Show Hide image

Since the dawn of time

Two hundred years after Darwin’s birth, scientists still can’t agree on whether evolution and religi

It has been the year of evolution. To coincide with the anniversaries of both Darwin's birth and the publication of On the Origin of Species, Richard Dawkins published The Greatest Show on Earth: the Evidence for Evolution. And Jerry Coyne (an eminent evolutionary biologist at the University of Chicago) wrote Why Evolution Is True. Yet, amid the ongoing celebrations, a new storm has erupted. This is not the usual battle between creationist fundamentalists and evolutionists. The latest ruckus has broken out among scientists and philosophers who accept evolutionary theory as the explanation for the emergence of life's diversity.

Where they differ is on the public communication of science and evolution. Dawkins in particular is being rebuked for doing more harm than good to the public face of science. The basic claim - spelled out by the journalist Chris Mooney and the biologist Sheril Kirshenbaum in their book Unscientific America, published in June - is that Dawkins presents an unnecessarily divisive choice: you can accept evolution and a scientific world-view more broadly, and therefore reject religion, or cling to religion and sacrifice scientific understanding.

This strategy, critics argue, alienates moderate religious people who might otherwise be receptive to scientific theory. Faced with a mutually exclusive choice between their private faith and the objective world-view of science, moderates will turn away from the latter. Science loses out.
It's not just Dawkins. Coyne and all the "new atheists" (including the Darwinian philosopher Daniel Dennett, the neuroscientist Sam Harris and the cultural commentator Christopher Hitchens) are charged with alienating people from science. Lining up against them is a group of "accommodationists", including Mooney, an atheist, and Kirshenbaum, an agnostic, who believe that evolution and religion can live happily side by side - at least under an entente cordiale, if not in a mutually supportive relationship.

Dawkins calls accommodationism "the Neville Chamberlain school" of evolution, and its proponents the appeasement lobby. Yet it is the official line of the American Association for the Advancement of Science, the US National Academy of Sciences and the National Centre for Science Education, which is dedicated to promoting the teaching of evolution in American school curriculums.

Appeasement lobby

The accommodationist critique has at least two strands. One is the increasingly common criticism that the new atheists are excessively mean to people of faith, "militant" in tone, and iro­nically fundamentalist in their non-belief. The accommodationist philosopher Barbara Forrest chastises the new atheists for combining rudeness with arrogance and closed-mindedness. (Like Mooney and Kirshenbaum, Forrest is no friend of creationism; she was a critical witness at a 2005 trial in Dover, Pennsylvania, in which parents blocked the introduction of "intelligent design" theory into state-school curriculums - see "Gorilla warfare" below.)

Forrest argues that new atheists should respect the personal nature of faith, and nurture a sense of humility by recognising that scientific evidence does not rule out existence of the divine. They should accept that there is a wide range of views, she says, and stop insisting that everyone follow the "one true way" of atheism. Failing to do so only turns people off in droves.

Yet it seems unlikely that the new atheists have been this damaging. They have been an identifiable group and social force for five years only - starting with Harris's The End of Faith in 2004, which was followed by Dawkins's The God Delusion in 2006. More significantly, polls indicate that the proportion of the US public that subscribes to a creationist account of human origins has remained relatively constant for the past 25 years, hovering around 45 per cent. The previous era, which advocated greater respect for religion, does not seem to have won over hearts or minds. So who is to say that taking the opposite approach will drive anyone away?

The second thread of the accommodationist argument is that science, in fact, need not be inimical to religious faith. Eminent scientists from Galileo to Newton have found little trouble reconciling their personal faith with a scientific world-view. Perhaps the most prominent contemporary example is the geneticist Francis Collins, who ran the American arm of the Human Genome Project and was recently appointed head of the National Institutes of Health (NIH), the biggest funder of biomedical research in the US. Collins is also an evangelical Christian who speaks publicly about his faith and its relation to science. Exemplars of this sort show that a single human mind can hold two divergent world-views simultaneously, or at least accept the legitimacy of two very different ways of gaining knowledge about the world.

An interventionist God

But there is another side to this story. Steven Pinker, a Harvard psychologist and an atheist, has voiced grave misgivings over Collins's appointment - not just because of his religious beliefs, but because of his "public advocacy" that "atheistic materialism" must be resisted. Collins believes in an interventionist God who, in his own words, "gifted humanity with the knowledge of good and evil (the moral law), with free will, and with an immortal soul".

Although, in principle, religious beliefs need not affect one's day-to-day science, in practice, they might. Take research on the foundations of human sociality and ethics, currently one of the hottest areas in behavioural science. Researchers are probing these questions with evolutionary theory, comparative primate studies and neurobiology, among other approaches, but no one invokes non-natural or non-material explanations. Are these instances of atheistic materialism to be resisted?

How would Collins's views affect the priority he might give to funding such research, if his prime belief is that ethics and the moral law are God-given? It is perfectly possible that he would accept the materialistic explanation of morality, and just add that everything was set up by God in such a way that naturalistic processes were bound to produce a big-brained moral species. Time will tell if, and how, NIH funding changes under his leadership. It would be unfair to prejudge the case.

In the meantime, there is little reason to suppose that the world will reach any meaningful consensus on the question of how best to engage the public with science in general, and evolutionary theory in particular. Perhaps, in true Darwinian fashion, those arguments and ideas best adapted to the modern world will prevail. In an era of resurgent religion, it is far from clear which approach this will be.

“Unscientific America" by Chris Mooney and Sheril Kirshenbaum is published by Basic Books (£15.99)

Dan Jones's writing on science has appeared in Nature and New Scientist magazines

This article first appeared in the 09 November 2009 issue of the New Statesman, Castro

Netflix
Show Hide image

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.