Be Careful What You Wish For.

My friend Alex of Complications Ensue and I have a little ongoing thing that started when we were in South Africa. Actually, come to think of it, he may not even be aware of this thing we have. This thing is basically this:

He watches Gilmore Girls.

I laugh at him because he watches Gilmore Girls.

I've never liked Gilmore Girls. I think I'd rather...well...I'd almost rather watch 7th Heaven than Gilmore Girls. At least 7th Heaven had that hottie on it. Or did she leave? Anyway, that show's gone too -- so nevermind.

Now. Before you diary writing, Lorelai-lovin Stars Hollowin freaks have at me, remember: taste is taste. I watch Grey's Anatomy, which is, if anything, even girlier than Gilmore Girls. (And they're also getting way out of hand on their music cues.) Anyway, he doesn't like Battlestar Galactica, and I think he's nuts for that. So there it is.

All that as preamble to this:

Here's a very, very interesting article about the nitty-gritty of why Amy Sherman-Palladino and Dan Palladino aren't returning to Gilmore Girls next year.

The short version is that they wanted a two year deal, and some other stuff, and the PTB said, "nope." But it's the long version that should frost your cornflakes if you actually entertain fantasies of one day rising in the TV writing ranks to showrunner:

Dan: For the six years, we've been working seven days a week, 'cause we knew every aspect of the show. We'd break every story, we'd edit, this last year we directed seven between ourselves, we have written 90-something scripts.
Amy: We also take a pass at all scripts that go out and by the time our season ends, by the time I'm done editing and by the time I'm done with sound mixes and everything like that, it's mid-May. We start back June 1. We work through every holiday... Christmas, Thanksgiving. It's been quite a load.
Dan: So, having done that for six years, we really wanted to expand our personnel base. We wanted more writers, more bodies in that writers' room, we wanted a director on staff, which I think every other hourlong show has, except ours. Not having that director on staff means Amy and I have to be down on stage supervising other directors, which leads to the seven-days-a-week thing. So we were needing more personnel. And we never got around to convincing people that that was absolutely necessary.
Amy: And part of the reason we went to the studio so early in the game is because we wanted to be able to go out and find writers then. And find a director-producer then. So that everything would be in place the following year. Because at this point in time, shows are being picked up, people are putting their schedules together, the marketplace is thin. Great people are being snapped up. And we went to the studio and said, "Look, give us a chance to get everything in place now. Let's have everyone sign up for next year. Let's start working on next year this year." I think it's a couple of things. Businesswise, we spoiled them, because why spend money on other writers when you don't have to? [Laughs] There's a little bit of that. And I also think that everybody thinks that everybody's playing poker, and who's going to blink first? And we were like, very honestly, like, in an Andy Hardy movie going, "No, seriously, we really want to put on a show in the barn if you just listen to us, mister!" And it just never got to that point. And it wasn't until things really came to a head that suddenly people realized, "The insane people are actually serious about this."

Ulp.