How I made it so far into adulthood without having watched Gilmore Girls, I'm not quite sure. But with October's announcement that the fast-talking mother-daughter dramedy would reboot for a mini-revival, I knew: It was now or never. As Logan would teach me later, sometimes you just have to jump, and so, jump I did. In good November fashion, I feasted.

Netflix-binged, actually. All seven seasons.

How the scales fell from my eyes. For the first time, I finally understood the key plot points and show references my friends had been bringing up all these years: The young mom and daughter friendship smack at the show's center. The Bermuda Triangle of boyfriends. Diner owner Luke’s cranky likeability. Gilmore was sweeping; it had something for everyone. Over Thanksgiving, when a friend told me she felt as fidgety as Dean at a Friday Night Dinner, I nodded knowingly. The show had done what great shows do: It offered us shorthand.

But Gilmore was always so much more than just these core characters and their choppy relational waters. It built up a whole town of supporting roles: the sassy dance teacher Miss Patty; raspy, big-hearted Babette; ever-entrepreneurial Kirk. It was a bigger townie cast than an audience could possibly care about, and yet, somehow, we did. The “local color” made the fictional Connecticut hamlet exponentially more likeable. Which is why, the days after watching the series finale, and bidding Rory her rainy farewell, I actually felt a little bit homesick. I missed Stars Hollow itself.

Apparently I’m not the only one. Any good writer will tell you a setting this distinctive becomes a character itself, and that's precisely what Stars Hollow does, thanks to it knit-a-thons, ...

Subscriber access only You have reached the end of this Article Preview

To continue reading, subscribe now. Subscribers have full digital access.

Posted: