Gilmore Girls - Popular/American Culture Association Website
Transcription
Gilmore Girls - Popular/American Culture Association Website
Eugdnie Brinkema More Gilmore Girls: Rory, Lorelai, Donna, Stella, and Lucy Over The Donna Reed Show: RORY Mother-daughter window washing. We should try that. LORELAI: Yeah, right after mother-daughter shock treatments. "You know, Daughter, there's nothing more satisfying than wash- ing windows-oh no!" RORY "What? Did I miss a spot?" LORELAI: "No, I just had an impure thought about your father, Alex. Funny-I don't know why I had it. It isn't the second Saturday of the month." RORY (in a deeper voice) "Hey, I heard you had an impure thought." LORELAI: "I must now sublimate al1 my impure thoughts by going into the kitchen and making an endless string of perfect casseroles." DEAN: You're not even listening to the dialogue. RORY Ours is better. If one of the more significant revisions that feminist discourse made to itself in thepost-second-wave generations was to insist on the multiple, open, expanded denomination of "feminisms," one wonders why that bas- tard childposfeminismhas been generally relegated to the static exclu- 30.1 October 2007 alnlln) /0lndod ut salpnts J 'peeput iuorsserEord pcr8oloelel u ,(ydrur 1ou seop e8uuqc srq.L .esuos 30 suo4senb ol uDIs Jo suoqsenb ruo4 peul ssoleqlouou sr 11 1nq .esrnocsrp -Bletu u elnlrlsuoc elrnb 1ou seop f:rnburgo lcelo;d e qJnS .usruluaJ ,,(poq pexes Jo suorluluose;der;o ,(]rleueleu eql ol lnq u;o,$rpuelutu oq] ol pellurll lou eJB crluc selprus erpelu lsruFreJ erll sJeJ 1ltou uoDul leq] -ueserde"rgo suonsenb etLL Jleslr rusruruaJJo uorlulueserde: eq] ]noqB eq sreeddu usruflueJ e^u,t\-puo30s-]sod ur elguq eq1 '(sselarpeuou ueruo,& o1 lnq'pnxesoreteq pue'ssulc-alppru,ellq^a .,(po,{1ucrd,g) ueuo,r go uoq -ulueserde; eW lnoqe sel\ tusruttuoJ elua-puoces ut elpeq eqlJr JoC 'socroqc ]sr-ur-ruoJ e^u/y\-puoJss-1sod puu e^u1\[-puoces Jo suoDelueserder relndod ul uuq] pecunouo;d orou eloqe peu{}no ser}lncgJrp oqtJo suorprlo8eu eI{} oJE oJAqA\OU pUe 'lUatuoru tsrunueJlsod u ur eJB ..oA\,, }Uql gessu .(1qe -uoJruoc scrluc leJntlns,(ueur ,osuc,(ue u1(.zueg pu€ uoquJg JJ :elou s,Jo}Ipq) 'pazrunrucs oq ruA\ lBrI ,pecnpord ,{le^rsJncsrp su ,tro8epc eql1nq lusrurureg cgrceds,(1pcuo1sg u 1ou sr 1r pq1 Euqsrsu uorleJEdes peluuaqd -r(q eqt 'tustututa{-tsod::eqlo eql puu jrusrurure;yo ,{,ro8e1uc pcrJolsrq ';e1;uru produrel e sE,rustutluafisod,euo eql :seuoEe eq1 Surpeclsod ,lce; -]UC lueJeJJrp ,(lerque oseql JoJ suo4euSrsep o^u,(oldure plnoc errr 'socroqJ esoql seluSorreJur leql scBneuouueq€ uo ocuolsrsul cltuuu uI -,(p pue ecroqc IeJaqrl uo ecuolsrsur crJuls uoo,^dlaq :e^oqe polsl suorsuel eql (lesrce;dyo 1no 8ur,(uyd eqt roJ euocs e se pelrocuoc ,(1p;esn erotu aq tq8r-ui 's1nqe ,(le,rrs.rncslp pue ,(llecFolsrq ll luql (rusrurepou) lsod reqlo lpql a{I 'tusru[uoJ]sod puu ,elqepcuocerrl ]ou eJp secroqc oA\] or{J 'uouruUap rarruoJ aqt fq luereqoJ prre urcuoJ epuru socroqc eql prp uorcrdsns ssolpueJo scqnou flasroe;d uo {Jo.^ o^rraJdrelul uy se8u8ue -eurJeq u sr ursrufiue]sod teqt slsrsur JollEI eq1 ipelcedseJ eq ..ueruo1(,, Jo ,sseu ,fio8e1ec peleu8rsep eq},(q epetu socroqc IIe spJel\o] ecuuJelol puu -e,,rrssruued luJeqfl 'uopao{:Jo sasJnocsrp lErI} sepnlcuoc uoqrsod reruro; eq;,'(srumlc s.uopsurug ellolJeqJ ,elduruxe ro; ,aes) secroqc esoql enbq -gJ prru lrsr^a-r o1 ,(lqrqe s1r uo ,(po slsrsu leql usrunuepsod u qlr^\ sppo lE oq ol uees plno^\ zoJloqc IsJoqITJo esJnocslp E uo 'sultulc zll^ourquu uoJne-I se 'pasuq sr l€qt lusmuueJlsod e ,sr 1uq; ,.ruln8urs aqlJo ,errrrs Brue{urrg zE More Gilmore Girls 53 would argue that it is rather a regression. For, if early feminist visual criticismlooked at "images of women" to determinepositive andnegative role models by surface and narrative standards, the shift that occurred in 1970s ScreenTheory to asking "How do spectators look?" (instead of "What do viewers look at?") marked a radical reorientation of the work of feminist and media theory. That later work was invested in examining sffuctures of looking instead of local representations absfacted from what Screentheory claimed was a Gnostic/punishing/male (and, later, bisexuaU female/ambiguous) desire. But when posfeminist media criticism returns to hunting down "good" or "bad" images of feminism, it is merely retuming to that very pat query into what it is that we are seeing, rather than the more provocative (andinfinitely more complex) question of how itis that we are looking. I contend that one must, then, take postfeminist criticism back to the 70s, back to its lineage in that break in theory, and consider how it is that representation presents the discursive category of feminism in a postfeminist moment. We must ask how it is that we come to gaze on feminism in and through representation, and set aside all evaluative questions of its positive ornegative depiction. The popularWB (subsequently CW) series Gilmore Girls (200007) is an ideal field for examining this postfeminist popular representation of how we look at feminist discourse because it is so susceptible to misreadings. That is, given that the show is nanatively centered on "the Gilmore Girls"-four generations of women sharing the same last name (despite radical class differences, a fascinating topic in its own right)-the series teases a critic into making precisely the' positive images of women" reading that is itself so susceptible to covering over ideological problems with surface gestures of progressivism. Such a reading focuses on the "strong" or "well-rounded" female characters in the television text, or on extatextual discourse about the number of parts for non-traditional actresses (older, overweight, non-white, etc.). Yet I would suggest that these facts collectively constitute a red herring and a return to the problematic branch of "images of ' criticism mentioned above. More useful would be attending to certain elements of the textual specificity of the program. 30.1 October2007 a l00z taqotro I'0€ 'tueJSoJd oqtJo /qrcurcods lenlxo] aqlJo slualuele ureuec ol 'oloclu pauorluatu usrcrtuc ,go se8urur,, 8urpua11u oq p1nol\ InJasn orotr l Jo r{cuuJq crluuelqord oq} ot tun}eJ B pue peJ B elur}suoc (1e,rr1 Suureq '('c1e 'elyqtr-uou tq8te.aare,ro -celloc slceJ osoql leW lsaSSns plno.r.r I teplo) la sasso:1ou IeuorlrpuJ]-uou JoJ sgedgo requrnu eqpnoqe esrnocsrp Iunlxelu.4xo uo ro lxel uolspolol oW r4 sJelcuJeqc eIErueJ ,pepunoJ-IlolA,, Jo ,,?uo4s,, eql uo sosncoJ Supee; e qcns 'tusrlrsserEo:dgo sernlso8 oceJms q1r,l\ sruolqord lucrSoloepr re,ro Suue,roc o1 elqudecsns os Jrlosll sy tuqt 8ur -pueJ ..ueruom;o se8etur ea,qrsod,, eq1,(lesrcerd Sur1eur olur ouuc e sospol seFes oql-Qq8u u,lo slr ur crdol Suqeutcsu; e 'secuere;;rp sselc IecIpuJ elldsep) otuuu lsBI orues eql Suueqs ueruon\Jo suorlu;eue8 JnoJ-(.slJIC oJouT.c ar&, uo poJoluoc r(le,rqurruu sr A\oqs eqDurD uelrS'sr pq1'sSrnpuar -slu o] elqqdecsns os sr U esnuJeq osJnocsrp lsrururoJ le {ool e,l\ l\oqJo uor1e]ueserder relndod lsrururepsod srql Eunmuexe roJ plau 1eepl uB sl 00 -0002) sltlg aroulp saues (l11J,(lluenbesqns) 916-relndod eq1 'uorprdep e,rqeEeuro ea,tlrsod slt;o suorl -senb e,rnenlele 11e oprsu ]es pue 'uorlulueserder qBnoJrD puu u1 rus1uluoJ uo am? oJ errroc e1rr luql sl lr ,lroq {se lsnru e 111uetuoru }sururepsod u ur lusruIureJ Jo ,{roEeluc e^rsJnJsrp eql sluese;d uor}uluesardoJ luq} $ 1r /!\oq reprsuoc puu 'f.roeql ur {uerq tuql ur e8eeurl str ol >lcuq'sgl oql ol >lcuq usrcrluc lsruprepsod e44 'ueql lsnru suo ]uql pueluoc 1 'Suqool oJB o1y\ tuqt sr I A\or{go uoqsenb (xeldruoc erour ,(1e1prgr4 pw) e,rrluco,rord arour ll leq,lr olur ,{-renb tud,fte,r leql ol oql uuql JeqleJ'Surees eJB e1rr leql sr Srmrrnpr r(1ereu $ I 'ursnmrrey;o se8eun ,,peq,, Jo ,(poo8,, urnop Surtunq ot surnler usrcquc Brparu tsnmuapsod ueq \ lnfl 'e4sep (snon8rqureTeleruoJ tepl 'pue) epupmrsrundTcr]souD u sel\ peurulc fi,rcarpuaatcg /lenxosrq luqlvr ruog pepu.4squ suoqelueserder Imol Jo peolsur 3up1oo1;o samlcn.4s Sururuuxe ul pelselut su/r\ ryol\ Jelel lur{l ',ftoeq1erpeur puu lsruflueJJo {JoA\ eqlJo uorlulueuoeJ IucrpeJ u po{Jeru (,.1,}e 4oo1 sJaaorn op leq/y\,, .,e{ool sro}u}ceds op A\oH,,8unlsu o1,ftoeq1 uaaos s0l6I go peelsur) ur peJJncco ]sql ulr{s aq}'spJPpuu}s o^rluJ.leu puB ecelns ,(q slepou elor errqe8eu puu eulrsod auruualap ol .,ueruo^\ Jo se8eun,, p pelool tusrcl}uc 'uorsse;8e.r u JorpEJ sr lr leql en8;e plnol\ Iunsrl lsruruoJ,(pueg1 cg tog sulg aroutllg erclN More Gilmore Girls 55 counterpart to her mother's worldly character; the two eat heartily and mock the bodily/social strictures placed on women; and the mother and daughter dominate the show. However, at the same time, the paradoxes of postfeminism (again, taken commonsensically atthis point) would appear to be omnipresent in their love of women's magazines, consumerism, and possession of visible signifiers of attractive heterosexual femininity. None of this matters for my purposes here, for I am arguing that it is not on the level of characteizaton or narrative that the postfeminist moment is to be found. I will contingently define that moment as the instance of the encounter between what I describe above as postfeminist and post-feminist, the historical delineation of choice and the hermeneutics that calls choices into question. Such a moment is characteized in this episode as an encounter between representations of feminism and femininity and theil lived/embodied recollection, one that is formed (and reformed and deformed) through representation, and is not anterior or exterior to it. The episode begins, as many do, with Lorelai and Rory self-reflexively watching television. The two are routinely found watching movies and television and recasting/restaging the dialogue, making ironic or historicaVcritical comments, or simply having conversations over and alongside the visual text. Rory's boyfriend, Dean, arrives wrthpizzato join them, and to their insistent "You're missing it! The incomparable Donna Reed show!", he replies: "Who's Donna Reed?" Lorelai and Rory are stunned and offer an answerthat speaks to the ambiguity in Dean's question, which confuses the discursive category and the historical figure. For them, the answer is in the woman both as a historical representative and as a media fiction; they tell him that she is "the quintessential 50s mom." Returning torepresentation and missing (thus admitting and inadvertently ironizing) the political/tristorical slippage of their answer, he asks "So it's a show?" Their replies are telling: "It's a lifestyle," daughter says; "It's a religion," mother adds. Overthe images of an episodeof The DonnaReed Show, Rory and Lorelai mockingly provide their own dialogue, sarcastically referencing the sublimated sexuality of the female protagonist. (It is useful to wonder 30.1 October2007 arnqnS nlndod ul salpnls peeg uuuoq leql puu ..{Jo.i!\esnoq op ol lcoped >lool ol Burleq,, lsure8u pele^el oslu sr enb4lrc req ]uq] Suusrsur 'e^r.rlulueserder su (uoqs -eJdoJ paay Duuoe aq1,arcq) ]xol uorsrlelel erll roJ en8ru ol senuquoc ,ftog ',{1nue; req rog (uqq ot ,o1 sreeddu ro) reuulp Buqooc s,(o[ue oqm teqlou srq 'esec sr,ql ul-pnpl Ipq e,t rlelueserder u Jo esec eql o] Bu{eeddu ,(q 'ct3o1 s.rusqerequ go elduruxe (snorcrued prm) pcrd,fi lsour eqtr qI^\ spue eH 'quoJ os puv eeJoq t\orlJo slurod otu em ereql eq,(ury euorsrcop Jr€rp sr 1tJr 1uq6 ;,ffduq uoruolr eql se{Brrr 1rJ:r }erl \ :usrleJequ;o e8en8 -wl eql qlra\ peredded 'ecroqc 30 cr301 lsrururepsod srssslc E ro3 senSru e11 'ecuenbes Stmredo eqt u1 pedqdsp scnqod lsnmleg sq1;o Bul z\eqrlq s(ueoc pue 'e1d1se3q leqlJo uorlugodurr d;urodueluoc eql .slueserde.r ruurSord eqt e1,fisegq eW(tLoqS paay ouuo1l aq1 tllsnoeuelpurs eruuu oJ soruoc 1r isnon8rqule Uel sr sr.,]1,, ]erl [ ,..snolncrpu]l pug L,1eq1Bur -lsrsrrJeqtplt\puu elBrsuos ool sroqs 1uql Emrnulcuryqll \__jr{Bgu e uq ozlrl oql pue 'uml qlrm snolmI seuoceq ftog ...sJeuurp .spuuqsnq Jr€rD JoJ Surddoqs se^r^\osnoqpesserddo;o srol,, oJB oJeqr su r(snqem s,(upsrnqa rcqt flecqsecrus s,(us eq'unol ur eJors ,ftecor8 u 1e qof sr-q o] ecueJeJeJ u1 'pue Iooqos regu .&og q1t,l dn sloeru ueeq telul seuors A\eJV 'ecuenbes llporc $ulg anwllg oql eroJeq ]uau8es Buuodo oqt pue Jeqlo qcuo o1 ,,e11eEergns Jelsrs .pres puu rrueq $1oo1,(urp neql 1e 1e7y;, 'cquuelqord,fierr tus o] ssolpoeu .puu,6nmue3ltm .[BrJrJryJB sr,.ueru u .,{q ueulrl\ ldlJos u ur,, ecuurrxoJJed s,peeg uuuo(t ruFI ol ueruo1,\ lurll lsrsu olu orLL '(..pe1ecrpeur s.erls,, ,s,(us relero.I qclq&\ o1) surees,, .,,(ddeq .e1oq oqs prre 'ecru sruses eldlseg eq1 pq1 Burrfus u otrrrJlesuml srye1 ,um; .tmeq .,ftu1 lem{nc eql ol snorlllqo 11ps o]txoueJos eql uo EuumJco >lrozt\ -ueuruos pue ,{u1d cruon qSnorql uoBducsepor JoJ elqslru^u oslB sl pue (.,uor8r1er e s,lr., :,,elr(lseJg u s,11,,) gq uezrtE,(rm speocxo uo4uluesorder eqlJo osmoc orllJe^o e8ueqc sdrqsuopulerreql,ees [[r^\ e,!\ -eposrde su 'qEnoql-tuleJoT puu ,&oy rog o(../Koqs 8,, su pegquopl pue peqq€A\ eq o11cefqo Iuruo]xo ,el1rrJ .pepunoq u sr uor]ulueserdel ,ueeq Jod 66.Jel -leq sl smo,,luql slslsur d;og ,.,en8o1urp eq1 ol Brmrolsr1 uele lou el,no,!, 'sdes 'uorlgluoserderJo ,equretq eql or Btmrmler ,uueq ueqpl ( gesr s1.l1g afiufD lo sJeA\erA o1 gse8Ens ,(Bap"qs Btnpuer peppeque rrc qons luq \ ?ue{urrg gs More Gilmore Girls 57 sented millions of housewives who hadno suchchoice as Dean's mother. (Conversely, though unsaid by Rory, it is important to note that this historical representation was simultaneously a political failure to adequately represent those women, given the idealization of housewifery in the program.) Rory's feminist problematic shifts in this scene from that ambiguous suggestion of a multiple "it" that is ridiculous to one that accommodates Dean's mother's choice to participate in domestic work and a history of unacknowledged female labor. Later,in a move that would appear to be classically performative-postfeminist, in order to end their fight, Rory invites Dean to her neighbor's house (where she is cat-sitting) to play "Donna Reed night." Complete with a flouncy skirt, orange heels, pearls, and a sugary smile, she greets him at the door with a big' Welcome home, honey." She has made him dinner, and he embarrassedly enjoys the charade. Towards the end of the night, Dean's sensitive male guilt kicks in and he says to Rory "I don't expect you to be Donna Reed." to be Donna Reed. I don't want you But Rory changes the terms of the debate, at least on the surface: she replies that she has done research on Donna Reed (consistent with her brainy character throughout the series) and discovered that she was an uncredited producer on the show, which makes her televisually significant and extratextually powerfrrl in contradistinction to her local image on the show. Rory here has changed her theory of representation. From the metonymic substitution of Donna Reed for all 1950s housewives to the singular extratextual Donna Reed-as-producer, Rory returns the image to the historical self, or the image to the body. By insisting that historical power overthe production of images can redeem textual representational weakness, this move both provides a defense for the reappropriating performativity of Rory's "Donna Reed night" and issues an invitation to reg ard Gilrutre Girls itself exffatextually to locate its relationship to feminism. The series creator and head writers are mostly women, andAmy Sherman-Palladino, the creator, was also aheadwriter onRoseanne, so multiple avenues for extra- and inter-textual readings of the show's "feminist" leanings arepossible. 30.1 October 2007 atntln) tDlndod ul salpnts oq ppm eJou qomrr q8noqJ 'euuo(Jo ecrrerruolad s,relqEnup ror{ ruo{ lueJeJJrp,trea, epurenbselu peJapues-ssorc e ur ,opuurg u1e ,p1e15,, 8Ur -rrruoJcs JIosJor{ spug ploJo.I 'esoo1 sle8 lcrgc eql uoq/t\ tepl puu atrsaq , paMDN rD\aa4s V .sJrrerllr I sosseuuol ul ,(opets qsqruqJo eytr perenE -ueleq oql of ocueJaJeJ u 'eslnoc;o .sr BIIoIS ,,.ullols,, soruoceq fepelg lurod qcrq,l le'gtfle sr eqsnr lurp Surureel erogeq fep4g,,ulg,, serrruu er1s '(,fiog o1 uo:qeletur ar?u np tuoN lerelll e ur Jor.{lE eql Jo uoqcurg Buruuu eql peleudordde IEIoro.I tEW gecer pue) ouruu u o^?q {crqc eqt leqt Bu4srs -uI 'lq8ru euo JoJ eJuc s.ruleJol ur peceld sr ssulc ecuercs JoJ elJesqo ol euoq tq8no;q seq &og tuq] {crqc ollry V .pe"rn8g eq oJ oruoc ,saues srql sqlJo scrluualqord lslurure; or{l teql se8u8ue qcue poopur puu 'eposrde qclq^\ q]r.,1,r sernSr; puo4uluesorder eqt uee^\leq drqsuo4elar 3qt uI sr tr puu 'eposrde srql ur eJnluolpe luoJeJgrp B suq ,reyerol ,-reqlou s,,(rog 'ssorruee/$eg{q8nuc srql Surureu'ep1s snon8rquru srq1 soz[uqrurrec tusuruo]sod 'usrurure;1sod 1ryfu1d u eq o1 smeddu luqm puu rusruruoJ olel\-puocas Jo solod oql ueelueq lr{Bne3 .paler.rdo:d -due.r,(11ny(uyd eq s,fu mp uuc lnq,qsxe srxerd tsrurueJ paxg Jo olqel\ou>l qcns ou ]eql uonressu ue-,(lp,peuuoyed qSnorql sregruSrs;o uoqducsaper e uo pesuq sr Jeqlo aql olrr{A\-sxerd lsurureJ alqul\ou>IJo uoruessu up tamod) sr rusrurureJ lecpo]sl{ u }Bq,l;o e8pel^\oml -(reemc u 'ecuengur e uo paffiq sr ouo aql JoJ 'reqJo qcue elu8eu seslndrur ot\l esoqJ .,(tlllqls -uos tsurueJlsod .req sJaluec Wrll uoq g p a aU ouu o aqJ :qpotcrulsuoo CI ,{t1ur.ur-ual eq},(;ru8rs-eJ puu 'ruro;.ted ,(pomd ol e8ep,rud puu ..ecroqc,, ,(ep-]uesa.rd s.,ftog sr lr 'pueq JaWo eql uO .ecuangu puu;enod peluyer -uorlcnpo:dJo poo8,, e ol uouuleJ ur poxg ere sonlc len1xole4xa ..ecroqJ DuuoCI aqJ,,lcelqo ]srurtuoJ puq,, eq] ueepoJ eseql o1 lnq'^oqs paay sonls lBruxa]?J]xo sosn aqs 'prrBq ouo eql uo 'pelrcuoceJ oq louuec ]uql seuolusrtmre}sodJo seslndurr,crolcrpu4uos oq1 semSg re1 )emr7)s,,(ro6 'euocs Jeulflp 3rll uo uoeqs e,usso.rddo-uou B sre;uoc r(1ea,r1 'sprom;eq10 uI -cBo4eJ leq] ,$pp1ue33o sregruSrs s(poeu Buuoq uuoped-or ot ecroqc urllo s,,(ro5 lnq'usruruoJ ro3 puer-e.r Sureq uoDuluoserderJo saqrllqrssod eql.(;ru8rs ol setuoc ecroqo s.peog uuuo( ]eqt lou sl .poleollduroc eq U lsnru ocroqcJo esJnocsrp er6,e,\oru sql e{Bu o}JopJo ur lalarrroll uue{urJg gs More Gilmore Girls 59 said about this textual reference, let it suffice to say that the problem of female desire, as figured by both Blanche and Stella in,Srre etcar, comes to be significant in the way Lorelai negotiates heterosexual love over the course of the series, for it is the unhappily married Stella against whom the unhappily untethered Blanche finds herself compared. Maniage, inWilliams' play, is no solution for unhappy female melodramatic angst, and likewise in Gilmore Girls. Although one problematic in the television program would appear to be the unmarried status of the central female character (Lorelai), maniage is routinely undermined, critiqued, and foreclosed throughout the series. (Editor's note: Rory refuses an offer of marriage in the series' last episode.) Hence the irony of ambiguously positioned Lorelai screaming "Stella," as it is at the moment of that scream in Williams'play that Stanley finds himself literally between the two women, calling for the one while desiring the other-in a truly liminal state. But if Lorelai is referencing Streetcar's Stella, Stanley, and Blanche, it is not a resignification or performance as Rory does with Donna Reed, but a blithe integration of the language of representation into the language of everyday speech. Indeed, no such neutral, "everyday" speech exists inGilmore Girls;it is a language always already spoken through representational knowledge, history, and desire. Having misplaced Stella and screamed for her in the reference to Streetcar,Lorelai calls on her friend Luke (one of her central romantic possibilities throughout the series) to help her find the chick. In that phone call, she says: "stella got out! What should I do?...Do I pull a Lucy Ricardo and walk like a chicken so she thinks I'm her mother?" The reference to "Lucy" is a conffapuntal balance to the references to "Donna," I l,ove Lucy standing for female excess, masquerade, and comedy, while The Donna Reed Show stands (within the discursive logic of Gilmore Girls) for submission, historicalrelevance/slippage, andbanality. Inpart, this juxtaposition (the narrative cuts regularlybetrveenLorelai/StellalLuke/ Lucy andRory/Dean/Donnaforthe secondhalf of the episode) is fascinating because it retells the history of femininity and (anti-)feminist sitcoms through the figures of Lorelai and Rory: Lucy is the first generation, wacky, 30.1 October 2007 'stuels{s atntlnJ rDlndod ut satpnts IEuor}queseJde-r esoql flesrcerd spJBl(oluoursod pcqFc u urEloJ of IuleJo-I s^\olp---}r o1ur,(lems eJoru 3ur1p;3lrq^\ ue^e--uoBuxueserde.r Surzrpruelxe Jo Iesryer er{l ellql\'cr8o1 pue e8un8uel ulro req ur JBe4eJ }sr -ArlrEJo esues e prrB ,(lelcour ro; alqBIIBAu seruoceq,(e1d e,rquuuoped ur uolnloseJ esp; s,,ftog 'snql 'mueJaqoc ]sru[ueJ pesrurordurocun ue s][u -red 1eq1 e8pel,roul Iunlxauolur s.ruleJo.I sr 1r ,qc;eeser pnlxolur1xe Jeq ruo4 sosrrB uorsruuoc lsrururepsod s,,{rouJI 'senbDFC lSruFUeJ IUoJOqOC pw peumtsns e{eIU o}req s^\ofle ]uqt,(lureue8 ororu orrulncrelndod olur .qeAou .soutzeEuur ,uqg IIBJ req $ ]l leql s1se33ns crsruu pue apnloul ot uors ,srseurur -l^ole] speecxe cl30l puoq4ueserder s.releJo-I ]eql lcBJ oql flps u1y\o slr ur lueulse^uge^o uu qSno.rqt IEnsr^olol eqlJo senb4[:c ecnpord ser8elu4s SurzquqrurlEc snorcrured eroru s uors r^ele] Jo puu .,1ruued,, o1 6 ouo sr lr luql an8re lq8rur ouo eIIq \ teqmg .erperrr JoJ eJrsep s.ouo o] pue slcefqo urpelu ol ssauosolcJe^o rr3 so^Io^ur eJourllc pleJol ol Surprocce selprus uorsr^elel tprusJo 1rolqo s,euo luory e3rrElsrp uo s]srsu ]eq] uoqrpen Fcrluc u e{rTun 'uoquluesaJdar 1uq1;o enblluc e uru}sns o} olqu lsotu JelcuJuqc eql se peuo4rsod sr eqs lEql uorlBJuoseJder ruor; srersru8rs o1 drqsuoquler esoloJelo rre qcns seq eqs esnuceq $ lr luorluluesarder,{q puu q8nonp pouuopr,tru se fir,rucetqns req qlr,n per.6ge sr usnmue; s,rqaror1 .sr 1€rll 'lmr oq] olq uoqelueserder sesdu110c luqt eSenSuul qSnorql pecue -JOJoJ OJB 1nq ,(lporUOrr pBsJ JOU tleogOlSrq pueJ ]ou eJB luril I'o[ IBuorl -ulueserde; errreu ol eruoJ 1e,(cnl puu ,,(epe1s .ellels ,tqereq,r ,dool lBJselnurs 3 urJlasJer{ spug eqs os pue '(,t1sselcreu Joq $lcolll prrB urruoq su dn pesse.rp frog sees aqs) ryorn ftolecgru8rs s.pood erruocJo uorsrleJ pcuolsrgB ol surmlc qcns ou so{etu IBIoJO-I tSe4UOC rq .uoprsodlsnmllsJ .splom Joqlo tuelsrsuoc e f-rog A\olp op.fto1srq o1 syeadde lou uI 'cqeurelqord A\oqs e qcns oputlI ]erD ueuo/n JoJ suoBrpuoc lBcuo]srl [Ber o1 ,([urxord puoq?lueserder oI{} su^\ }l lBql osrurerd;orlJuo Jorl,(lucruorr sr 1l ,,iro1srq sql opun sIu} ppotr (log elrq^\ puvs.q1e4 ppn,{lsnome;d -ep lunlxotu4xe luql en8m osorD IIBJo uoriBcrlseuop ?JoJ puels peouErruo(uI peuruosred sruoclrs Jalul o[rIA\'ecro; e,r4drusrp 1sr-u1ue3-o10rd Euurdsurperdsur-ellrrepne,r Blue{urrg 0g More Gilmore Girls 61 One wonders about the relevance of the saturated reds and blues of this particular episode, so reminiscent of Sirkian melodrama. Numerous scenes in "That Damn Donna Reed" take place indoors, under low, dramatic lighting, with deeply toned primary colors-unusual for this show. Certainly the referenc es to Steetcar andother 1950s media texts about female desire and/orits repression might offerup a subsequent commentary on the representational politics of the episode. But I want to make this cenfral point, which, if it could be expanded in relation to the melodramatic visual clues of the show, certainly would not be contradicted by such a reading (though who knows what may happen to the reading when I mention that, at the end of this episode, Rory's absent father appears for the first time in the series, disrupting the matrilineal family structure): if "postfeminism" is the temporal marker of a moment postceding the historical second wave, then it is the insistence on history as a discursive saving grace to which the daughter Rory tums and to which her potential hyphen as post-feminist is subsumed by the paradoxical logics of choice. In the category of ' post-feminism," that hyphened block segregates the temporal marker from the political one, allowing a space for scrutinizing the discursive category of feminism itself, and it is in this space-this confrontation between history as a hermeneutics and feminism itself as a hermeneutics-that Lorelai the mother finds herself able to take a feminist (that is, critical) stance towards representation through, paradoxically, a fall into representation. It is because Rory insists on the security (and non-negotiability) of the meta-discourse of history that she finds herself unable to negotiate a feminist relation to (that damn, to cite the episode title) Donna Reed that can end in critique. That is, all Rory has in rhe end is solipsistic performative play, which redescribes, at most, her enacted r€latian to signifiers cf fcmininrty, but which (ails to generalire ints the historical upheaval she purports to ultimately desire. In turn, it is because Lorelai insists on no such meta-discourse, but plummets fully into a language and subjectivity formed by representation itself, that she is able to negotiate and speak her feminist critique without guilt, without mere play, 30.1 October 2007 atrup) loudod m salpws '(tmZ'uu1prcu141 e.,rer31e4 :{JoA 1y\oN prrB slmrOunoll) zueg aruuqd,Os puu uoqeJg .yrrurut -uog 'po 'atn11n3 {.tondrua1uo) u! suouuaAJalul lD)lttt) :Jlqpg 6tutrua{1so4 ur s,(usse eq} eos '(,,rusppre;-1sod,, puu) .,rusrurule;}sod,,;o s8uruueu equo suorluJoldxe luece; snouul Jod :elou s.JolrpE .ecerd srgl ol uorluollu ,(ru ?ur11uc:oJ JoA\erAeJ snou,(uouu ue o] s{uurll IW . IOOZ ' 97 f,:mnue 1 pes secov' SO0Z' 6z,ftenue1 pelsod,(luur8 Fo,<rg-rcs (urey) /rusruruoJlsod8urlumTpeeJq] uoc'aerlaDlooqcruo4cele.^\lur77: d11q> :]e alqulrulv'tuoc' \orloDlooqcruo4cele',,6rusrurueg JolJ" eJr-I auperul ,(11eeg e1V\ ue3 'to ',{qclur.4ed}sod u ur }srurueJlsod e oq II,L, ,{ozse1 usI-I ur uuel or{lJo s8urueoru puu JoJ sur8uo (alqepcuocern puu) eldrlpru eqlJo lunoccu 8uorls eql aos leln8urs oql ur (,rusrupuepsod,,go suoqez suoqdacxo Jod 'scDsuolcuJeqc 'rfio1clpu4uoo uela ,enrldrusrp -goeq1 o1 f luquelod erou Jo suorsnlcxe sqt q8norql,,uspluoJ1sod,, e;nces .,,ursru -rruoJ,, uuol clilllouoru [Eqr8po 1e,{t lsum8e slsnmue; lenxesoJepq-uou ,uec -ueuv-uou'elrqtr-uou r(q epeu seSreqs arp e>H,]uql uousenb ur,fto8e1ec erDJo suouulseJrueu IeJeAes oq ol luees oq plnoA\ oJorll ,psepul r soloN [1gsrelp1rr,rrorfl Brue{ulrg aluq8ng 'scqlod u ol lno ,(em fpo oql seuooeq'esrnocsrp IensrloletJo cr8ol elrlcur;or eql olul,(1ng leg teq]'uorlElueserder o] sseuosolJ-relo ieposlde srqlgo crSol aql ur tusr-ur-uroJ olqeznou>1 luareqoc u selm[duroc 1eqn ,(lasrcerd sr ecuulsrq '-s1sod eqt;o cl8ol ppm sselpuo eq] olur,trog spuel luqm.(1esrc -erd sr ectrelsrp luql en8m plnol\ I-eouulsrp Iucquc JoJ seqlpqrssod eqt seumsuoc 1Bq1 'aulos o] 3r puu-esmocsrp Jolsutu ul\o slr olurJlesl\ sulg arouqlg sa{etu slw JI 'sosJnocsrp Jalsuru Jorl}o o} asJnosoJ lnoqlr^\ puu Bruelurrg zg More Gilmore Girls 63 The world of Designing Women,Rabinovitz claims, is one in which 'Teminism signifies women's limifless individual choices, and Julia mayjust as easily choose to be coy and feminine as assertive and independent'" Lauren Rabinovitz,' Ms.-Representation: The Politics of Feminist Sitcoms," 2 sion, H i st o ry, and Ame ri c an C ulture : F emini s t C ritic al E s s ay s, ed. Mary Beth Haralovich and Lauren Rabinovitz (Durham: Duke University Press, 1999) 150. 3 Brunsdon writes that "the single trope through which feminism is most often invoked in popular culture" is some version of "I'm not like Te I ev i that," a refusal on the part of feminists to identify with (any) earlier instantiations of the movement or its critical manifestations. ln the case of postfeminism, "ttrere is arepetitioninplay, bothinfeminist scholarship and in the broader culture, that reinscribes second-wave feminist as that with which one does not want to be associated." See Charlotte Brunsdon, "Feminism, Postfeminism, Martha, Martha, and Nigella," Cinemn Journal44,no. 2, Winter (Austin: University of Texas Press, 2005) 113-114. While there are certainly televisual predecessors for the popular culture-inflected dialogue (the WB channel, more generally, is known for a its teen- speak-riddled shows, foremost among them being Joss Whedon' s Buffy the Vampire Slayer), and also televisual predecessors for fast dialogue (Seinfeld comes to mind), it is largely this screwball speed in con' j unc t i o n w it h the allusion- laden language i n c o ni unc t i o n w ith the specific focus on womeq and more speciflcally, a focus on mothers and daughters, that makes the language of popular culture of particular feminist concern in areading of Gilmore Girls5 This opposition is polemically schematic, but that is precisely how I contend it functions in this episode of Gilmore Girls. For more elaborate accounts, I would refer interested readers to the analysis of I Love Lucy inPatricia Mellencamp, Hi gh Anxiety : C atastrophe, S c andal, Age, & Comedy (Bloomington, IN: Indianapolis University Press, 1992): RhondaWilcox's entry on "Lucille Ball" rnAmerican lcons: An Encyclopedia of the People, Places, and Things that Have Shaped Our 30.1 October 2007 arnilnJ roudod u1 salpn]s a ' (Z1il'sserd ulosermrl .(lrsrerrrun I 3o apu)al aql Ermroqrso4 :srtodeeuurnt) uuey41 esruec puu leErdg uur(1 .pe,tawnsuoS ?uD uolsluala1 : s?muaatjs atDtttd .,te4eureuloH s0S6I :sqmqns pue suoc-1r5,, ,qcrlolureH -ugrrg .JJ'uodlse16) IIBH e or9 eq1 Weg frey{ prre :(gOOZ.ssor4 poon rrusns puu IIBH'U s1uueq .pe,atry1n3 Brue{urJg rg A *1',