Over here

There are thought to be some 200,000 young Australians in London. But why on earth would they leave

At a Whitehall team-bonding session recently, the question was put to us: "What percentage of the division is from Australia and New Zealand?" People gave answers up to 40 per cent, but the real answer was 9 per cent. The Australians in the room laughed - sure, it's a stereotype that they're loud and everywhere, but they suspected the source of the error was that they did more than their fair share of work.

That perception, along with their sense of customer service (when they say "G'day" they mean it) and their willingness to work early, may be why they are so welcome in firms and government organisations in the UK. My favourite feedback was that people enjoy my "Australian freshness" (read: loud, brash, doesn't know his place).

The question I am most often asked is: "Why are you even here?" The implication is that I am mad to leave the sun, surf and general sexiness of my homeland. But if Australia is known as "the lucky country" here, that's not how it feels to its educated and restless youth.

"The lucky country is a myth. I'm 29 and on 80,000 quid a year as a financial controller in London. If the Australian public and politicians saw just how many of us live here and in Europe, they'd be worried," says Mike of Camden Town.

"Working in the public sector [in Australia], you have to wait for someone to die or have a baby to get a chance for the job you want," says Emily, aged 27, who lives in Herne Hill.

"I left in 2002. I just had the feeling I was 'too' everything. I was too different. Too ethnic. Too outrageous. Too ambitious. In London being different is why people value you. In Australia it is used to stifle you," says Rita, a 32-year-old, part-Chinese woman now living in Islington.

In contrast, the buzz of a world capital like London can dazzle an ambitious or adventurous Australian. If you come from a country where public transport often runs at hourly intervals, London's maligned Underground and budget-flight boom are like winning the Lottery. Austra lia is not an interchange; it's the end of the line.

Life in Australia can feel like a time warp. You live your day ahead of the US and Europe, but you get your news a day after. Whereas the UK is in the heart of print media, is surrounded by digital TV and supplies broadband that actually works (it's known as "fraudband" in Australia), Australian public culture is locked in the grip of a familiar set of faces from the generation of Germaine Greer and Clive James. One newsreader held his post for more than 40 years. It's an old person's paradise. Without the spur of competition and the niche outlets to develop new ideas and talent, I got sick of being sidelined by a well-off generation that treated multiculturalism as an eating strategy and didn't know how to share.

It is not accurate to say that Australia still suffers a "cultural cringe", but nor can it claim to have caught up culturally with more established nations. Forever holding the country back are its brilliant weather and setting. The lure of the beach is just strong enough to stifle creativity, dull ambition and act generally as a cultural anaesthetic. People like 32-year-old Jo want something else: "At the moment there is nowhere for me to go in Australia. It was too easy back home. I needed to be pushed. At the risk of sounding like someone on a journey of self-discovery, I needed to be challenged, because Australia was making me a bit complacent."

More than 1.1 million Australians, or 5 per cent of the population, seem to agree. Most are under 35. With the freedom to reinvent themselves and the fear of being turfed out at any moment by an increasingly nasty Home Office, Australians have the right incentives to stand out and enjoy the UK in a way Brits often fail to do.

They also have practical reasons for being here. Take, for example, housing stress and the price of education. You don't need a brain to succeed in Australia, only property. This illness has been labelled by the Economist as an "extraordinary and potentially dangerous binge".

If I lived in Sydney I would find it harder to get a mortgage, and my rent would be the same as that on my flat in Whitechapel, though I would probably not have a wage to match. Throw in university debts (I paid A$20 or about £8 an hour to do an arts degree at a second-tier university), which I can avoid repaying by moving overseas, and you find why Qantas sells so many one-way tickets to London.

Many a Labor MP has at one point owed his seat in parliament to the strong Labor London vote. In fact, the Australia House polling booth is the biggest in the election. (The 200,000 Australian Londoners would be a voting bloc in the London mayoral election if courted carefully.)

But there is a clear difference between expatriates of my generation and those of the Clive James vintage. Our moves are rarely permanent. They will not suck the life out of Australia: we want to stretch the umbilical cord, not break it.

We will keep coming as long as you let us. As a group contributing more than it takes, we're a good thing for the UK. What Australia gets from the deal is a question only a more conscientious government and public culture could answer.

Ryan Heath works in the UK Cabinet Office as a civil servant. He is the author of "Please Just F* Off - It's Our Turn Now" (Pluto Press Australia)

Australia at a glance

Population: 21 million

Average life expectancy: 81

GDP per capita: $33,300

Well-being: Third most content country in the world, according to the United Nations

Children: 11.6 per cent live in poverty but

Unicef still ranks Australia seventh in child “educational well-being”

Unemployment: At a 32-year low of 5 per cent, having fallen from 11 per cent in 1992

Flying Doctor: Service started in 1928 to provide emergency health care to people in the outback

Drought crisis: Currently experiencing worst drought in 1,000 years. Every four days a farmer commits suicide. Farmers are receiving A$2m (£800,000) a day in drought relief. Kangaroos are invading cities in search of food and water

Climate change: Experts predict up to 20 per cent more droughts by 2030, more frequent bush fires, tropical cyclones, and catastrophic damage to the Great Barrier Reef

Non-native plants: Of the nearly 3,000 species that flourish in Australia, 70 per cent are a threat to natural ecosystems

Opals: Australia produces 95 per cent of the world’s opals

Water: Annual inflow to the Murray-Darling Basin is likely to fall 10-25 per cent by 2050. Roughly 85 per cent of all irrigation in Australia takes place in this basin, which is the size of France and Spain combined

Kangaroos: At least 69 species

Convicts: About 160,000 were shipped over between 1788 and 1868. Free immigrants began arriving around 1790

Racism: “White Australia” policy, intended to restrict non-white immigration, began in 1901 and ended in 1973

Racial groups: 89 per cent Caucasian, 5 per cent Asian, 2 per cent Aboriginal, 4 per cent other

Aborigines: Life expectancy is 17 years lower than the national average

Rugby: Only country to win World Cup twice, in 1991 and 1999 (left)

Research by Marika Mathieu

This article first appeared in the 20 August 2007 issue of the New Statesman, The most important protest of our time

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Seasons change, Gilmores stay the same

Gilmore Girls is fundamentally about two things: inheritance and community. The four seasons are crucial in exploring those themes.

If you’re out on the road, feeling lonely and so cold / All you have to do is call my name / And I’ll be there. The Gilmore Girls theme, a special version of Carole King’s “Where You Lead” featuring extra vocals from her daughter, plays each episode over images of autumnal New England foliage, and always reminded me of another song on Tapestry, “You’ve Got a Friend”. Winter, spring, summer or fall / All you have to do is call / And I’ll be there.

“Winter”, “Spring”, “Summer” and “Fall” are the episodes that make up Gilmore Girls: A Year in the Life, Netflix’s revival of the Noughties TV series. Fans won’t be at all surprised to see Netflix lean on the four seasons to organise the new show, a fundamental principle of the original series. This integral structure remains even as they dispense with other structures of the previous seven seasons, instead of the original 22-episode year, there are just four episodes used to narrate the Gilmores’ 2016, and each one has ballooned from 45 minutes to 90. And that familiar opening? Gone.

MISS PATTY: And flutter, flutter, flutter, flutter, flutter… and leaves! Where are my leaves? I got pumpkins, I got Pilgrims, I got no leaves.

Until 2016, every episode of Gilmore Girls included the same opening credits, with shots of red and gold leaves, a Connecticut town in the throes of autumn. So, those leafy fall shots would appear at least once an episode, even though the show’s picture-perfect town, Stars Hollow, would spend each series transitioning in and out of each of the four seasons. Of course, Stars Hollow is not a real place under the influence of real changes in the weather: it’s filmed on the perpetually sunny Warner Brothers lot in Los Angeles. And New England is so inextricably associated with autumn splendour, Stars Hollow so relentlessly idyllic, you might have expected the makes of Gilmore Girls to suspend Stars Hollow in a perennial fall, with Rory and Lorelai clutching hot coffees as they tread autumn leaves underfoot all year round. (It might make thematic sense, too: Gilmore Girls’ narrative of a precocious 16-year-old, brimming with brains and potential, slowly failing to achieve her own impossible goals fits both with the season’s connotations of academic beginnings and promise, and with its longer-standing cultural affiliation with maturity, pensive reflection and wistfulness.)

DARREN: Stars Hollow is charming. The last time we drove through there, there was a pumpkin patch.
LORELAI: Sounds like us.
DARREN: In March.
LORELAI: Oh, that would be the year the pumpkins arrived late.

The idea of Stars Hollow in perpetual autumn even comes up in a few episodes. Pumpkins arrive in March, autumnal events continue until the very end of November. Fall decorations are seemingly mandatory for local businesses.  But while every Gilmore Girls viewer can immediately conjure an image of Stars Hollow in fall, so too will they have an equally memorable selection of images of the town in winter, spring, and summer. No season goes unmarked. In fact, in the hyperreal utopia of Stars Hollow, seasons are exaggerated and picturesque: an overabundance of harvest vegetables, fluffy snow, budding blossoms, or falling leaves.

LORELAI: Grass is just not this green — not outside of Pleasantville, it isn’t.
CHRISTOPHER: So, what exactly are you saying?
LORELAI: I’m suggesting they brought in sod.
CHRISTOPHER: You suspect sod.
LORELAI: Yes, or spray paint. Maybe they spray-painted the grass when they spray-painted these trees, ‘cause, I mean, there’s autumnal foliage and then there’s autumnal foliage. It’s over the top, people.

But the seasonal obsession is more than just a way to emphasise the perfection of Stars Hollow. It’s an organising principle for the show’s structure, action and themes.

***

When Kelly Bishop (the actor who plays the most senior Gilmore girl, Emily) received the script for Gilmore Girls, she was stunned by the sheer weight of it. “I kept flicking it over, and looking at the thickness of it,” she told EW. “It was too thick to be a sitcom.” Gilmore Girls, consisting of hour-long episodes that make little sense out of order, but with its emphasis on witty dialogue over dramatic plotlines, hovers in a strange space between sitcom and drama.

Sitcoms are, by definition, situational — they often rely on characters thrown together in a confined space, be it the family living room, friends flatsharing or colleagues in a shitty office space. Comedy is often drawn from the familiarity of the specific surroundings: as a result, fans of The Simpsons or Friends or The Office could accurately draw floor-plans of the shows’ unchanging sets. So, too, could you draw a map of Stars Hollow, if you’ve seen enough episodes (trust me, I’ve done it). The action of a sitcom is often suspended in time and space: episodes end back where they began, the next opening as though nothing of note has happened since. Dramas, though, tend to thrive on progression of both character and plot; casts moving inexorably forward through time and space.

LORELAI: God, the town looks beautiful.
LUKE: Same as always.
LORELAI: No, it’s always different this time of year. It’s magical.
LUKE: If you say so, sure. Oh look, there’s the magical plumbing supply store where I bought a magical float for my toilet last week.
LORELAI: You disappoint me.
LUKE: Oh look. There’s the magical Luke’s Diner, right underneath the apartment that Jess magically lit by leaving every stinkin’ light on.

So, for Gilmore Girls to straddle both these genres, Stars Hollow must hold most of the show’s action and the majority of its ensemble cast, while still allowing the passing year to make its mark on the town. The seasons allow this. Much of this work is done in the background, as the set design changes from episode to episode, but characters are also constantly remarking on the changes in the town with each passing month, as Lorelai does when snow envelops the square.

The result is not just a keen sense of place, but of a place moving through time.

***

TAYLOR: Every other store in town has fall decorations.
LUKE: Hoorah for the mob mentality.
TAYLOR: We’re talking a few streamers and a paper turkey. How’s it gonna hurt to have a paper turkey?
LUKE: No turkey, no squash, no pumpkins. Nothing colored orange.
TAYLOR: OK, you don’t like orange. That’s fine. Autumn has many varied hues to toy with. This is the Autumn Festival. Your shop is right across the street from the Horn of Plenty! You’re smack dab in the middle of everything. You have to decorate.
LUKE: I don’t have to do anything but serve food.
TAYLOR: We’re talking about the spirit of fall!
LUKE: You know where you can stick the spirit of fall?

Gilmore Girls, with its principle cast of family members, and its sprawling ensemble cast of Stars Hollow residents, is fundamentally about two things: inheritance and community. The four seasons similarly become an important device for exploring those themes.

Small rural communities have long organised themselves around the seasons. Stars Hollow is no different — except in the ridiculous extent of its embrace of all things seasonal. Each season of Gilmore Girls is organised around the constant onslaught of annual festivals: the End of Summer Madness Festival that, well, ends summer, the Teen Hayride, the 24-Hour Dance Marathon the Autumn Festival complete with Cornucopia Can Drive and Horn of Plenty, November’s Old Muddy River Bridge Knitathon, the commemorations of the Battle of Stars Hollow, the Winter Carnival, the Snowman-Building Contest, the Christmas Procession, January’s Founders’ Firelight Festival, the Bid-on-a-Basket festival, Groundhog Day, St Patrick’s Day, the Purim festival, a whole host of springtime weddings and engagement parties, the springtime Movie Night in the Square, the annual Easter Egg Hunt, the Hay Bale Maze at the Spring Fling Festival, and the Festival of Living Pictures are just selection of the events honoured in Stars Hollow.

LORELAI: Oh, hey! Turn out the lights.
LUKE: For what? It’s not the real procession, it’s just the rehearsal.
LORELAI: So, it’s pretty.
LUKE: And why do they need to rehearse it? It’s the same thing every year.
LORELAI: Come on Luke, please. It’s hard to imagine living somewhere else isn’t it?

These aren’t just background quirks, lending us an increased sense of familiarity with the town as we’re told over and over that these events unfold in the same, strange way every single year. They’re linchpins which hold key plot events in place. Both Jess and Dean tell Rory they love her, with less than positive consequences, during the supposedly romantic Founder’s Firelight Festivals. Rory’s romantic relationship with Jess speeds up when he bids on her basket at the Bid-on-a-Basket festival, which is also where Sookie and Jackson become engaged. Her relationship with Dean ends (the second time) in spectacular fashion at the Dance Marathon. Luke begins his romantic relationship with Lorelai when dancing with her amidst springtime decorations in the town square at Liz and TJ’s wedding. The list goes on.

The result is that the lives of our main characters, the lives of the smaller Stars Hollow characters, and small-town seasonal events are all inextricably linked to the same calendar. Particularly in the early seasons, every significant relationship, for both Rory and Lorelai, becomes rooted in the community of Stars Hollow. Public acts of citizenship and private expressions of love overlap. To live in Stars Hollow is to live every aspect of your life communally, communing with others, and with nature itself.

LORELAI: Do you know that the best things in my life have happened when it snowed?
RORY: Why, yes, I do.
LORELAI: My best birthday.
RORY: Your first kiss.
LORELAI: Your first steps. They all happened when it snowed.

***

The seasonal structure of the show also brings with it a sense of inevitability, as, in the midst of these reliable annual ceremonies, Gilmore Girls explores ideas of inheritance across the generations. In the grand houses of Emily and Richard’s world (and Lorelai, Christopher and Logan’s youths) inheritance both metaphorical and literal is an encouraged part of family life: but it feels forced and uncomfortable, restricting individuality in favour of decorum and reputation. In Stars Hollow, inheritance functions in a different, but no less crucial, way: more subtle and natural, as constant and eternal as the circles of life. For children who grow up with their parents in Stars Hollow, inheritance seems predestined, even if it didn’t seem so to the characters it affects.  

Many characters are surprised by what they inherit from their parents: Luke never expected to care so much for his father’s old hardware store, Lane is shocked to discover that after years of aching to break out of her mother’s conservative ideals, she’s not comfortable with having sex before marriage. Jess never thought he would pick up a book on intimacy from his uncle Luke, let alone read it sincerely, nor to learn so much valuable advice from him about communication in relationships.

LUKE: You do not want to grow up to be like your mom.
RORY: Sorry, too late.

Of course, that sense of inescapable legacies is taken to extremes in Rory and Lorelai’s relationship: in the very first episode, Lorelai exclaims to her daughter, “After all, you’re me!” While Rory at 16  is, in some ways, a vision of everything Lorelai at 16 was not (responsible, excited by her education, chaste, keeping a constant, serious eye on her future), as the series unfolds, that changes, as Rory becomes more impulsive, reckless and romantic. Viewers are relentlessly confronted by parallels between Rory and Lorelai’s romantic choices: Christopher is to Lorelai as Logan is to Rory, Luke is to Lorelai as Jess is to Rory. Seasons change, Gilmores stay the same.

LORELAI: He kind of looks like Christopher.
LUKE: The grocery kid?
LORELAI: Yeah. He looks like Christopher.
LUKE: And Christopher is Rory’s dad?
LORELAI: The hair, the build, something about the eyes. He reminds me of Christopher.
LUKE: Well that’s not too surprising.
LORELAI: You’re going to quote Freud to me? ’Cause I’ll push you in front of a moving car. This talk was going so well.
LUKE: You and Rory are a lot alike. It’s not surprising you would have similar tastes in men.

It is an inexorable, unavoidable logic, then, that sees Gilmore Girls: A Year in the Life, a show with more interest in the unfolding seasons and the passage of time than ever, that sees Rory finally become her mother. The show’s much-anticipated final four words (“Mom,” “Yeah?” “I’m pregnant”) see Rory at 32, the same age as her mother when the series began, in a similar position to her mother at 16: single, pregnant, unfocused in her career. Some found it frustratingly obvious and pessimistic, others found it optimistic and apt. I’d sum it up in the same way Lorelai comments on her repeating circumstances with her own mother: with a grimly ironic toast “to the circle of life”.

But however you feel about the ending, Gilmore Girls has pulled off one impressive feat. As Lorelai and Rory sit together in the bandstand, and the show cuts to black, it doesn’t feel like the show has ended at all. The fictional landscape of Stars Hollow has a life that extends beyond the screen, as inevitable as the seasons themselves.

Anna Leszkiewicz is a pop culture writer at the New Statesman.