Cut the bullfighting

Green MEP Caroline Lucas explains why she thinks that, despite its ancient history, the cruelty of b

In the European Parliament this week, I chaired an open seminar on the future of bullfighting in the EU. Although its organisers originate from varying backgrounds – European animal welfare, veterinary science and economics – they all agree on one thing: bullfighting has to go.

Despite a considerable number of states having banned the practice of bullfighting by law – Argentina, Canada, Cuba, Denmark, Germany, Italy, the Netherlands, New Zealand and the United Kingdom among them – it still takes place in nine countries around the world. This is nine countries too many. Yet it is encouraging to find that even where bullfighting is legal, certain regions have begun to phase it out, such as the Canary Islands in Spain, and most of France.

Public appetite for this cruel blood sport has long been on the wane, but that doesn’t stop the Spanish government from heavily subsidising the declining industry. It has been estimated that over 550 million euros of taxpayer money is allocated to the pro-bullfighting industry per year, even though Spanish broadcaster RTVE stopped live coverage of bullfights in August 2007 and recent Gallup polls showed that the majority of Spaniards either disliked bullfighting or had no interest in it. Worse still, the EU subsidises it. According to recent reports, breeders of fighting bulls receive 220 Euros per bull per year from the EU, on top of national subsidies. Yet the EU is supposed to be a community of values – one of which is a high level of animal protection.

A cruel and unequal game

The pro bullfighting lobby puts forward a number of claims for the preservation of the ‘sport’, which need be addressed. First though, it is worth considering the reality of a typical Spanish-style bullfight. The ‘show’ begins when the bull enters the arena and is provoked into charging several times, before being approached by picadores, men on blindfolded horses, who drive lances into its back and neck muscles. The subsequent loss of blood impairs the bull's ability to lift its head, and when the banderilleros arrive on foot, the bull can expect further pain from the banderillas, spiked sticks in bright colours, being stabbed into its back.

Now weak and disorientated, the bull is encouraged by the banderilleros to run in dizzying circles before finally, the matador appears and, after a few forced charges, tries to kill the bull with his sword. If he misses, he stabs the submissive animal on the back of the neck until it is paralysed. The idea is to cut the animal’s spinal cord, but if the matador botches the job, the bull may be fully conscious while its ears or tail are removed as trophies. On many occasions, the bull remains alive until it is dragged out of the arena to be slaughtered

Thousands of bulls are maimed and killed in such a way every year. Spain puts the official number of bulls killed in official bullfights in permanent bullrings in 2006 at 11,458, but when you take into account the bullfights in mobile bullrings and the bulls killed during training and other bullfighting events, the figure is more likely to reach least 40,000 in Europe as a whole, and about 250,000 internationally.

Why do people defend it?

A continuation of the ‘sport’ has been justified on the grounds of national cultural heritage, some on ecological grounds, while others believe that it plays an important part in a country’s economy. Such claims have been effectively refuted by animal welfare organisations, as well as by politicians and economists from across the political spectrum. Even Queen Sofia of Spain has expressed her dislike for the ‘tradition’.

Some have defended bullfighting as a national tradition, seeking to preserve it as a piece of cultural heritage without which their country’s identity would suffer. Nevertheless, many others have opposed it, recognising bullfighting for what is really is – a cruel blood sport causing unnecessary suffering to the animal.

Even if you believe that bullfighting is a tradition or culture, the fact that it dates back to prehistoric times and that artists have revered it can never really justify serious cruelty to animals. Cruelty is cruelty no matter where in the world it happens. Human societies and cultures have changed over many thousands of years, as has what traditions are deemed acceptable. Our understanding of animals has improved a great deal in recent times. There is no place in the 21st century for a ‘sport’ which relies on animal cruelty for ‘entertainment’.

The ecological argument is also tenuous. The bullfighting industry points out that many fighting bulls are bred in semi-preserved areas of land called dehesas, home to several protected species and cared for as areas of outstanding natural beauty. The industry claims that these areas will disappear if bullfighting is abolished, because their business prevents the dehesas being developed for other purposes.

But the breeding of fighting bulls is not the sole purpose and function of this land, plus local authorities have never identified the bulls’ removal as a threat to populations of protected species. The owners of the dehesas can choose to use their land in a variety of ways regardless of whether or not they keep bulls, and those that do keep bulls should be compensated for loss of activity. It is the job of local authorities to ensure that such land and wildlife is protected, and the necessary laws are already in place. Furthermore, the Foro Encinal, an alliance of twenty organisations whose role is to protect the dehesas has never identified the breeding of fighting bulls as beneficial to the land’s ecological balance.

Economic concerns focus on bullfighting as a vital part of the tourist industry in Spain; as a generator of money and as an employer of people. Yet, tourists will visit Spain regardless of whether or not bullfighting exists, and as people become more ethically aware on their travels, tourist attendance at the shows looks set to fall even further. Indeed, a ComRes poll commissioned in April 2007 found that 89% of the British public would not visit a bullfight when on a holiday.

Like most industries, the profits from bullfighting end up in the hands of a very small number of people in a bullfighting elite. Even more importantly, the subsidies that prop up this declining industry take money away from serious social problems such as access to public health, education, infrastructures, the elderly, public safety, social housing and environmental policies.

An unpopular and unacceptable ‘entertainment’

In Spain, the country perhaps most associated with the bullfighting tradition, a 2006 Gallup poll showed that 72.10 per cent of Spaniards were not interested at all in bullfighting and just 7.40 per cent were very interested; in Catalonia more than 80 per cent showed no interest at all.

Such statistics show clearly that the opposition to bullfighting is growing throughout Europe, and that it is no longer deemed acceptable for the EU or for national governments to subsidise an activity which relies on animal abuse to make money. It seems undemocratic at best to use cash from the public coffers to prop up an unpopular blood sport, at the expense of crucial public services.

It is our responsibility to ensure that adequate protection is provided for animals in our care to prevent unnecessary suffering. I call on the European Parliament to reconsider the financial assistance given to the breeders of fighting bulls, so that the efforts to ban the ‘sport’ altogether can gather pace. The longer that bull fighting persists, the longer our standards of animal welfare will fall short of the mark.

For more information on anti-bullfighting campaigns, visit the website for the Spanish organisation Save Our Shame (SOS) or see the League Against Cruel Sports’ ‘Balls to Bullfighting’ campaign to sign a worldwide pledge to boycott the ‘sport’.

Caroline Lucas is the MP for Brighton Pavilion.

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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.