her arm, mister), creating a serious rift in their relationship. The receiving is two episodes later in "Lorelai's Graduation Day" when Rory misses the big event and offers the most high speed combined heartfelt apology and verbal self-flagellation in television history (I agree with her, I think she had a stroke or something).

My strong affection for high-speed dialogue can be traced from "Gilmore Girls" back to "Moonlight" and beyond to "The Thing From Another World" and any movie starring Groucho Marx. Equally as strong is my enjoyment of gratuitous pop culture references, especially as manifested in "The Simpsons" and "Buffy the Vampire Slayer." So to have a series that combines both of these elements and provides deleted scenes on the DVD is one of those absolute joys you hear so much about (although my wife is tired of me explaining all of the references, allusions, and impromptu name dropping). Then again, while I knew from the start that Carole King was singing the show's theme song "Where You Lead" with her daughter Louis Goffin, I only recently figure out they had re-recorded the song with some of the lines changed to better fit the show (No, I do not fast forward through the title sequence; I always listen to the song).

I am also pleased to see that the "Gilmore Girls" is being seen around the world, although I have to wonder how the pop culture references translate into out cultures (I have no doubt people can speak real fast in any language). But you can see "Gilmore Girls" now from Argentina (the current season is on the Warner Channel Thursdays at 21:00 with past seasons shown weekdays at 11:30 and 16:30) to the United Kingdom (Sundays at 18:00 on Nickeloden U.K.). It is nice to think that Stars Hollow's madonna and child have gone international.

Gilmore Girls is one of those rare shows that has maintained a consistently high standard of quality throughout its run and has even managed to get better with age. The show started with the Lorelei (Lauren Graham) & Rory (Alexis Bledel) as mother & daughter who are best friends. Rory was an innocent intellectual who was starting a prestigious high school as sophomore. Through the years, the show has transformed her from a young girl who lost herself in books and education to a young woman who is experiencing life first-hand. The change started at the end of season four when Rory sleeps with her ex-boyfriend, the married Dean (Jared Padalecki) and continues in this season with her relationship with the rich Logan Huntzberger (Matt Czuchry). The change in Rory is startling and Lorelei has a tough time dealing with it thus creating rift between the two. This season also shows the blossoming of her relationship with Luke (Scott Patterson) and how that relationship is handled by her parents Emily (Kelly Bishop) and Richard (Edward Hermann). One particular funny episode involves Richard taking Luke golfing. The best episodes of the season involve Richard & Emily's wedding to renew their vows and the fall-out from Emily's visit to Rory's father Christopher (David Sutcliffe) who shows up at the wedding and gets into a verbal fight with Luke. The season ends with Rory and Logan stealing a yacht and Rory decides to drop out of Yale. Lorelei goes to her parents for help in this matter and they agree Rory shouldn't drop out. They provide the cruelest slap of all in Lorelei's face when they renege on their promise and Rory ends up moving into the pool house. Ms. Graham is particular superb in this season and fact she was snubbed for an Emmy nomination is criminal. Gilmore Girls continues to be among the best shows on television and season five only reinforces it greatness.

The second season of "Gilmore Girls" is when a lot of things did not happen to Lorelai Gilmore. It started with Lorelai not marrying Max ("Red Light on the Wedding Night") and ended with her not marrying Christopher ("I Can't Get Started"), but Sookie got married so at least there was some progress in that area, although the duo's plan to open an inn together hits a major roadblock ("The Ins and Outs of Inns"). Of course, the most important thing that did not happen to Lorelai was that she manages to really notice Luke despite the fact he is pretty much there in front of her every morning at the diner. Clearly the creators of "Gilmore Girls" remember what happened to "Moonlighting" once Dave and Maddie stopped bantering and started kissing and other things, so the agenda is to put off the inevitable for as long as possible. So even if it is obvious to everyone else in Stars Hollow (to wit, Emily), does not mean that Lorelai has a clue.

As for Rory, her junior year at Chilton has its ups and downs. and not just because of Paris. The ups would be "The Road Trip to Harvard" and making her society debut ("Presenting Lorelai Gilmore"), while the downside would be the rift between her and her grandfather because of Dean ("Sadie, Sadie") and the problems with Dean because of Jess ("There's the Rub" and "A-Tisket, A-Tasket"). If anything, the common denominator is to make sure that none of the Gilmore women are happy, which means Rory is mad at Lorelai for blaming Jess for the accident ("Help Wanted," Lorelai is mad at Emily for arranging their going to a spa together ("There's the Rub") and Emily is mad at Richard for quitting his job without consulting here ("The Bracebridge Dinner"). What? You thought Emily was going to be mad at Rory? Are you kidding? Have you not been watching this show?

For me the fascinating part is watching the yang of Lorelai and Emily's relationship compared to the yin of the Lorelai and Rory dynamic. For me some of the most memorable moments from season two are when Emily orders Richard to make up with Rory because if their granddaughter ever gets married she to know about it (Lorelai did not tell her parents about her engagement to Max) and the look on her parent's face with Lorelai gets her business school diploma ("Lorelai's Graduation Day"). But then a good rule of thumb is anytime we see a chink in Emily's armor it is a moment that will be hard to forget. I am still trying to make up my mind as to whether or not Lorelai has an even more strained relationship with her father than her mother, given his visit to her place of work ("Richard in Stars Hollow") and her visit to his new office ("Help Wanted"). I am certainly leaning in that direction, but it is still open to debate.

But overall the two emotional highpoints of the second season finding Lorelai giving and then receiving as good as she gets. The giving happens in "Teach Me Tonight" when a totally distraught Lorelai goes after Luke because of the car accident where Rory gets hurt (slightly hurt, but hurt is hurt, and there is a cast on her arm, mister), creating a serious rift in their relationship. The receiving is two episodes later in "Lorelai's Graduation Day" when Rory misses the big event and offers the most high speed combined heartfelt apology and verbal self-flagellation in television history (I agree with her, I think she had a stroke or something).

My strong affection for high-speed dialogue can be traced from "Gilmore Girls" back to "Moonlight" and beyond to "The Thing From Another World" and any movie starring Groucho Marx. Equally as strong is my enjoyment of gratuitous pop culture references, especially as manifested in "The Simpsons" and "Buffy the Vampire Slayer." So to have a series that combines both of these elements and provides deleted scenes on the DVD is one of those absolute joys you hear so much about (although my wife is tired of me explaining all of the references, allusions, and impromptu name dropping). Then again, while I knew from the start that Carole King was singing the show's theme song "Where You Lead" with her daughter Louis Goffin, I only recently figure out they had re-recorded the song with some of the lines changed to better fit the show (No, I do not fast forward through the title sequence; I always listen to the song).

I am also pleased to see that the "Gilmore Girls" is being seen around the world, although I have to wonder how the pop culture references translate into out cultures (I have no doubt people can speak real fast in any language). But you can see "Gilmore Girls" now from Argentina (the current season is on the Warner Channel Thursdays at 21:00 with past seasons shown weekdays at 11:30 and 16:30) to the United Kingdom (Sundays at 18:00 on Nickeloden U.K.). It is nice to think that Stars Hollow's madonna and child have gone international.

I stumbled on to this on my Netflix "instant play" feature as something to watch. The Netflix rating system told me I'd like it, and they were right! So much so that I'll probably buy it soon.

The coming of age love story watches the goings-on of Reed Fish, a "literal" big fish in a small town who has a daily radio show he inherited from his dad. The slam dunk in this movie is Schuyler Fisk's performance and music. She's incredibly engaging. Her music is wonderful. Jay Baruchel, as the title character Reed, and Alexis Bledel, as his fiancée, do an excellent job.

Some reviewers trash this film for various perceived ills, but they are completely missing the humour and the point. Reed Fish is a big fish, pun intended, in this little town, and spends his days solving problems for his listeners and otherwise operating as a pillar of his community despite his youth - it's meant to be a little weird, I think. There are many moments where the movie laughs at itself for all these "flaws", which I'm sure were engineered in in part to mimic reality. Do yourself a favor - suspend your reality for a moment and enjoy it for what it is - a delightfully engaging, charming romantic comedy.

The second season of "Gilmore Girls" is when a lot of things did not happen to Lorelai Gilmore. It started with Lorelai not marrying Max ("Red Light on the Wedding Night") and ended with her not marrying Christopher ("I Can't Get Started"), but Sookie got married so at least there was some progress in that area, although the duo's plan to open an inn together hits a major roadblock ("The Ins and Outs of Inns"). Of course, the most important thing that did not happen to Lorelai was that she manages to really notice Luke despite the fact he is pretty much there in front of her every morning at the diner. Clearly the creators of "Gilmore Girls" remember what happened to "Moonlighting" once Dave and Maddie stopped bantering and started kissing and other things, so the agenda is to put off the inevitable for as long as possible. So even if it is obvious to everyone else in Stars Hollow (to wit, Emily), does not mean that Lorelai has a clue.

As for Rory, her junior year at Chilton has its ups and downs. and not just because of Paris. The ups would be "The Road Trip to Harvard" and making her society debut ("Presenting Lorelai Gilmore"), while the downside would be the rift between her and her grandfather because of Dean ("Sadie, Sadie") and the problems with Dean because of Jess ("There's the Rub" and "A-Tisket, A-Tasket"). If anything, the common denominator is to make sure that none of the Gilmore women are happy, which means Rory is mad at Lorelai for blaming Jess for the accident ("Help Wanted," Lorelai is mad at Emily for arranging their going to a spa together ("There's the Rub") and Emily is mad at Richard for quitting his job without consulting here ("The Bracebridge Dinner"). What? You thought Emily was going to be mad at Rory? Are you kidding? Have you not been watching this show?

For me the fascinating part is watching the yang of Lorelai and Emily's relationship compared to the yin of the Lorelai and Rory dynamic. For me some of the most memorable moments from season two are when Emily orders Richard to make up with Rory because if their granddaughter ever gets married she to know about it (Lorelai did not tell her parents about her engagement to Max) and the look on her parent's face with Lorelai gets her business school diploma ("Lorelai's Graduation Day"). But then a good rule of thumb is anytime we see a chink in Emily's armor it is a moment that will be hard to forget. I am still trying to make up my mind as to whether or not Lorelai has an even more strained relationship with her father than her mother, given his visit to her place of work ("Richard in Stars Hollow") and her visit to his new office ("Help Wanted"). I am certainly leaning in that direction, but it is still open to debate.

But overall the two emotional highpoints of the second season finding Lorelai giving and then receiving as good as she gets. The giving happens in "Teach Me Tonight" when a totally distraught Lorelai goes after Luke because of the car accident where Rory gets hurt (slightly hurt, but hurt is hurt, and there is a cast on her arm, mister), creating a serious rift in their relationship. The receiving is two episodes later in "Lorelai's Graduation Day" when Rory misses the big event and offers the most high speed combined heartfelt apology and verbal self-flagellation in television history (I agree with her, I think she had a stroke or something).

My strong affection for high-speed dialogue can be traced from "Gilmore Girls" back to "Moonlight" and beyond to "The Thing From Another World" and any movie starring Groucho Marx. Equally as strong is my enjoyment of gratuitous pop culture references, especially as manifested in "The Simpsons" and "Buffy the Vampire Slayer." So to have a series that combines both of these elements and provides deleted scenes on the DVD is one of those absolute joys you hear so much about (although my wife is tired of me explaining all of the references, allusions, and impromptu name dropping). Then again, while I knew from the start that Carole King was singing the show's theme song "Where You Lead" with her daughter Louis Goffin, I only recently figure out they had re-recorded the song with some of the lines changed to better fit the show (No, I do not fast forward through the title sequence; I always listen to the song).

I am also pleased to see that the "Gilmore Girls" is being seen around the world, although I have to wonder how the pop culture references translate into out cultures (I have no doubt people can speak real fast in any language). But you can see "Gilmore Girls" now from Argentina (the current season is on the Warner Channel Thursdays at 21:00 with past seasons shown weekdays at 11:30 and 16:30) to the United Kingdom (Sundays at 18:00 on Nickeloden U.K.). It is nice to think that Stars Hollow's madonna and child have gone international.

Warning! Spoilers!

There really isn't another show quite like THE GILMORE GIRLS. No other series so thoroughly dedicated to words. There are no doubt other series with great talk: BUFFY THE VAMPIRE SLAYER definitely comes to mind. But no other show that I know put language and witty talk so completely at the heart of what it was trying to do. Creator Amy Sherman-Palladino said that she was inspired by great Hollywood comedies like the Thin Man series and HIS GIRL FRIDAY (one of the few films where the characters talked faster than they did on THE GILMORE GIRLS). And for five absolutely brilliant and one less than brilliant season the show was magical beyond any reasonable expectation. Then came Season Seven. I still watched with great interest. Well, until the marriage to Chris part (I asked a friend to tell me when Lorelei and Chris busted up and stayed away until they did). Season Seven was not a truly awful season. There were still many great moments during the year, including an absolutely splendid series finale, but by the end the show was having fewer and fewer of those wonderful moments that made it so special.

One major reason Season Seven struggled so much was the absence of the show's guiding genius. During contract negotiations at the end of Season Six, the WB offered Amy and her co-producer husband Daniel Palladino a one-year contract. She wanted the respect to be offered a two-year contract. The WB refused to budge and she and Daniel left the show. Since the two of them had either written or directed separately or together the bulk of the episodes on the show, the loss was irreparable. The show was built mainly around great talk, but what happens when the person most responsible for that talk leaves? Unfortunately, the brilliance of the talk went with them.

Those left behind tried gamely to carry on. But they also had the misfortune to be left with the remnants of an exceedingly bad story arc that Amy left behind. Most fans of THE GILMORE GIRLS came to dislike Lorelei at times during Season Six, including Lauren Graham. While most agreed that Luke was being too secretive about learning that he had a daughter he knew nothing about, most also felt that Lorelei's reaction was excessive. She became pushy and needy and impatient and just generally unlikable. Then incredibly stupid by giving Luke an ultimatum to either elope on the spot or lose her. And Season Six ended with her sleeping with Luke.

This whole story arc has to be laid at the feet of Amy Sherman-Palladino and the show had no choice but to continue the arc in Season Seven. As brilliant as Amy was over the first five seasons, the falling apart of Luke and Lorelei's relationship in Season Six and then whole Chris mess in Season Seven were her worst contributions to the show. Luckily, it didn't last forever. By the end of the season Rory had graduated from Yale and Lorelei was yearning to be with Luke, acutely conscious of what she had lost.

The season ended on some of the best moments of the year. One memorable episode had all of Stars Hollow laid out as a vast maze, in a weird plan by Taylor that for once truly worked out. Lorelei and Luke meet and express some of the regrets that they had felt for some time. It was a great moment. But the highpoint of the season and one of the highpoints of the entire series occurred in a scene in which Rory gets her mother drunk enough to sing on karaoke night. She starts off singing Dolly Parton's "I Will Always Love You" (and the Dolly Parton arrangement, not the overly ornate butchering that Whitney Houston did) in Rory's direction. But Luke walks in as she sings and inevitably her gaze shifts. As she sings (and quite well, thank you), you see a world of conflicting emotions overcoming her: regret, yearning, hope, resignation, good will, and love. I don't know of another actress on TV other than Lauren Graham who could have pulled it off. It was one of those utterly perfect TV moments that reminded me not just why I watch THE GILMORE GIRLS but TV in general.

Until the very end of the season it appeared that there was going to be a Season Eight. The CW (which had taken over the show when the WB and UPN merged) hoped to have a 13 or 16 episode shortened season, but in the end Lauren Graham and Alexis Bedell, who were both up for contract renewal, declined to sing new contracts. But after seeing what turned out to be the series finale I am almost grateful of their decision. What a lovely end to a wonderful series! Few shows get to go out perfectly, but THE GILMORE GIRLS managed one of the most perfect finales ever. As Luke marshals the town for a farewell party (on one day's notice) we get a beautiful episode that allows us both to see all our favorite characters one last time and to say goodbye to them. Everything that should have been done was done. Rory is off to join the Barack Obama campaign as a reporter. Lorelei, when Sookie tells her that the planning of the party "was all Luke," realizes that Luke, who is sometimes slow to speak, has shown how he feels about her with actions. When she thanks him and he tells her that he likes to see her happy you know that they are going to be fine. You don't even need the kiss that follows. And the series ends just as it began seven years earlier, Lorelei and Rory sitting in Luke's diner.

I'm not sure that this is a show that can be replaced. Some shows are sui generis, truly one of a kind. This is one of those. The premise of a mother and daughter who were best friends was at the heart, but it didn't make it unique. It was the combination of the amazing group of characters, the wonderful town, and the endless stream of magnificently written scripts.

I want to end by praising Lauren Graham. This was a great cast with a number of remarkably gifted actors. But Lauren Graham towered above them all. The Emmys never did her justice. It is almost inconceivable that she never received a single Emmy nomination. Yet for seven years she was without serious competition the finest actress on television. How can such a travesty occur and the Emmys not feel a profound sense of shame? It is true that last year the Emmys were "reformed" in order to make it possible for deserving performers more likely to be nominated. Lauren Graham's name was the one mentioned as an example of such a performer. Yet even with reform she didn't receive a nomination. But to me her performance as Lorelei is one of the great achievements of television acting. No one came anywhere close to her in handling comedy; no one could rival her delivery of the machine-gun like dialogue. But neither could many rival her with drama. The karaoke scene I mentioned is a perfect example.

I will truly miss this series.