logo

49 pages 1 hour read

Kelly Bishop

The Third Gilmore Girl: A Memoir

Nonfiction | Autobiography / Memoir | Adult | Published in 2024

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Chapters 10-13Chapter Summaries & Analyses

Chapter 10 Summary

In 2000, Bishop’s agent sent her the pilot script of a new show, Gilmore Girls, suggesting her for the role of Emily Gilmore. Amy Sherman-Palladino’s script revolves around the dynamics of the Gilmore family. 32-year-old Lorelai Gilmore enjoys a close, loving relationship with her 16-year-old daughter, Rory. However, Lorelai’s relationship with her wealthy upper-class parents, Emily and Richard, is strained: They were horrified when their daughter became pregnant at the age of 16, and Emily, in particular, is coldly disapproving of her daughter. As Bishop read the script, the relationship between Lorelai and Rory reminded Bishop of her close bond with her own mother, Jane. Meanwhile, the character of Emily is reminiscent of Bishop’s grandmother, Louise.

At the audition, Bishop immediately felt a connection with Sherman-Palladino, who had also been a dancer. Early in her career, Sherman-Palladino turned down a role in Cats on Broadway to write for the TV series Roseanne. Bishop was pleased with her audition performance but had to wait a long time before learning she had the part. Afterward, Sherman-Palladino revealed that she’d wanted Bishop for the role as soon as she saw her. However, the production team kept suggesting alternative actresses.

Shooting the pilot in Toronto, Bishop quickly bonded with the cast, feeling she had known Lauren Graham, who played Lorelai, and Ed Herrmann, who played Richard, all her life. A month later, the series was approved for a 21-episode season. Filming took place at Warner Bros. Studios, in Burbank, California—almost 3,000 miles from New Jersey. Bishop rented a nearby apartment with Lee’s support.

The first Gilmore Girls episode aired in October 2000, and the series received positive reviews for its humor, humanity, and intelligence. Season 2 filmed in 2001. However, when Bishop’s contract for Season 3 was due for renewal, Lee was diagnosed with prostate cancer. As Bishop was determined to support her husband through radiation therapy, her agent unsuccessfully negotiated with executives over her filming schedule. Finally, Sherman-Palladino intervened, arranging filming so that Bishop could stay with Lee for two-week stints. In 2003, after shooting Season 4, Bishop went to a pro-choice rally with Sherman-Palladino in Washington, DC, supporting women’s rights to reproductive freedom.

Bishop appreciates the way the characters in Gilmore Girls developed over the seasons. Her favorite storylines include Richard and Emily’s separation and the later renewal of their marriage vows. She also reveled playing scenes where Emily lets loose and expresses her anger; the episode where her character uncharacteristically gets drunk at her mother-in-law’s funeral; and the scene, set at a Daughters of the American Revolution event, where Emily verbally tears apart Shira Huntzberger, the antagonistic mother of Rory’s boyfriend, while politely smiling.

Bishop was devastated when Sherman-Palladino left Gilmore Girls after Season 6 due to failed contract negotiations. Bishop and the other actors were contractually obligated to appear in Season 7. As written by a new team, the show lost its magic and was canceled.

Bishop’s next big role was as Evangeline Harcourt in the Cole Porter musical Anything Goes on Broadway. Then, in 2012, she appeared in Sherman-Palladino’s new TV series Bunheads. Bishop played Fanny, the owner of a ballet school who is helped by her daughter-in-law, Michelle (played by Sutton Foster). Shooting the show’s 18 episodes in Los Angeles required long commutes for Bishop, which were complicated by Lee’s new diagnosis of multiple myeloma. Sherman-Palladino tried to arrange the schedule to suit Bishop, but the situation was challenging for all of them. Bunheads was canceled after one season.

Chapter 11 Summary

After canceling Gilmore Girls, Warner Bros. sold the show to Netflix. When it began streaming, the show was an immediate hit with both old and new viewers. In 2015, a cast reunion was held at the Paramount Theatre in Texas, in front of an audience of 1,200 people. An empty chair on stage honored Ed Herrmann, who had died of brain cancer a year earlier.

Amy Sherman-Palladino wrote four new episodes of the show for Netflix, titled Gilmore Girls: A Year in the Life. Lee supported Bishop’s resumption of the role of Emily; his daughter Sheryl stayed with him while Bishop was filming. In portraying Emily Gilmore as newly widowed, Bishop drew on the loss of her mom and also her mom’s experience of losing her husband. As a grieving character, Emily is more vulnerable and relatable, prompting a closer relationship with Lorelai.

Gilmore Girls: A Year in the Life concludes with several loose ends, which Bishop recognizes left some fans feeling unsatisfied. For example, Rory announces that she is pregnant but does not reveal the identity of her baby’s father. More broadly, the future trajectory of the characters’ lives remains ambiguous. However, Bishop suggests the ending was “interesting rather infuriating” (195), allowing for individual interpretations. Personally, she believes that Logan is the baby’s father as he is the most mature of Rory’s suitors. Bishop is on “Team Luke” when it comes to Lorilai’s perfect love match. 

Bishop is always moved when fans tell her how much the show means to them. While in the process of writing her memoir, a teenage boy at a gas station told her that, to him, Emily was “the third Gilmore Girl” (200). The remark persuaded the author to change the book’s working title, At the Ballet. Bishop deeply appreciated the ensemble nature of Gilmore Girls as she never wanted the pressure of being a star.

Chapter 12 Summary

While Lee was fighting his sixth cancer and struggling to walk, Bishop fractured her sacrum and pelvis when she slipped on ice outside the house. Lee cared for her for six weeks while she used a walker. In 2018, Bishop told her agent she was unavailable for work as she could not bring herself to leave Lee. However, she accepted a five-day role in the independent movie The Salzburg Story, shot in Austria. Her best friend, Priscilla, went with her, and the work trip proved restorative.

Returning from Austria, Bishop learned that Lee had a lung tumor. In the final weeks of his life, she insisted on caring for him at home. One day, Bishop noticed Lee’s mouth moving as he stared at something invisible and was convinced her husband was “communicating with somebody” (209). Lee died shortly afterward in December 2018. At his celebratory memorial service, a psychic medium told Bishop that Lee was present and grateful.

The author explains that certain events have reinforced her lifelong belief in a spiritual realm. After the end of her first marriage, she was feeling sad when a young man approached her on the street, kissed her, and then walked away. Afterward, she felt strangely comforted, wondering if the man may have been her guardian angel. On another occasion, she was walking her dog in a forest when she experienced an overwhelming instinct to stop. When she did so, a large branch plummeted to the ground, just missing them. After Lee’s death, Bishop contacted a psychic medium, hoping for a specific message from her late husband. The medium described seeing Lee in a golf cart and sitting on a bench with Bishop singing. The scenarios made sense to Bishop as Lee once said he fell in love with her while they sang to each other on a bench at a golf resort.

Shortly after Lee’s death, Bishop also lost her beloved dog Dixie. She continued working to distract from her grief, playing a fashion publicist in the miniseries Halston alongside Ewan McGregor. When filming paused with the advent of COVID-19, Bishop adopted a rescue dog, Dolly. During lunch with Lauren Graham and Amy Sherman-Palladino, Bishop confided that her future seemed empty without Lee. Two weeks later, she was invited to appear on Sherman-Palladino’s new show, The Marvelous Mrs. Maisel, as the character Benedetta. Bishop also began seeing a cognitive behaviorist and rediscovered the pleasure of her own company.

Chapter 13 Summary

In 2022, Bishop was offered the role of the formidable Mrs. Ivey in the series The Watchful Eye. She accepted the part and enjoyed the experience, even though filming required traveling to Vancouver, Canada. While waiting to see if a second season would be commissioned, Bishop began suffering pain while walking. When the cause was revealed to be blood clots requiring surgery, she was furious with herself, convinced that her lifelong smoking habit was responsible. On her release from the hospital, her stepdaughter Sheryl and friends rallied around to help.

Writing her memoir in the summer of 2023, Bishop reveals that she has recovered, no longer smokes, and is keen to return to work. However, she must avoid the long flights that likely contributed to her health crisis. As she approaches 80, the author reflects on whether she should have cosmetic surgery to look younger. She admits that after Season 1 of Gilmore Girls, she had cosmetic work to correct her inherited “disappearing jawline” (231). However, “the Bishop jowls” (231) have returned, along with lines and wrinkles. The author concludes that she is sufficiently comfortable with herself not to change how she looks. She also consciously celebrates the past instead of mourning it. When she went to see the musical Hamilton, her attention was drawn to a talented chorus dancer. Reflecting that the dancer was like her years earlier, she felt pride rather than a yearning for her earlier achievements.

Recently, when a woman asked Bishop to talk her son out of a career in the theater, Bishop refused. As someone who feels gratitude for her life and career, Bishop would never dissuade someone from following their dream. While writing her memoir, she realizes she is still growing and learning.

Chapters 10-13 Analysis

The memoir is bookended by Bishop’s two pivotal career moments. Just as important as A Chorus Line was in her thirties, so too is joining the Gilmore Girls cast in her fifties. The author’s description of the experience as “an adventure that would last longer, mean more to me, and accompany me through more off-screen life changes than I could ever have anticipated” (162) conveys that the role was much more than another acting job. The profound impact of the show on Bishop’s life is also underlined in her anecdote about changing her memoir’s title from her initial choice, At the Ballet. The decision marks her acknowledgment that while her earlier professional journey was marked by her identification with the role of Sheila—the character who sings “At the Ballet” in A Chorus Line—Bishop is now best known to fans as the steely Emily Gilmore. Both experiences emphasize The Importance of Collaboration in the Arts; like A Chorus Line, Gilmore Girls was an ensemble production with an emphasis on the synthesis of its ensemble cast, whom along with the show’s writer, Amy Sherman-Palladino, Bishop came to see as family. The author presents Gilmore Girls as providing everything she values in her work, allowing her to experience The Fulfillment Derived from Artistic Expression. Furthermore, the author captures the satisfying challenge of embodying Emily Gilmore, whom Bishop found difficult to relate to: Emily is “rigid, hard to please, a woman I would never be friends with in real life” (159). As an actress, she, therefore, enjoyed depicting Emily’s unlikable traits while displaying a vulnerability that became increasingly evident as the show progressed. These elements combined to create the perfect artistic project.

Gilmore Girls had personal resonance for Bishop, as the characters reminded her of the complex relationships between the women in her own family. The author highlights how art and real life can inform each other: Playing the role of cold, emotionally distant Emily gave Bishop greater insight into the behavior of her grandmother Louise. She concluded that, like Emily, Louise loved her daughter, but “didn’t have a clue how to connect with her, and her frustration over that only added to her icy disapproval” (166). Art and real life overlapped again when Bishop played the newly widowed Emily while aware that she could soon be grieving for Lee. 

Bishop also conveys the unsettling uncertainties of a career in the TV industry. Bishop’s apprehension after each season as she waited to see if another would be commissioned underlines how even successful shows are not guaranteed longevity. The author alludes to the power of executives who have ultimate control over production but contribute little to the artistic process. Their unpredictable decisions are emphasized when Gilmore Girls is canceled but then enjoys a comeback after Warner Bros. sells it to Netflix.

In these chapters, Bishop’s Personal and Professional Resilience undergoes the ultimate test as she suffers health issues and the double loss of Lee and her beloved dog, Dixie. Experiencing “the full force of ugly, excruciating grief” (218), she temporarily feels lost and purposeless. However, ultimately she recovers “the strong, capable, self-sufficient woman” she has always been (222). As illustrated throughout the memoir, Bishop’s positive mindset enables her to move forward as she celebrates past achievements and happiness instead of mourning their passing. Work continues to provide purpose in her life as she takes on characteristically formidable female characters such as the “powerful force of nature” (227) that is Mrs. Ivey. As she approaches 80, the author emphasizes that she does not perceive her age as a barrier to further personal or professional adventures.

The author remains frank and unapologetically herself in the final passages of the book. Although openly admitting she had cosmetic surgery in her fifties, she clarifies that the decision was motivated by her own unhappiness with “the Bishop jowls” (231) rather than external pressures. Her refusal to have further cosmetic work defies the sexist expectation that to remain in show business, a woman must maintain her youthful appearance. The memoir ends on a positive note, expressing gratitude for a rewarding career achieved “on my terms, without compromising my privacy, my integrity, and my relative anonymity” (201). Emphasizing The Fulfillment Derived from Artistic Impression, Bishop encourages others to follow their passions.

blurred text
blurred text
blurred text
blurred text