Every episode of Gilmore Girls, ranked

We ranked the entire series from worst to best, including the Netflix revival episodes.

Every episode of Gilmore Girls has a grace note. Every episode, even the very worst, has some weird, quirky jewel of a moment that makes the whole thing worth watching — even something as small as Rory casually roasting a marshmallow over her stove burner when she gets home from school, or Taylor showing off his horrible toupee.

Gilmore Girls premiered 20 years ago on the WB, in the fall of 2000, and slowly grew into a sleeper hit. It’s a low-concept show: Lorelai Gilmore (Lauren Graham) used to be a daughter of wealth and privilege. Then she got pregnant at 16. Now she’s raising her precocious teenage daughter Rory (Alexis Bledel) in a whimsical small New England town and tentatively working toward reconciliation with her WASPy estranged parents, Emily (Kelly Bishop) and Richard (the late Edward Herrmann).

I first ranked Gilmore Girls episode by episode back in 2016, as the Netflix revival Gilmore Girls: A Year in the Life loomed. On the occasion of the show’s 20th anniversary, I wanted to look back at my original rankings and see what needed tweaking.

Ranking a TV show episode by episode reveals its bones. It tells us what the show is good at and, by extension, what matters to it. Gilmore Girls is a family drama, and it shines brightest when it’s delving into the fundamental trauma and dysfunction — and the warmth and the joy — of the Gilmore family.

Ranking Gilmore Girls was not an easy task. It’s a stunningly consistent show that rarely hits a false note; how do you differentiate between two really good episodes of a really good show? Sure, there are outliers, like the almost universally reviled “Vineyard Valentine” and the almost universally beloved “Bracebridge Dinner”; but how do you decide if a “There’s the Rub” is better or worse than a “The Nanny and the Professor”? Do you lean more toward the aesthetic beauty of the early seasons, with their gorgeous tonal blend of warmth and melancholy, or toward the psychological complexity of the darker later seasons? What do you do with the anomaly that is season seven, the only season of the show not produced by showrunner Amy Sherman-Palladino and her husband and writing partner, Daniel Palladino?

And speaking of anomalies, there’s the problem of the Netflix revival A Year in the Life. The ’ four episodes are structurally different than their predecessors, each clocking in at 90 minutes long and covering three months at a time, rather than the rapid 45-minute slice-of-life snippets that comprise the bulk of the show. Moreover, they take place in an entirely different world: They’re dealing with an adult Rory and a middle-aged Lorelai, and that puts everything off balance. So what do you do with them?

The first time I ranked Gilmore Girls, under a combination of recency bias and severe emotional whiplash (look, it was November 2016), I gave the four revival episodes extremely high rankings. For the sake of journalistic ethics, I’ll list them here: “Winter” was No. 24, “Spring” was No. 17, “Fall” was No. 10, and “Summer” was (gulp) No. 5. (Again, I’ll reiterate, it was November 2016.)

With the space of some distance, I no longer feel that’s the best place for them. So I had to decide with fresh eyes what to do with this problem season.

We have a lot to wrestle with here. Let’s dive straight in and do it.

The very worst

Warner Bros.

157. “That’s What You Get, Folks, for Makin’ Whoopee” (season 7, episode 2)

There are some rough episodes of Gilmore Girls, but only this one casually destroys a beloved character’s life for no reason. Lane, back from her honeymoon with Zach, announces that their first time together was so terrible that she has no plans to ever have sex again. Then she finds out she’s pregnant, meaning that she’ll have to put aside all the rock ’n’ roll dreams she’s strived toward over the past seven seasons.

It’s a heartbreaking ending to Lane’s arc, and what’s worse is that the show treats it as light comedy. Add to that the fact that the episode comes at the rocky beginning of the Palladino-less seventh season — and the fact that Lane’s fate falls into the show’s unpleasant track record of punishing women when they lose their virginity — and you have all the makings of Gilmore Girls’ worst episode.

156. “The Long Morrow” (season 7, episode 1)

This is the first episode of Gilmore Girls written without Amy Sherman-Palladino at the helm, and boy does it show. The show struggles to find its signature screwball pacing, and it can’t figure out how to circle around emotions without addressing them face on, as the earlier seasons did at their best. And the townie hijinks — Kirk crashing Taylor’s car into Luke’s diner — are trying too hard to be whimsical; there’s so much effort onscreen that the show feels tense where it wants to be comforting.

155. “A Vineyard Valentine” (season 6, episode 15)

“A Vineyard Valentine” is easily the weakest of the Palladino episodes. Everyone operates as the worst and most harshly exaggerated versions of themselves: Luke, grumpy and passive aggressive, is at his most unsympathetic. Rory is off-puttingly: domestic in a manner that recalls her stint as Dean’s Donna Reed in season one. Lorelai spends most of her time compensating for the distance she feels from Luke and Rory with a stream of unfunny gay jokes. It’s not pleasant to watch.

154. “Lorelai’s First Cotillion” (season 7, episode 3)

Gilmore Girls is stylistically off for most of season seven, and it’s at its worst at the beginning. At Sherman-Palladino’s best, she wrote around emotions: What was most important was what remained unsaid in the slew of fast-talking. But in this episode, when Lorelai begins to wonder if she’s set up her life just to annoy her mother, she tells us exactly what she’s thinking and how she feels about it, with no indication that there’s anything lurking under the surface. The show has been flattened.

153. “The Great Stink” (season 7, episode 5)

Season seven had a bad habit of retreading earlier seasons’ plots that weren’t that great to begin with. In this case, it’s the egg plot from season four’s “Tick, Tick, Tick, Boom!” only now there are pickles stinking up Stars Hollow instead of rotten eggs. It was only a little funny in season four; it’s not at all funny in season seven.

152. “Merry Fisticuffs” (season 7, episode 10)

As season seven goes, most of this episode isn’t that bad — the show had started to figure out how the characters fight again — but “Merry Fisticuffs” is the one where Christopher turns to Lorelai in bed and says, “Let’s make a baby,” and we all cringe for 10,000 years. That’s enough to knock it down to the bottom of the list. Plus, it’s the culmination of that weird plot where Marty turns into a horrible person for no reason.

151. “That Damn Donna Reed” (season 1, episode 14)

Gilmore Girls took a while to find its voice, and a lot of the first season is just a little too saccharine. “That Damn Donna Reed” is a particular offender, worsened by the fact that it’s also thematically muddled. It starts off with Rory rejecting the idea of enforced femininity; it ends with her strapping on a frilly apron to please her boyfriend. In terms of both this episode and Rory’s character as a whole, it just doesn’t make sense.

Pretty Bad

Warner Bros.

150. “Here Comes the Son” (season 3, episode 21)

“Here Comes the Son” is the backdoor pilot for what would have been Jess’s spinoff series, the hilariously titled Windward Circle. The WB shot six episodes, but stopped production before any of them came close to airing. Ostensibly that’s because the cost of shooting on Venice Beach was prohibitive, but based on this episode and the 30 seconds of the show you can find on YouTube, the more likely reason is that it was a terrible show. Nothing against Jess — he’s a good supporting character who drives story for our Gilmore girls well — but he’s not designed to be a main character who can carry his own show, and it shows.

149. “You’ve Been Gilmored” (season 6, episode 14)

Rory’s season six arc gets pretty dark, but it’s usually worth it for the character exploration. She spends most of the early seasons in a charmed state, getting everything she wants with minimal effort. Then when her internship with Mitchum Huntzberger goes south, she has to face real, consequential failure for the first time in her life, and she doesn’t do well at all. It’s hard to watch, but fascinating.

This episode undercuts everything that came before that made Rory’s season six journey interesting. Just as Rory is finally starting to get her life together, Paris has a meltdown and is ousted as the editor of the Yale Daily News — and the board votes unanimously to replace her with Rory. Against Rory’s shock and protestations. Meaning that Rory is once again living a life in which her accomplishments are handed to her while she makes a Taylor Swift surprised face, and the idea of working hard and campaigning for a goal, the way that Paris regularly does, is unthinkable. It makes all of Rory’s character growth up to this point highly questionable.

148. “Women of Questionable Morals” (season 5, episode 11)

Lorelai’s mile-a-minute whimsical rants often walk the fine line between “endearing” and “annoying,” but this episode tips over into “downright irritating” territory. Lorelai shouts about how she no longer loves snow and how she and snow are breaking up, kicking at it in her cutesy rage, and not even Preternaturally Charming Person Lauren Graham can save the moment.

147. “Tippecanoe and Taylor, Too” (season 5, episode 4)

This is the episode where Jackson ousts Taylor as town selectman, after which he spends one episode doing selectman duties and then Taylor takes over again as if nothing ever happened. Expecting continuity from Gilmore Girls is a fool’s game, but come on.

146. “He’s Slippin’ ‘Em Bread … Dig?” (season 6, episode 10)

I will always resent Zach for this episode. He sabotages Hep Alien’s gig in a fit of jealousy, setting Lane and her dreams back months and even making her cry. And he still gets to marry her and live out her rock ’n’ roll dreams by going on tour while she’s stuck at home with the kids? Whatever.

145. “Application Anxiety” (season 3, episode 3)

One of the unfortunate things about the Rory-applies-to-Harvard arc is that Gilmore Girls neither knows nor cares much about what it’s actually like to apply to an elite college, so it has to reach to find compelling story points. This is the episode where Rory meets the dull cliché of a Harvard family, and while its biggest offense is that it’s boring, well, that’s a pretty big offense on Gilmore Girls.

144. “To Whom It May Concern” (season 7, episode 12)

Season seven showrunner David Rosenthal can’t really be blamed for the fact that Melissa McCarthy got pregnant and he had to work it into the story somehow. He can be blamed for his solution: Make Jackson lie to his wife about the vasectomy he supposedly got. Suddenly this generally sweet supporting romance took on a weirdly toxic dynamic.

143. “Go, Bulldogs!” (season 7, episode 6)

Lorelai and Christopher go to Parents’ Weekend at Yale; Luke reveals that he cannot swim (which … doesn’t he go fishing all the time? Isn’t that a safety risk? When he threw Jess into that lake, was he actually trying to kill him?) and dates April’s swim instructor. This show is never high-concept nonstop thrills, but what makes it work is the flair and charm of the writing and the character insights it produces. Season seven hasn’t worked that out yet, so when it tries to do a classic low-concept Gilmore plot, the result is deadly dull. Snooooooooze.

142. “Bridesmaids Revisited” (season 6, episode 16)

This is the period of season six where Lorelai and Rory spend all their time walking around with little frown lines permanently etched into their faces because their boyfriends are being so awful to them. It’s wearing, and not in particularly interesting ways. Plus, Lane seals her doom by agreeing to marry Zach, and Christopher’s fantastically annoying other daughter Gigi has tons of screentime. But look on the bright side: There’s a pre-Hamilton Leslie Odom Jr. there.

141. “I’m OK, You’re OK” (season 6, episode 17)

The episode opens with a fantastic, classic scene of Paris and Rory eating Chinese food and swearing off men together; if that was all there were to this episode it would be in the top 10 easily. But then Logan manipulates Rory into saying she forgives him for cheating on her, and the rest of the episode is back to Lorelai and Rory’s faces slowly melting in sorrow.

Still pretty rough

Warner Bros.

140. “Concert Interruptus” (season 1, episode 13)

This is a lovely early moment in the slow development of Rory and Paris’s friendship. It also doubles as a mini Bangles concert DVD.

139. “Knit, People, Knit!” (season 7, episode 9)

At a certain point season seven gets a pretty solid handle on the show’s character dynamics, but it takes a lot longer to figure out the Gilmore Girls style. That balancing act is evident here: The Stars Hollow Knit-a-thon is an attempt at vintage Stars Hollow quirk that really doesn’t land, but there’s a lot of good character and thematic work in this episode. We get to see Christopher and Lorelai as partners in crime as they fend off Emily’s terrifying wedding present — and then we get to see just how much Christopher doesn’t fit into Lorelai’s Stars Hollow life. Plus, Paris and Doyle “hip-hop dance.”

138. “French Twist” (season 7, episode 7)

Watching season seven, it’s clear that Christopher and Lorelai are never going to last: Luke and Lorelai are obviously going to end the show together, and the Lorelai/Christopher storyline is just an obstacle that has to be hurdled. But this episode attempts to justify the fantasy of Lorelai and Christopher, trying to convince us their history is meaningful enough that Lorelai actually would throw caution to the wind and get married in Paris. It doesn’t quite pull it off, but the softness in Graham’s face and voice as she says, “Even then, you were so … sweet,” almost sells it.

137. “I Am Kayak, Hear Me Roar” (season 7, episode 15)

You can’t really go wrong with an episode that features Lorelai and Emily locked in a room together for a long stretch of time. Lauren Graham and Kelly Bishop are extraordinarily gifted actresses who play beautifully against each other, and the mingled love and resentment of Lorelai and Emily’s relationship forms one of the show’s richest emotional wells. That said, the season seven writers never quite figured out how to hit the oblique angles in their relationship the way Sherman-Palladino did — the insults inside the compliments, the declarations of love inside the insults. It works, just barely, but that’s because Graham and Bishop make it work.

136. “I’d Rather Be in Philadelphia” (season 7, episode 13)

In keeping with season seven’s habit of redoing plots from earlier seasons, but not as well, “I’d Rather Be in Philadelphia” revisits the Richard-in-the-hospital plot from season one’s “Forgiveness and Stuff.” Only this time, Emily gets a super on-the-nose tear-ridden speech that ends with, “He’s all I have, Lorelai! He’s all I have!” Stylistically, it’s jarring. But the rest of the family dynamics play out beautifully, with Emily sublimating, Rory overachieving, and Lorelai trying to keep them all together. Plus, the slow disintegration of Lorelai and Christopher’s relationship becomes inevitable here.

135. “Run Away, Little Boy” (season 2, episode 9)

Bonus points for being the episode that definitively sends Chad Michael Murray on his way for good. Minus points for featuring so much of Chad Michael Murray on his way out.

134. “Love, Daisies and Troubadours” (episode 1, episode 21)

The first season finale is by far the show’s worst season finale. It leans into all of season one’s worst impulses: It’s just a little too twee and whimsical, and a little too focused on romantic relationships at the expense of the core familial relationships. But that final shot of Lorelai and Rory — running toward each other across Stars Hollow, through buckets and buckets of yellow daisies — is lovely and joyous.

133. “Paris Is Burning” (season 1, episode 11)

This episode is the first one that gestures at humanizing Paris — and if it does so just a little ham-fistedly, that’s season one for you. It’s still the beginning of one of the show’s best character arcs. On the other hand, any episode that devotes this much screen time to the question of whether Lorelai and Max Medina should date (they should! then they shouldn’t!) is at least a little bit of a waste.

132. “P.S. I Lo…” (season 1, episode 20)

Season one’s weakest element is its love stories, and this episode leans into them hard. (Apologies to the 12 people who are solidly Team Dean and Team Max.) But it also features the first time Rory chooses Emily and Richard over Lorelai, running away to stay at their house after she gets into a fight with Lorelai over Dean. That’s a pattern that will develop into one of the show’s most revealing and compelling character dynamics.

131. “Pulp Friction” (season 5, episode 17)

If you remember this episode solely for the Quentin Tarantino party — a stone-cold classic set piece, if only for the background actors doing the Pulp Fiction dance — you will have no idea why I placed it so low. Allow me to jog your memory: This is the episode where Michel wins an RV on The Price Is Right and tries to sell it out of the Dragonfly’s driveway. You’re with me now, right?

Just okay

Warner Bros.

130. “Come Home” (season 5, episode 12)

Sherman-Palladino has a weakness for violent jealousy in her male love interests. It’s never all that charming to begin with, and rarely is it less charming than when Richard forcefully rear-ends Emily’s car after he sees her talking to another man. Still, isn’t it a relief to have the elder Gilmores finally reunite after their separation?

129. “Take the Deviled Eggs…” (season 3, episode 6)

Sure, Rory and Lorelai are self-centered — that’s a basic part of their characterization. But usually when they’re self-centered to the point of wanton destruction of innocent people’s property, the show recognizes that they’re in a bad place. But this episode plays Lorelai trashing Sherry’s bathroom and Rory trashing Jess’s car for light laughs. It doesn’t quite work, sounding a note that’s more sour and slapstick-y than the show usually is. But the town loner subplot is enormous fun, and Jess and Luke’s confrontation over Jess’s new job at Walmart is note-perfect. (“Jess, are you a gigolo?”)

128. “Double Date” (season 1, episode 12)

Jackson’s cousin Rune is a very season one character: just a little too quirky and a little too broad. But this episode demonstrates that the show had figured out how to balance and mirror its Lorelai and Rory storylines with its matching double date plots. It’s also the first episode to suggest a little bit of depth to Mrs. Kim, who searches frantically for Lane after she sneaks off to her terrible date.

127. “I Solemnly Swear” (season 3, episode 11)

Season three of Gilmore Girls is close to tonally perfect; at this point in its run, the show knew exactly how to balance quirk with melancholy. As such, there aren’t many bad points to the season, but it does have two major weaknesses: the Francie student government plot and Billy Burke as Alex, Lorelai’s dullest love interest. This episode features both of them — but its tone is still right in that season three sweet spot.

126. “Die, Jerk” (season 4, episode 8)

Bruce, Sookie’s midwife/doula, is not funny, and she takes up way too much of this episode. But Rory’s plot — in which she calls a ballerina a hippo in a published review — is a nice milestone in the slow destruction of her angelic Stars Hollow image.

125. “Norman Mailer, I’m Pregnant!” (season 5, episode 6)

Why is it that the women on this show always lose their minds when they’re pregnant? Is it problematic to treat Norman Mailer as a harmless old iced tea–loving coot when we all know he stabbed his wife? Is the scene where Rory confronts her deadbeat dad and tells him to stop breaking her mom’s heart whenever it’s convenient to him one of the most satisfying moments of the series? This episode is a real brain teaser.

124. “The Lorelais’ First Day at Chilton” (season 1, episode 2)

This is a heavy-lifting episode. The pilot gave us Stars Hollow and Rory and Lorelai; the second episode gives us Chilton and Paris and assorted townies. (Plus Kirk with his original name, Mick. I have a theory that Kirk is actually 12 identical brothers, 11 of whom are named Kirk and one of whom is named Mick, and I dare you to disprove it.)

This episode works a little too hard to establish Rory and Lorelai as fish out of water at Chilton — Lorelai’s cowgirl outfit is over-the-top ridiculous, and early Paris doesn’t have the complexity she’ll later develop — but it gives the show a solid foundation on which to build.

123. “Christopher Returns” (season 1, episode 15)

This episode has to establish Rory and Lorelai’s relationship with Christopher, and it does so beautifully. He’s an erratic, inconstant presence in their lives — he’s never even been to Stars Hollow before this episode — but when he’s there, he charms them both into almost forgetting all about his absences. Season one only hints at the emotional damage this dynamic has and will wrought, but it will get clearer and clearer over the course of the show.

122. “Summer” (season 8, episode 3)

The Stars Hollow musical is a heavily divisive setpiece. Personally I like it — I am pro Sutton Foster singing on my TV screen, sorry not sorry — but the rest of this revival episode is just a tad too sour to redeem itself. Lorelai and Rory’s hatred of fat people was always very early ’00s, and there was no reason for the revival to hit that note so heavily once again.

121. “We Got Us a Pippi Virgin” (season 5, episode 5)

Early season five struggles with how to handle the show’s second go-round on the Dean romance. Rory’s choice to rekindle their relationship is clearly a desperate attempt to return to her secure childhood self after struggling in her first year at college, but they’ve just as clearly outgrown each other — they can’t even fit into her car when they try to go parking — and it’s awkward to watch. This episode handles it better than most, through the simple expedient of looping Lorelai into the plot and letting Lauren Graham’s face express exactly how uncomfortable the whole thing feels.

Now we’re warming up

Warner Bros.

120. “Jews and Chinese Food” (season 5, episode 15)

So Luke sneaks onto Lorelai’s property to take away the boat that she bought with her own money, and I am so exasperated that I cannot fully appreciate Kirk playing Tevye in the Stars Hollow Elementary School production of Fiddler on the Roof. But nothing can tarnish the scene where Luke and Lorelai watch Kirk and that tiny little girl with the enormous voice singing “Do You Love Me?” — it’s a perfect mixture of weird and unsettling and tragic and lovely.

119. “‘S Wonderful, ‘S Marvelous” (season 7, episode 4)

Fan consensus is that Krysten Ritter and her less-famous sidekick, introduced here, are Rory’s most annoying friends. Fan consensus is incorrect; Rory needed more than her grand total of three friends (one of whom is her mother), and Krysten Ritter is always a good thing. Watching Rory and her two new friends delightedly raid Logan’s extensive popcorn collection after a student art show is an enormous relief after the dourness of season six.

118. “Introducing Lorelai Planetarium” (season 7, episode 8)

Watching Lorelai and Rory fight is always hard, but Gilmore Girls always seemed to find interesting and in-character ways for them to do it. When Rory tears into Lorelai for getting married without her there, season seven proves it still has the ability to make those fights work.

117. “Santa’s Secret Stuff” (season 7, episode 11)

The Palladinos never wrote a Christmas-centric episode (Sherman-Palladino has said that at a certain point she just decided that the Gilmores were Jews in WASP bodies), so this entry established an entire secret history of Christmas traditions for Lorelai and Rory. Seven seasons in, that’s not an easy chore, but everything this episode invents — red and green M&Ms in the cereal for breakfast, candy cane coffee at Weston’s because Luke would never make his coffee so froufrou — fits perfectly into the Gilmore universe.

116. “Hay Bale Maze” (season 7, episode 18)

Amy Sherman-Palladino has said that the biggest thing she’d change about season seven would be Rory’s arc, which might explain why season seven’s Rory arc feels less like a continuous piece of the story Sherman-Palladino was telling and more like an attempt to course-correct in the face of fan criticism that Rory was getting increasingly entitled and self-centered. Still, the course correction was fun to watch in its own right.

Season seven Rory spends a lot of time learning that it would be good for her to have friends, that she is privileged, and that sometimes she will try her hardest at things and fail anyway — and while it doesn’t feel of a piece with the earlier seasons, it’s still awfully satisfying to watch. In “Hay Bale Maze,” overachieving and overthinking Rory finally decides to risk everything to reach a goal. Strategically it’s not a great choice (PSA: don’t turn down a full-time job offer because you also applied to a prestigious six-week fellowship in the same field), but on a character level, it was an important decision for her to make.

115. “Sadie, Sadie” (season 2, episode 1)

Most of this episode is taken up with Max Medina and Dean silliness. But there’s a perfect moment where Emily finds out that Lorelai got engaged and didn’t tell her, which almost makes the rest of the episode worthwhile.

114. “Hammers and Veils” (season 2, episode 2)

Also known as the episode where Dean finally develops a personality, and it sucks. Dean’s controlling streak steadily emerges throughout season two, first revealing itself when he gets angry that Rory needs to put in work to get into Harvard instead of spending all her time with him. It’s a weird look on a character that the show continues to insist is a perfect first boyfriend. But most of this episode is about Emily cold-shouldering Lorelai after finding out about her engagement to Max, and Lorelai’s resulting bewildered anger — and that will carry you anywhere.

113. “Lorelai Out of Water” (season 3, episode 12)

This episode has a forgettable Billy Burke–centric A-plot, but the MVP here is Lane. She finally works up the courage to tell her mother that she’s in love with Dave Rygalski (and who could blame her?), only for Mrs. Kim to stare blankly at her and say, “He’s not Korean.” Oh, Lane.

112. “Keg! Max!” (season 3, episode 19)

It’s rare for Gilmore Girls to spend much time on a fistfight — it’s such a talky show that most of its physical fights are comedic little slapfests. But season three gives Dean and Jess’s inevitable showdown the kind of loving buildup the show normally reserves for a first kiss. Every time they see each other they glare violently, and all the other characters keep gossiping about whether they’ve fought yet. When they finally do, the result is incredibly cathartic.

111. “The Nanny and the Professor” (season 4, episode 10)

Paris’s fling with 60-year-old Asher Fleming is mined for laughs, but it’s also a little uncomfortable to watch 19-year-old Paris throw herself into a relationship with a much older authority figure. But it’s all worth it for the scene where Lorelai is trying to guess his age and Rory keeps gesturing upward.

Getting warmer

Warner Bros.

110. “The Deer Hunters” (season 1, episode 4)

The show is still finding its voice here — Lorelai showing up late to a Chilton parents’ night in a band T-shirt is the kind of over-the-top “look how quirky and different!” hijinks the show will later mature away from — but Rory’s horrified, “I got hit by a deer!” is immortal.

109. “Will You Be My Lorelai Gilmore?” (season 7, episode 16)

In the utter tragedy that is Lane’s season seven arc, at least she gets one moment of happiness — even if it is just a baby shower where she’s bedridden. Her conversation with Rory is a sweet grace note in their friendship, and the look of glee on her face as Zach and Rory push her bed through the town square is incredibly joyful.

108. “Star-Crossed Lovers and Other Strangers” (season 1, episode 16)

Rory and Dean’s three-month anniversary date is adorably teenaged — check that visual of them sipping their Cokes at the fancy restaurant — and their breakup is a great, revealing character moment. Dean’s freakout when Rory tells him she isn’t ready to say “I love you” presages what a weirdo control freak he’ll turn out to be. More importantly, Rory’s refusal to tell Dean that loves him is our first glimpse at just how much her parents’ saga has affected the way she thinks about relationships.

107. “The Ins and Outs of Inns” (season 2, episode 8)

Independence Inn owner Mia is a weird background character, one who’s theoretically enormously important to both Rory and Lorelai — we learn here that she more or less raised them both — but who’s only rarely mentioned. But the easy warmth of Elizabeth Franz in the role makes it easy to buy Mia’s importance while she’s here, and her final confrontation with Emily is just gorgeous.

106. “Dear Emily and Richard” (season 3, episode 13)

Let’s get this out of the way: The actress playing young Lorelai here is a terrible match for Lauren Graham. It’s a big ask for any young actor to produce the enormous amount of warmth and charm Graham exudes in every episode, but this actress doesn’t even match Graham’s speaking patterns. (Plus, her eyes are a different color.) But this episode is the closest we get to seeing the primordial family wounds that power the rest of the show. Even without a great young Lorelai, the look on Emily’s face as she reads her daughter’s goodbye letter speaks volumes.

105. “Ballrooms and Biscotti” (season 4, episode 1)

Mostly the season four premiere is just Lorelai and Rory being charming and quippy. Not much happens, but it’s the calm before the storm. Over the rest of the season they’ll have more and more trouble connecting, until everything ends with Rory screaming at Lorelai that she hates her. But here, in the episode that bookends “Raincoats and Recipes” (note the matching alliteration), they’re at their closest and in perfect sync.

104. “Secrets and Loans” (season 2, episode 11)

It’s always a treat when a theater vet like Kelly Bishop gets something to sink her teeth into. Watch her face during the scene with Lorelai in the banker’s office: When the banker explains to Lorelai that she’ll need her mother to co-sign her loan, Emily demurely sips her coffee with an air of utter innocence, pointedly refusing to make eye contact with Lorelai. It’s a perfect blink-and-you’ll-miss-it moment.

103. “One’s Got Class and the Other One Dyes” (season 3, episode 4)

It took Gilmore Girls two seasons to give Lane an arc, but it finally happens at the beginning of season three, where we first meet her band. The band that will come to be known as Hep Alien gives Lane’s heretofore vague rock ’n’ roll dreams shape and substance, and giving her people to interact with besides Rory and Mrs. Kim adds shading and nuance to her character. (Side note: Keiko Agena should really consider giving that purple hair a try again; she rocked it.)

102. “Back in the Saddle Again” (season 2, episode 18)

Any time Richard and Paris interact is a good time, and this episode — in which Richard is the adviser for Rory and Paris’s economics class project — is the beginning of their beautiful friendship. Also always fun: Brad, the boy who cannot see Paris without shaking in fear, admitting that of course he has tried to build a robot.

101. “Always a Godmother, Never a God” (season 6, episode 4)

Season six is the season where Rory and Lorelai start off not speaking to each other. While that’s exciting from a character standpoint, it also messes with the chemistry of the show, which is built off Rory and Lorelai spouting nonstop quips at each other. This episode sees what happens if you put them in a room and all they do is passive-aggressively bicker about cellphones, and it’s weird and unsettling in that quietly fascinating way that is season six’s specialty.

Getting into some pretty solid TV here, folks

Warner Bros.

100. “A Messenger, Nothing More” (season 5, episode 2)

Part of Lorelai’s charm is her whimsical arrested development, so it’s always kind of a kick to see her change into uber-competent professional mode. That’s what she’s doing here as she works to get the Dragonfly Inn into gear, charging around town so fast that Lane nicknames her the Blur. It’s not just because the Dragonfly is a new business, though: It’s because she’s estranged from Rory, and her budding relationship with Luke is on hiatus while he helps Liz at her Renaissance Faire. This is solo Lorelai in pressure-cooker mode, and it’s fascinating to watch.

99. ”Welcome to the Doll House” (season 6, episode 6)

At the beginning of the Rory-Logan coupling, Gilmore Girls consistently links Logan’s appeal to his wealth: Most of the episodes early in their relationship feature Rory talking about how broke she is as Logan is lavishes her with extravagant presents and dates. It’s not that she’s a gold digger, but part of Logan’s allure at this point is that he belongs to a world of wealth, glamour, and privilege at a time when Rory is growing increasingly tired of the world she grew up in.

What makes this episode interesting is that it’s where that allure begins to wear off. Logan spends thousands of dollars buying Rory a Birkin bag, and she has no idea what it is or why it’s such a status symbol — nor does she have any interest in it. It’s an early suggestion that Rory isn’t fitting into Logan’s world as well as she’d hoped.

98. “Lost and Found” (season 2, episode 15)

Lorelai and Jess have more or less identical personalities, give or take 16 years’ worth of maturity, so of course they hate each other. “Lost and Found” is the one episode where they try to make nice, and while their efforts are short-lived, it’s fun to watch them bounce Euell Gibbons references off each other while it lasts.

97. “Chicken or Beef?” (season 4, episode 4)

Rory’s been at college for a few episodes now, but here’s where it finally becomes clear that her childhood in Stars Hollow is over: Dean gets married, and Rory starts rocking her chin-length college-girl bob. This is the episode where Rory first starts to realize that she can’t go home again; by the end of the season, she’ll want to go home so desperately that she’ll help Dean blow up his marriage to do it.

96. “Dead Uncles and Vegetables” (season 2, episode 17)

Imagine: an entire alternate universe series where Rory and Lorelai are old-timey diner waitresses, constantly shouting, “Burn one and pass me a pink stick and throw some mud on it!” Alas, in this universe we must settle for just one episode — but this one also features Freaks and Geeks’ Dave Allen as Taylor’s nemesis, so it’s all good.

95. “So … Good Talk” (season 5, episode 16)

Okay, remember that thing a few entries up about how early Logan/Rory is all about Logan lavishing Rory with gifts when she’s broke? This is what I’m talking about. Rory’s at the coffee stand downsizing her order because she can’t afford the large caramel macchiato she wanted, and Logan shows up and bails her out — and it’s not a bad thing! In fact, it’s a super-interesting thing.

Logan represents the life that Rory would have had if Lorelai hadn’t turned her back on the Gilmores. And given all the similarities between Logan and Christopher, you can read this stage in their relationship as Rory’s attempt to do Lorelai’s adolescence over — only this time, Lorelai won’t get pregnant and won’t dump the nice, feckless rich boy Emily and Richard love. Keep that in mind when we get to “The New and Improved Lorelai.”

94. “Face-Off” (season 3, episode 15)

One of the most compelling things about Rory and Jess at this point of the show is how incredibly, tragically teenaged and doomed they feel. This episode more or less writes the couple’s death sentence: You know they’re not going to last past the season after a full episode of Jess consistently standing Rory up and Rory being too insecure and passive to call him on it. The episode’s final shot, of Rory curled up somberly on her bed, feels like an elegy for something that’s not quite over yet.

93. “Say Goodnight, Gracie” (season 3, episode 20)

And here is where Rory and Jess’s relationship gets definitively blown up. That last scene of them sitting in silence at the back of the bus, completely unable to talk to each other, is a gut punch — but not quite as much of a gut punch as Jess’s big confrontation with Luke, and the heartbroken disappointment that settles over both their faces as Luke says, “Then you gotta go.”

Thank goodness Lane and Dave are there to lighten the mood. Let’s be real, Dave reading the entire Bible in one night in an attempt to win Mrs. Kim’s permission to date Lane is the most romantic thing anyone ever did on this show.

92. “Just Like Gwen and Gavin” (season 6, episode 12)

This episode jump-starts the infamous “Lorelai spends season six with her face slowly melting from sorrow because Luke is being so awful” plot, which knocks it down a few notches, but here it’s still fresh and interesting. The look of shock and horror on her face when she realizes Luke has been keeping his daughter from her, and the way it later morphs into resignation when he leaps at her offer to postpone the wedding, is a killer. But for levity, there’s Paul Anka the dog dressed up as a swami!

91. “To Live and Let Diorama” (season 5, episode 18)

The dioramic history of Stars Hollow is one of the weirdest and creepiest set pieces Gilmore Girls ever gave us, like the Mormon history section of Angels in America on acid. (The divining rod! The mute son!) Plus, Paris gets a chance to get her Women on the Verge of a Nervous Breakdown on, and Paris in breakdown mode is always fun.

Real talk, these are all above-average episodes of TV

Netflix

90. “A Family Matter” (season 4, episode 12)

Season four starts clicking hard right around here. Lane’s long-simmering war of wills with Mrs. Kim is coming to a head. Lorelai and Digger are at their bantering best. (No one wants to see Lorelai and Digger together forever, but Chris Eigeman was born to deliver Amy Sherman-Palladino dialogue.) Lorelai and Luke’s unresolved tension is steadily rocketing up as the season heads toward the finale. And it’s beginning to become clear to Rory that she’ll eventually have to face all the problems she intended to leave behind in Stars Hollow — particularly her unresolved issues with Jess, who returns for the first time since season three in this episode.

89. “The UnGraduate” (season 6, episode 3)

Here’s where Rory decides to devote all of her overachieving, people-pleasing tendencies to her new life. Everyone at all her community service gigs loves her. She’s crushing it at the DAR. She’s completely won Emily over by volunteering to act as her socialite spy. And over in Stars Hollow, Lorelai’s devoting all her mothering energies to Paul Anka and the construction crew remodeling her house — she even babies T.J., even though she, like all right-thinking people, must find him incredibly annoying. But Rory and Lorelai still both clearly despise their new lives. As a character study, this episode shows off what season six does best.

88. “Say Goodbye to Daisy Miller” (season 5, episode 1)

Season five begins and ends with Rory and Lorelai at loggerheads, but this fight is just a dress rehearsal for the one that ends the season. It’s nothing they can’t fix with an episode or two apart and a heartfelt apology, but it’s the first time we ever see Rory sulking like an angry teenager and Lorelai going sarcastic and cutting. They’re replicating Lorelai and Emily’s dynamic, and it’s heartbreaking.

Plus, this episode gives us one of the all-time great Richard and Emily moments: “Only prostitutes have two glasses of wine at lunch!” “Well, then, buy me a boa and send me to Reno, because I am open for business!”

Bustle

87. “The Lorelais’ First Day at Yale” (season 4, episode 2)

“Ballrooms and Biscotti” was just a prologue. Now we get the real thematic setup for season four: Rory wants to go home really badly, so badly that she’ll violate all sorts of boundaries to get there. Here she’s just asking her mom to stay over for her first night of college — no matter how cool Lorelai is, that’s a major violation of the college freshman social rulebook — but by the end of the season, her discomfort with her new life will manifest itself more self-destructively with Dean. Lorelai, in the meantime, is really concerned with the purity and pristine-ness of Rory’s bed. Here, it’s her mattress and it’s funny; later it’ll be her virginity, and it’ll be heartbreaking.

86. “Kill Me Now” (season 1, episode 3)

This is the first episode that gives Richard much of anything to do, and it’s fitting that most of what he does is take Rory golfing and fall madly in love with her. It’s also the first episode to make explicit the conflict that will drive the rest of the show: Lorelai is terrified that her parents will steal Rory from her, not just because it means she’ll lose her daughter and her best friend but also because it means her parents can use Rory to replace Lorelai, so she’ll lose them all over again, too.

85. “An Affair to Remember” (season 4, episode 6)

The slow-burning feud between Emily and Digger is one of the show’s most underrated, and this is the episode that kicks it all off, as Richard and Digger prepare to launch their new partnership. It’s a joy to watch Richard’s wife and business partner make polite social smiles at each other and trade quips at top speed while they hate each other behind their eyes. No one else can goad Emily into condescending baby voices like Digger can.

84. “Eight O’Clock at the Oasis” (season 3, episode 5)

Fans remember this episode for two reasons. First of all, it’s the one featuring a young Jon Hamm at his most dapper and dashing, playing the world’s most boring man. (He’s so boring Lorelai won’t even consider a second date when baited with David Bowie tickets, and you know Lorelai loves her some Thin White Duke.) Second, it’s the one where the WB demanded the show play to the network’s target demographic and give them some scantily clad teens, so Rory and Jess run through some sprinklers, get soaking wet, and stare at each other awhile. Less discussed is the subplot with Emily and Richard’s charity auction, but it’s extremely fun: Richard forcefully explaining that Emily will be served the first cup of tea if she wants the first cup of tea is one of his sweetest and most romantic moments.

83. “Farewell, My Pet” (season 7, episode 14)

And the death knell of Chris and Lorelai comes at last. Even the most hardened Christopher hater has to hurt a little when Lauren Graham says, “You are the man I want to want,” with a sob in her voice.

82. “Spring” (season 8, episode 2)

Viewers have been yelling at Emily and Lorelai to get some therapy for seasons now, so it’s exciting to see them actually follow our advice. It helps that the therapy sessions feel like a reprise of that famous ending to “Friday Night’s Alright for Fighting”: The breakneck cuts from the delighted companionable giggling to the arguing to the dead silence serve as a portrait of Emily and Lorelai’s relationship in miniature.

And Liza Weil has always been a treat as Paris, but she’s clearly reaching her peak as an actress here. It’s a joy to watch her viciously kick the bathroom door shut as she has her existential crisis — and Rory has always been at her most sweetly likable when she’s helping Paris through a meltdown. Minus points that her meltdown occurs over Tristan, though.

81. “Gilmore Girls Only” (season 7, episode 17)

As the show winds to a close, season seven turns its attention to its richest and most complex relationship: the ever-shifting dynamic between Emily, Lorelai, and Rory as they go on a road trip. You can’t really lose with that sort of material. David Rosenthal’s take on the core relationships is both less textured and less toxic than Amy Sherman-Palladino’s, but with the end so near, the show can afford to err on the side of warmth. Plus, Lorelai gently ribbing Emily over her Will Smith crush is just fun.

Pretty good

Warner Bros.

80. “The Road Trip to Harvard” (season 2, episode 4)

The show’s other road trip episode is firmly in the Sherman-Palladino mold: It’s incredibly sweet until you think about it, and then it all turns melancholy. Lorelai and Rory taking their buddy-comedy-duo shtick on the road is charming, and Rory finally getting a chance to see the school she’s been dreaming about is lovely. But this is an early instance of Lorelai reacting to a problem by running away from it, a pattern both she and Rory will repeat again and again. Seeing Lorelai look wistfully at photos of what would have been her graduating class, it’s hard not to wonder how much Rory wants to go to Harvard for herself and how much she wants to go so that she can live out Lorelai’s dreams for her.

79. “A Tale of Poes and Fire” (season 3, episode 17)

As season three approaches its end, it has to close the door on a few arcs. This episode gets them ready to go: Rory, at long last, abandons her dream of going to Harvard in favor of Yale, signaling that she’s about to stop living out Lorelai’s dreams. (Of course, after she spends season four trying to live out her own dreams, she gets sucked into Emily and Richard’s in five and six.) And more dramatically, the Independence Inn burns down, spurring Lorelai and Sookie to move forward with their plans for the Dragonfly.

78. “It’s Just Like Riding a Bike” (season 7, episode 19)

This is basically the only time during the run of the main show that Rory fails to meet a major professional goal that she worked hard for, and where it’s also clear that the entity telling her she failed isn’t being vindictive or personal. She tried for a competitive fellowship at the New York Times, and she just didn’t get it, and that’s it. This is where we get to see if Rory learned anything from the whole Mitchum Huntzberger affair, or whether she’ll be terrible at dealing with failure forever.

77. “It Should’ve Been Lorelai” (season 2, episode 14)

Reasons to remember this episode: Paris beautifully traumatizes poor Brad in a debate on assisted suicide. Twin Peaks’ Madchen Amick makes her debut as Sherry, Christopher’s annoyingly perfect girlfriend, and only Emily is able to give voice to the resentment that Lorelai won’t allow herself to feel: It should have been Lorelai, they both think, that Christopher settled down with. And when Lorelai tells Christopher that she’s given up on that dream at the end of the episode, he screams at her, because Christopher can’t handle the idea that he has an emotional responsibility toward the mother of his child. Christopher is charming, but he can be hard to like.

76. “The Hobbit, the Sofa, and Digger Stiles” (season 4, episode 3)

Digger is one of Lorelai’s most-hated boyfriends, mostly because he appears in season four, right when the Luke/Lorelai subplot is clearly building toward some kind of resolution. But Digger does his job perfectly: He’s charming enough to be a compelling obstacle for Luke and Lorelai, but neurotic and weird enough that you know he’s not going to be a permanent obstacle. As a bonus, he’s the only one of Lorelai’s temporary boyfriends who is also interesting to watch (sorry, Max Medina, Billy Burke), and he knows exactly how to deliver Sherman-Palladino’s breakneck screwball banter.

75. “Pilot” (season 1, episode 1)

The pilot isn’t perfect: the rhythms of the dialogue aren’t quite in place yet; the emotional dynamics are sketched out rather than lived in. But it lays a solid, beautiful foundation for everything that is to come.

74. “The Third Lorelai” (season 1, episode 18)

It’s always great to watch Emily’s slow, panic-induced meltdowns over Trix, Richard’s disapproving mother. Trix is introduced here for the first time, and watching Emily frantically search for all of her mother-in-law’s old gifts so that she can display them properly is so much fun that it makes sense Trix would become a favorite recurring guest. Plus, this episode matches Emily’s slow, panicked Trix-induced meltdown with Paris’s slow, panic-induced meltdown over her date with Tristan. (Although ugh, Tristan.)

73. “Help Wanted” (season 2, episode 20)

The tension between Richard and Lorelai is a lot more muted than the tension between Emily and Lorelai. Richard is rarely as vicious as Emily can be — he’s more prone to silent lack of interest — but when he decides to talk, he can shut Lorelai up in a way Emily can never manage to do. So it’s nice to see them get a chance to bond here, as Lorelai fills in for Richard’s secretary while he sets up his new office, and Richard finally realizes just how smart and capable his daughter really is.

72. “Presenting Lorelai Gilmore” (season 2, episode 6)

Speaking of Richard, after spending most of the first season behind his newspaper, he finally gets a plot to himself in season two: He’s getting phased out at work, and it’s making him miserable. He keeps blowing off Emily’s biggest social events, and he even makes a scene at the debutante ball Rory only agreed to do as a favor to cheer him up. Meanwhile, Lorelai and the newly stable Christopher get a chance to show off their smoking chemistry — Lorelai lights up more with him than anyone else — right before Christopher informs Lorelai that he’s seeing someone else.

71. “Nick & Nora/Sid & Nancy” (season 2, episode 5)

Of all Rory’s love interests, Jess is probably the most controversial among fans. Depending on whom you talk to, he’s either Rory’s soul mate or the worst person ever to appear in Stars Hollow. In his first episode, he’s mostly just a hilariously nonthreatening bad boy, posing with his cigarettes and deck of cards like he thinks he’s a 1950s greaser. But his presence catalyzes one of the tonal shifts that elevates season two above season one. Gilmore Girls can get sweet to the point of saccharinity without someone around to undercut its aw-shucks quirkiness, and Jess’s city-kid bewilderment at Stars Hollow’s bucolic charms helps balance things beautifully.

Even better

Netflix

70. “But Not as Cute as Pushkin” (season 5, episode 10)

Rory is at her most endearingly nerdy in this episode. She’s 100 percent convinced that her high school prospective student will want to hear all about the history of the Eli Yale bench, and that of course she’ll want to sniff an old copy of Pushkin — who wouldn’t? Oh, Rory.

69. “Happy Birthday, Baby” (season 3, episode 18)

And here’s Rory at her most endearingly manic, running around town like a nut as she tries to coordinate Lorelai’s enormous surprise birthday party. Alexis Bledel gets a lot of flak from fans for her acting abilities (now perhaps neutralized by her Handmaid’s Tale Emmy), but she’s surprisingly capable when it comes to physical comedy. Just watch her ineffectively fling her tiny self at a giant trolley full of sodas.

68. “Winter” (season 8, episode 1)

The great pleasure of “Winter” is the pleasure of returning. There’s Lorelai, sitting on the steps of the Stars Hollow gazebo, drinking coffee, just as though she never left. She sighs, and you sigh with her: We’re back.

Most of this episode is spent setting up the story Sherman-Palladino will be spooling out over the next few episodes, resetting the board after season seven and eight years of hiatus, establishing the new status quo. In that, it’s a mixed success: Lorelai and particularly Rory feel slightly stuck in their end-of-season-six selves, even though years have gone by within the world of Gilmore Girls and they should have ideally moved on by now. Moreover, the show never fully decides whether Rory is floundering professionally because the economy is bad, because she is a bad journalist, or because she isn’t emotionally strong enough to handle the hustle. And the incoherence of that arc will keep A Year in the Life from fully ticking its landing.

But still, it’s a delight to be back within that magical, sparkling snow globe of Stars Hollow. It’s still here, after all these years.

67. “The Perfect Dress” (season 6, episode 11)

The second we see in Lorelai in her (not perfect, in fact actively ugly) wedding dress, we know this wedding is never going to happen. It’s gutting to watch her beaming up at Luke at the end of the episode, knowing he’s keeping something huge from her. Season six is big on the sense of foreboding doom, and it doesn’t always do it well — but here it’s still fresh enough to be unsettling and effective.

66. “But I’m a Gilmore!” (season 5, episode 19)

After a season spent watching Rory become steadily more enamored of the glamour and privilege of Logan’s world, here’s where it becomes clear that she’s completely lost in it. Faced with the Huntzbergers’ snobbery, she reacts with some of her own: “But I’m a Gilmore! My ancestors came over on the Mayflower!” It’s not exactly pleasant to watch, but it’s a key moment for her arc. Insecure, people-pleasing Rory has decided to start pleasing the rich people instead of her mother, and that’s going to have catastrophic — and fascinating — repercussions.

65. “Red Light on the Wedding Night” (season 2, episode 3)

Certain Gilmore Girls moments are so perfectly pitched that they ring in your ears long after you’ve seen the episodes in which they live. Most of this episode is pleasantly forgettable — Lorelai has the bachelorette party for her wedding with Max Medina, Michel dances with drag queens, it’s fun and light and quirky — but the ending is different. Lorelai at the end of this episode, panicked, near tears, and running on adrenaline, saying, “Because I don’t want to try on my wedding dress every night,” is one of those ring-in-your-ear moments.

64. “Afterboom” (season 4, episode 19)

Season four sees Richard being increasingly dismissive of Emily and Emily being increasingly resentful in turn, but it’s still shocking when they separate. They’re the grandparents! They’re supposed to live in WASPy dysfunction together forever! But thematically, it’s perfect: Lorelai is about to achieve the biggest goal of her adult life and open her own inn, so of course her parents — her biggest connection to her childhood — have to implode.

63. “Those Lazy-Hazy-Crazy Days” (season 3, episode 1)

Season three is the most tonally beautiful season of Gilmore Girls. The banter is sharp as a knife, Stars Hollow exudes warmth, and everything is gently touched with just the right amount of melancholy. This premiere is a perfect encapsulation of that tone: There’s Rory and Lorelai frolicking through the town square and then bickering while “Those Lazy Crazy Hazy Days” drones in the background; and there’s the turn from that warm, sun-drenched festival to Lorelai crying quietly in Luke’s diner.

62. “Tick, Tick, Tick, Boom!” (season 4, episode 18)

By Gilmore Girls standards, there’s a surprising amount of plot in this episode — Digger’s dad announces he’s going to sue Richard and Richard in turn double-crosses Digger, kicking off all kinds of Dallas-style corporate hijinks — but it still leaves room for some beautiful grace notes. There’s Taylor’s horrifying toupee, which prompts Lorelai to politely ask him to repeat himself three times because she can’t stop staring at his head long enough to listen to what he’s saying. And there’s Lorelai’s monologue on the mystery of what happened to all the anvils — an all-time classic moment.

61. “Super Cool Party People” (season 6, episode 20)

Lorelai throwing April the world’s greatest birthday party is such a heartbreaker: Lorelai’s so good with April, and they get along so well, that you get visions of a parallel world where Luke and Anna weren’t stricken with plot-induced madness and allowed April to actually spend time with her future stepmother. Meanwhile, Rory finally gets to rip Mitchum Huntzberger a new one a year after he crushed her dreams, and it is incredibly satisfying.

This show is so good

Warner Bros.

60. “Love and War and Snow” (season 1, episode 8)

This is one of those very early episodes where we can see the show really figuring out its formula: The town will have some aggressively, endearingly twee event — in this case, keeping vigil in the snow to reenact a Revolutionary War battle that almost happened — and Luke will grumpily tend to everyone’s welfare while Rory and Lorelai deal with mild romantic drama and interference from Emily and Richard. And this Max Medina plotline, as he and Lorelai struggle to figure out if she can date openly now that Rory’s a teenager, is about as compelling as the Max Medina arc ever gets.

59. “How Many Kropogs to Cape Cod?” (season 5, episode 20)

As Lorelai painfully fifth-wheels it through a Friday night dinner of Emily and Richard fawning over Rory and Logan, it becomes clear that Emily and Richard are making the most of their do-over. Rory is their new Lorelai — a high-achieving, biddable, anxious-to-please Lorelai — and wealthy, charming Logan is their new Christopher. And after what happened with the last Lorelai and Christopher, Emily and Richard waste no time trying to push the new versions into marriage. The extent to which Rory finds herself reenacting that primordial family rift over and over again is never clearer than it is here.

Plus, the cold open where Lorelai and Rory watch their Roombas over the phone together in near silence is a contender for the best cold open in TV history.

58. “The Breakup, Part 2” (season 1, episode 17)

Here’s where the show’s “they’re mother and daughter, but also best friends!” conceit gets to really shine, as Lorelai gently pushes Rory to mourn her first big breakup instead of repressing her pain in a flurry of manic activity. The warmth and genuine affection of their bond comes alive in the wake of heartbreak, and it’s lovely to watch.

57. “Written in the Stars” (season 5, episode 3)

Logan makes his first appearance in this episode, casually dehumanizing Marty and then justifying it with the ol’ “it’s a FREE COUNTRY” argument. But honestly, who cares? This episode is all about Luke and Lorelai on their first real date. Luke’s speech, as he remembers the first time he met Lorelai and how he’s kept the horoscope she gave him ever since, is one of the most swooningly romantic moments of the show — and Lorelai’s silence in response creates a moment that will be reexplored, heartbreakingly, in “Say Something.”

56. “New and Improved Lorelai” (season 6, episode 1)

The great Lorelai/Rory rift takes hold. What makes it all the more painful is that Lorelai knows at once that this rift is going to be total and dramatic, but Rory doesn’t — she’s still looking for Lorelai as she stands in the courtroom awaiting her sex-boat sentencing. Rory’s a people-pleaser so traumatized by her father’s abandonment that she almost never cuts people out of her life, and she’s secure enough in the safety of her relationship with her mother that it never occurs to her that Lorelai might cut her out. But when someone hurts Lorelai, she cuts them off for good, and she’s even willing to do that to her daughter if she’s hurt badly enough. When Rory goes to her grandparents, she’s completing that primordial family trauma that began the show and replacing Lorelai in Emily and Richard’s lives — and that hurts Lorelai enough to make the rift complete.

55. “Cinnamon’s Wake” (season 1, episode 5)

This is one of the only episodes that tries to humanize Babette instead of using her as a background joke. As she sorts through her dead cat’s old pills and reminisces about Morey, she tells Lorelai, sweetly, “I never thought a man would ever even want me,” and it’s a lovely moment.

54. “Forgiveness and Stuff” (season 1, episode 10)

Emily and Richard’s wonderful, passive-aggressively loving hospital room scene in the wake of Richard’s angina attack is even harder to watch now that Edward Herrmann is gone. “Yes, Emily, you may go first.”

53. “The Big One” (season 3, episode 16)

Of all the show’s Paris meltdowns, this just might be the best. Liza Weil always makes a meal out of scenes where she gets to stare straight ahead with a manic glint in her eye and soliloquize for a while, and this speech — about getting denied admission to Harvard, which she is sure happened because she had sex — is a doozy. (Still not great that this show keeps punishing women when they lose their virginity, but at least Paris got into other schools.)

52. “Fight Face” (season 6, episode 2)

Rory and Lorelai have their first face-to-face encounter since the rift began, and it’s vicious. They both know how to hurt each other better than anyone else, and for the first time since the show began, they’re taking out all their knives. It’s the deliberate hurtfulness of scenes like this that, in retrospect, helps the sweetness of the earlier seasons land better: It shows the downside of mother and daughter being best friends first, because it means they fight the way best friends do.

51. “Twenty-One Is the Loneliest Number” (season 6, episode 7)

And here’s the first time Lorelai and Rory consider being cordial to each other since the rift. Lauren Graham does beautiful things with her voice through the whole show, but the way she says, “Hey there, birthday girl,” with a hopeful, hesitant shiver in her tone, is a killer. And Madeleine Albright’s cameo in Rory’s dream is a gorgeous, funny, and wistful moment of surrealism.

We’ve reached the top 50, and shit’s getting real

Netflix

50. “Driving Miss Gilmore” (season 6, episode 21)

Emily’s offer to buy Lorelai a new house in Stars Hollow where she and Luke can live is genuinely thoughtful — which makes it all the more wrenching when Lorelai’s face folds in on itself and she says, “Luke and I. The wedding. It’s not gonna happen.”

49. “Kiss and Tell” (season 1, episode 7)

Sometimes it’s nice when this show just does cute. And Rory sprinting across Stars Hollow, clutching a box of cornstarch and shrieking, “I got kissed! And I shoplifted!” is pretty darn cute.

48. “Lorelai? Lorelai?” (season 7, episode 20)

Look, a scene where Lorelai reveals she’s still in love with Luke by serenading him at karaoke would certainly never have happened under Amy Sherman-Palladino’s watch — it’s too straightforward and sweetly simple for her tastes — but that doesn’t mean it’s not a lovely, tender moment.

47. “Unto the Breach” (season 7, episode 21)

As the show heads to its series finale, it closes down the plots that have been defining Rory’s arc for the past few seasons: she graduates from Yale, and she breaks up with Logan. This is an elegant, graceful transitional episode that honors the past while also setting the stage for Rory’s departure to bigger and better things in the finale. And the moment when Lorelai, fighting back tears, jumps to her feet and applauds as Rory graduates — well, let’s just say you should keep the tissues handy.

46. “Emily in Wonderland” (season 1, episode 19)

The setup here is fantastic. At first it looks like Emily, in Stars Hollow for the day, will be completely won over by the town’s quirky charm — she loves haggling over antiques with Mrs. Kim, in a moment that proves those two should have become best friends — but then she sees for the first time the potter’s shed where Lorelai and Rory lived after they ran away, and is heartbroken. Her outraged, “You hated us that much!” is sad and lovely.

45. “Richard in Stars Hollow” (season 2, episode 12)

Here’s one of the darkest and saddest endings of the show’s run. Richard, at loose ends since his retirement, has spent the episode driving every single member of his family insane by meddling in their business in his politely, absently judgmental fashion. So the end of the episode finds him sitting alone in his study in the dark, pointedly not inflicting himself on the people he loves. It’s strange and lonely and bleak.

44. “Haunted Leg” (season 3, episode 2)

Christopher basically traumatized both Lorelai and Rory — seriously, you can trace half their issues back to his disappearance from their lives — but he’s so charming that they don’t yell at him nearly as much as they should. So when they both read him the riot act in this episode, and then Emily follows it up with the world’s most chilling, “Go home, Christopher,” it’s immensely satisfying. It’s also incredibly sad.

43. “The Real Paul Anka” (season 6, episode 18)

Jess has probably the most elaborate arc of all of Rory’s boyfriends. Where Dean and Logan are primarily important for what they show us about Rory and her character development, Jess is also important for what he shows us about Luke and his character development, which means we see Jess from two perspectives instead of one. And both Luke and Rory are pretty pleased with where Jess ends up in his final episode until A Year in the Life, having finally gotten his shit together and found some stability working for a publisher/bookstore/art center/look, it’s super unclear what the hell Truncheon Books is supposed to be, but it seems okay? It’s a satisfying culmination to Jess’s troubled arc.

42. “Ted Koppel’s Big Night Out” (season 4, episode 9)

Watching Paris flirt inappropriately with Richard is one of this show’s greatest joys, all the more so for how sporadically it happens. Watch for the look of sheer disgusted horror on Rory’s face as Paris says, “You are a honey-tongued devil, aren’t you, Dick?” Neatly, it also serves as foreshadowing for Paris’s romance with Asher Fleming, also introduced in this episode.

41. “Swan Song” (season 3, episode 14)

There are two fantastic things about this episode. First, there’s the sublime look of joy on Luke’s face as Jess says, “I was attacked by a swan.” Second, there’s the fact that for the first time on the show, Rory is dating a boy she has chemistry with (a nice change in and of itself), meaning that for the first time on the show, she and Lorelai have to have the sex talk. Lorelai is convinced on some deep, unconscious level that once Rory has sex Lorelai will lose her the way Emily lost Lorelai, but she keeps trying to convince herself that she’s okay with the concept. The resulting conversations are strained and careful in a way that foreshadows the next season’s big fight.

We’re getting into classic territory here

Warner Bros.

40. “Like Mother, Like Daughter” (season 2, episode 7)

Emily and Lorelai runway walk/dance to “Girls Just Wanna Have Fun,” and everything is beautiful and perfect and wonderful forever.

Forever Young Adult

39. “The Prodigal Daughter Returns” (season 6, episode 9)

Okay, yes, Rory’s incredibly annoying job hunt in this episode was clearly written by someone who hasn’t had to look for an entry-level job in many years, and it hasn’t aged well since the 2008 crash. And yes, this is where April’s introduced, and while she’s a likable character played by a talented young actress, I think we can all agree that giving Luke a secret daughter was a pretty clumsy move, plot-wise. But look, Rory and Lorelai finally heal their rift! They sob and throw themselves into each other’s arms! Finally and at last!

38. “A-Tisket, A-Tasket” (season 2, episode 13)

It’s pretty charming to watch Rory and Jess book-flirt for half an episode while Luke and Lorelai just straight-up flirt across the square — but it’s downright fascinating to see Lorelai realize that when it comes to Rory’s love life, she has more than a little Emily in her. It’s mostly light and comic here — Lorelai says, “My mother agreed with me,” in horror, and Rory sweetly responds, “Oh, I’m so sorry!” — but it will get more and more serious as the show goes on.

37. “In the Clamor and the Clangor” (season 4, episode 11)

Luke and Lorelai are often at their most compelling when they’re not dating. When they’re together, the show feels compelled to give them conflict, and most of it’s forced and inorganic. But when they’re apart, they’re all longing looks and charged banter, and that’s really where Gilmore Girls shines. They reach their flirty peak here, as they become partners in crime to dismantle Stars Hollow’s incredibly annoying church bells.

36. “The Fundamental Things Apply” (season 4, episode 5)

Apparently the downside of being born with Alexis Bledel’s angelic face is that you never develop any game at all. This episode shows us Rory facing romantic rejection for the first time in the entire course of the show, at the beginning of the only season in which she doesn’t have two boys fighting over her at one point or another. For Rory, who finds most of her self-worth in other people’s validation, it’s a horrifying development.

35. “There’s the Rub” (season 2, episode 16)

It’s a crime that Jess and Paris only had one major interaction, especially when it’s as fun as this one. Paris trash-talks Jess’s taste in books! Jess teaches Paris how to eat fast food! Rory is so relieved that she’s not hanging out with Dean! It’s just a sparkly scene. But the real meat of the episode lies with Emily and Lorelai, who are forced to work through all their baggage on their spa weekend. When Lorelai finally convinces Emily to steal a spa robe as a symbol of their time there, it’s one of their warmest and most hopeful semi-reconciliations.

34. “Let the Games Begin” (season 3, episode 8)

When Rory begins to seriously consider Yale over Harvard, it’s one of her first steps toward living her life for herself instead of for someone else (in this case, Lorelai). That’ll be a long and halting journey, but it’s the fundamental basis of her arc, and this episode is an important milestone along the way.

33. “Last Week Fights, This Week Tights” (season 4, episode 21)

Luke and Lorelai dance together, and it’s incredibly romantic and lovely. Jess asks Rory to run away with him, and it’s incredibly upsetting and sad. Emotions are running high here as what is arguably the show’s best season ramps up!

32. “Nag Hammadi Is Where They Found the Gnostic Gospels” (season 4, episode 13)

One of the signs of just how deeply Christopher hurt Rory is that the worst thing any of her boyfriends can do is leave her. After she’s spent half a season denying that she cares Jess took off without a word at the end of season three, here it becomes clear that she’s heartbroken, and that she considers what Jess did to be a far greater betrayal of trust than, for instance, Logan cheating on her.

31. “The Incredible Sinking Lorelais” (season 4, episode 14)

Both Rory and Lorelai more or less graduated last season — Rory from high school, Lorelai from the warm and cozy embrace of the Independence Inn — and now they’re floundering on their own. Watching them fall apart in tandem, as they try desperately to connect and fail, is necessary setup for the fallout to come at the end of the season.

At this point, everything’s pretty close to perfect

Netflix

30. “The Festival of Living Art” (season 4, episode 7)

The Festival of Living Art is one of Stars Hollow’s most gorgeous and most elaborate set pieces, from Kirk’s method take on “The Last Supper” to Lorelai’s flinching Renoir girl. Not that much else happens here besides everyone looking pretty in their makeup, but not that much else needs to.

29. “I Get a Sidekick Out of You” (season 6, episode 19)

In the midst of all the sturm und drang that is season six, it’s nice to have a moment of pure joy. When Lorelai rips off Lane’s tearaway wedding skirt and Zach crows, “My wife’s got legs!” as Lane kicks gleefully, we get it.

28. “The Party’s Over” (season 5, episode 8)

Watch Lorelai’s face at the end of this episode. When Rory spills out of Logan’s limo o’ dudes, champagne drunk and dripping with diamonds, she’s officially transferred her allegiances over to the elder Gilmore world, and Lorelai knows it. It just takes her until the end of the season to admit it.

27. “Emily Says Hello” (season 5, episode 9)

Kelly Bishop is always fantastic as Emily, but as this episode ends with her going inside, flushed and pleased with herself after a date, only to break into sobs in her empty house, she’s extraordinary.

26. “We’ve Got Magic to Do” (season 6, episode 5)

Of course, Kelly Bishop is also extraordinary here, as she rips Logan’s mother into little shreds. Let’s just relive the speech in full, as it cannot be improved upon with commentary:

Well, let me tell you this, Shira. We are just as good as you are. You don’t think Rory is good enough for your son — as if we don’t know Logan’s reputation. We do. But he is welcome in our home anytime, and you should extend the same courtesy to Rory.

Now let’s talk about your money. You were a two-bit gold digger, fresh off the bus from Hicksville, when you met Mitchum at whatever bar you happened to stumble into. And what made Mitchum decide to choose you to marry amongst the pack of women he was bedding at the time, I’ll never know. But hats off to you for bagging him. He’s still a playboy, you know? Well, of course you know. That would explain why your weight goes up and down 30 pounds every other month. But that’s your cross to bear.

But these are ugly realities. No one needs to talk about them. Those kids are staying together for as long as they like. You won’t stop them. Now, enjoy the event.

25. “Say Something” (season 5, episode 14)

Lorelai and Luke break up (the first time), and Lorelai melts down. No one does “struck immobile with grief” quite like Lauren Graham, and her whispered “Say something” as she watches herself in her dream sequence is haunting.

24. “Rory’s Birthday Parties” (season 1, episode 6)

Emily spends a lot of the first few episodes acting as though no time at all has passed since Lorelai left home — as though Lorelai’s still a recalcitrant teenager, Rory’s still an adorable doll of a child, and Emily still knows best. She’ll continue to lapse into that mode throughout the show, but here, for the first time, she’s forced to recognize that Lorelai had an entire life that Emily knows almost nothing about. Her quiet “We don’t know our daughter at all” to Richard at the end of the episode packs an enormous punch.

23. “The Reigning Lorelai” (season 4, episode 16)

Trix’s death means that we lose the always-hilarious Trix/Emily feud, but its last hurrah here is a delight, with Emily going full-on Lucille Bluth. “I think we should just toss some cheese cubes in the coffin, stuff some toothpicks in her mouth, and let the people go to town,” is a perfect line.

Nerdist

22. “That’ll Do, Pig” (season 3, episode 10)

As fun as it is when Trix dies (morbid, sorry), she’s just as much fun when she’s alive. The one-shot of the Gilmores following her anxiously through her silent inspection of Lorelai’s house is a stunner, and it’s perfectly capped off when Rory chirps, “Have fun!” and Emily turns on her with a cold, “Nobody appreciates your sarcasm, young lady.”

21. “A Deep-Fried Korean Thanksgiving” (season 3, episode 9)

There’s a reason the Netflix revival came back over Thanksgiving: Gilmore Girls is a perfect Thanksgiving show, rife with warmth and coziness and enormous amounts of food and familial discord. It’s astonishing that the show only did one full-fledged Thanksgiving episode, but at least that one is a classic.

And even closer

Warner Bros.

20. “Luke Can See Her Face” (season 4, episode 20)

After building up the Luke and Lorelai subplot for four seasons, here’s where the show finally gives us some payoff. What makes it work so well is how simple that payoff is: Luke realizes he’s into Lorelai, says, “Wow,” and asks her out. She says yes. That’s it. It’s the understatement that makes it land.

19. “You Jump, I Jump, Jack” (season 5, episode 7)

This is the episode that has to sell the fantasy of Logan’s world, and the Life and Death Brigade, and all those rich kids doing irresponsible things that Rory’s going to find so fascinating over the next season or so. It manages because it is so immensely gorgeous. Before this episode, wealth was firmly associated with Richard and Emily, meaning it felt old and stuffy next to Lorelai’s youthful bohemian verve — but now it’s beautiful young people in formalwear, wandering through pristine white tents in candlelight. You get why Rory finds it so compelling.

18. “Girls in Bikinis, Boys Doin’ the Twist” (season 4, episode 17)

Rory spends season four trying and failing to figure out how normal college students have fun. It’s not something she’ll work out until she falls in with Logan and his crowd, but this is one of her most endearing failures. Hey, who wouldn’t go to Florida just to sit in a motel room and watch Joseph Campbell and the Power of Myth? Plus, this episode is beloved by Rory/Paris shippers for giving them a canon kiss.

Gilmore Girls Wiki

17. “Scene in a Mall” (season 4, episode 15)

Any episode where Emily gets to go on a tear is a great episode. Here, she barely stops for breath as she marches through the mall, buying everything in sight in an attempt to get back at Richard for ignoring her — but Richard, of course, never even notices that she bought anything. This is the episode that makes Emily’s season four existential crisis land, and it’s why you buy her separation from Richard at the end of the season.

16. “Wedding Bell Blues” (season 5, episode 13)

Of course the 100th episode of the show had to be, at its core, about Emily and Lorelai’s curdled relationship. When Lorelai hisses in Emily’s ear, “You and me? We’re done,” after Emily sabotages her relationship with Luke, you feel all the weight of years of arguments, betrayals, and attempts at reconciliation.

15. “Blame Booze and Melville” (season 5, episode 21)

When Rory decides to steal a yacht because she feels sad, she is at her most unlikable. She is also at her most revealing. Rory Gilmore is the girl who internalized at a very young age the ideas that she wasn’t enough for her father to stick around for and that she was the reason her mother’s life went off the rails. She tried to compensate by being the angel child of Stars Hollow, on the grounds that if she were always perfect, everyone would love her and no one would leave her. Now, for the first time, she’s facing real, big, monumental failure, and she cannot handle it. She just collapses. It’s not likable, but it’s extremely compelling.

14. “Teach Me Tonight” (season 2, episode 19)

Rory and Jess are at their most entertainingly flirty when they go on their ice cream run. And their conversation here about their futures — Rory’s going to Harvard, Jess doesn’t plan on college — sets up the dynamic that allows Jess’s return in season six to feel earned: They’re both consistently good at seeing what the other person is capable of, and of telling them so in a way the other person can hear.

13. “Let Me Hear Your Balalaikas Ringing Out” (season 6, episode 8)

The introduction of Jess 2.0: Now Not a Complete Shitshow is a compelling inverse of “Teach Me Tonight,” with high-achieving Jess telling defeatist Rory that she can do more than she’s allowing herself to. But regardless of who gives her that message, mostly it’s just satisfying to see Rory decide, once and for all, that she’s done being a passive little doll.

12. “Lorelai’s Graduation Day” (season 2, episode 21)

As Lorelai collects her business school diploma, after years of night classes, she looks out into the audience and sees Richard and Emily silently weeping. It’s a lovely, wistful moment that speaks to the family connection they can’t quite break.

11. “Bon Voyage” (season 7, episode 22)

The broadcast series finale is probably sweeter and gentler than anything Sherman-Palladino would have done, but damned if it doesn’t still work. It manages by relying almost exclusively on Lauren Graham and her marvelous expressiveness to carry everything. There’s the close-up on her face when Rory announces she’s about to leave home, and sorrow flickers behind her eyes before she covers it with pride and encouragement; there’s the look of loss when she sneaks into Rory’s bedroom to watch her sleep; and there’s her beautiful, simple delivery of the line, “It’s too soon.” You feel everything Lorelai’s feeling.

The very best

Warner Bros.

10. “Partings” (season 6, episode 22)

In the Palladinos’ last episode before the revival, they indulge fully in their love of both small-town quirks and music geekery. (The troubadour battles! Yo La Tengo and Sonic Youth just wandering Stars Hollow!) They also indulge in their love of getting incredibly bleak. The opening and closing shots of Lorelai’s lost, broken face — as she realizes just how irrevocably her relationship with Luke has ended — are about as upsetting as this show ever gets.

9. “Fall” (season 8, episode 4)

The final episode of A Year in the Life has a lot of ground to cover, and it doesn’t do all of it gracefully. Dean and Sookie’s cameos, especially, feel more like fan service than an organic part of the story that A Year in the Life was telling, and I have such mixed feelings on the final four words that I wrote a full other article on that. But the montage that makes up Luke and Lorelai’s wedding, with all its drapes and fairy lights and dancing girls, set to the song they danced to way back in season four, is one of the most purely beautiful and joyful moments of the entire show.

8. “A House Is Not a Home” (season 5, episode 22)

If the first five seasons are a long exercise in burrowing deep into the Gilmore family and uncovering all of its hidden dysfunctions, here’s where it all comes out to play. You can see Lorelai shut herself down as her parents inform her that Rory will be staying with them for the foreseeable future; it’s like she’s slamming a door behind her eyes.

7. “Raincoats and Recipes” (season 4, episode 22)

The original pitch for Gilmore Girls was, “What about a show about a mother and a daughter who are also best friends?” Here’s where we see that dynamic at its worst: Rory wants to talk to her best friend about losing her virginity, and Lorelai wants to show her daughter that she made a mistake by sleeping with a married man, and it all ends with Rory screaming, “I hate you for ruining this for me!” and sobbing on the porch.

6. “Friday Night’s Alright for Fighting” (season 6, episode 13)

This is the last of the really, really great Gilmore Girl episodes, purely on the basis of its final 10 minutes. It’s a kind of thesis statement for the show, as the camera jump cuts from the Gilmores screaming at each other to the Gilmores giggling together, again and again, until finally we end with Lorelai and Emily rehashing the fight they’ve been having since Lorelai first got pregnant. It’s perfect.

5. “Rory’s Dance” (season 1, episode 9)

And here’s the first of the really, really great Gilmore Girls episodes. Rory, in the first flush of her relationship with Dean, stays out all night with him (chastely), and our central relationships implode. Emily is furious with Lorelai, and Lorelai is furious with Rory. This is the first time we see how much Lorelai’s relationship with Emily both threatens and defines her relationship with Rory, and how easily all of the betrayal and broken expectations Lorelai feels with Emily could spill over and curdle all the warmth and affection she feels with Rory. Those are the stakes of the show, and here’s where they first become clear.

4. “Those Are Strings, Pinocchio” (season 3, episode 22)

The season three finale has to close a lot of doors — on Chilton, on the Independence Inn, on Rory and Jess — and it does so incredibly gracefully. It has all the wistful melancholy mixed with warmth and hope of Gilmore Girls at its very best.

3. “I Can’t Get Started” (season 2, episode 22)

“I Can’t Get Started” hits a lot of the same tonal notes as “Those Are Strings, Pinocchio” — seasons two and three are a very close tonal match, both packed with sweet small-town charm and mild existential dread. But this one does it with just a little more sadness. Nothing that happens here is as bad as Rory moving in with her grandparents in season five or Lorelai deliberately torpedoing her own life in season six: Rory kisses Jess while she’s still with Dean, and Lorelai wants to get back together with Christopher, and then doesn’t. It’s small stakes. You know they’ll both be fine. But everything is handled with perfect, tender delicacy.

2. “The Bracebridge Dinner” (season 2, episode 10)

But the episodes that really capture what makes Gilmore Girls so joyous and warm are the ones where Rory and Lorelai come together with the rest of Stars Hollow in a giant episode-long set piece. In “The Bracebridge Dinner,” as everyone comes to the Independence Inn for an aggressively historically inaccurate “period dinner,” we get to bask in the feeling of being part of this community. We know why Lorelai ended up here after she left her parents: It’s because Stars Hollow is a place of belonging. This is a show about family, and Stars Hollow is family on an enormous scale.

1. “They Shoot Gilmores, Don’t They?” (season 3, episode 7)

What makes “They Shoot Gilmores, Don’t They” the very best episode of all of Gilmore Girls is that it balances everything that makes this show great. You get the sense of community from all of Stars Hollow coming together for the dance marathon, and that incredibly joyful, vaguely Lynchian sequence of the whole town in their 1940s finery, boogying away on the dance floor at 6 am. There’s the romantic charge of Luke and Lorelai making eyes at each other over Lorelai’s shoe, and the Rory/Dean/Jess love triangle finally and dramatically coming to a head. And most importantly, you get the closeness and connection of Rory and Lorelai, literally leaning on each other for support as they try to make it through the day. The final shot, of a sobbing Rory collapsing into Lorelai’s arms as Kirk takes his slow-motion victory lap around them, is iconic for a reason: It captures the essence of Gilmore Girls.

---

Help keep Vox free for all

Millions turn to Vox each month to understand what’s happening in the news, from the coronavirus crisis to a racial reckoning to what is, quite possibly, the most consequential presidential election of our lifetimes. Our mission has never been more vital than it is in this moment: to empower you through understanding. But our distinctive brand of explanatory journalism takes resources. Even when the economy and the news advertising market recovers, your support will be a critical part of sustaining our resource-intensive work. If you have already contributed, thank you. If you haven’t, please consider helping everyone make sense of an increasingly chaotic world: Contribute today from as little as $3.