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2011-2012 Pilots


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ABC: Revenge

Revenge, written by Swingtown creator Mike Kelley, is a contemporary re-imagening of Alexandre Dumas, pere's The Count of Monte Cristo, which explores the classic tale from a female perspective and chronicles the story of a mysterious young woman who comes to the Hamptons to exact revenge on the people who destroyed her family. Kelley and Temple Hill's Wyck Godfrey and Marty Bowen are exec producing. This is the first production order for Temple Hill under the overall deal the company inked with ABC Studios in December.

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ABC: Good Christian Belles

Good Christian Bitches, which has received a presentation order, was written by Steel Magnolias scribe Robert Harling based on the book by Kim Gatlin. Described as "Desperate Housewives in Dallas," it centers on Amanda Vaughn, a recently divorced mother of two who, to get a fresh start, moves back to the affluent Dallas neighborhood where she grew to find herself in the whirling midst of salacious gossip, Botox, and fraud. The project was one of Lee's first buys this season and landed at ABC in September with a put pilot commitment after a bidding war. Harling, [Darren] Star and Aaron Kaplan of Kapital Entertainment are executive producing.

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NBC: Bent

Bent, which Tad Quill wrote and is executive producing, is a single-camera romantic comedy about a recently divorced “type A” single mother who tries hard not to fall for the sexy “surfer-dude” contractor she hires to re-do her kitchen.

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NBC: Up All Night

The untitled Emily Spivey project, which has received a cast-contingent order, is a co-production with Lorne Michaels’ Broadway Video. It is described as an irreverent look at parenthood through the POV of an acerbic working mother, who never thought she’d be a mom, along with her stay-at-home husband and opinionated parents. Spivey wrote the script and is exec producing with Michaels.

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ABC: Georgetown

Add Josh Schwartz to the list of drama heavy hitters whose projects were picked up to pilot by ABC today. The network has picked up the Schwartz-produced Georgetown (formerly Inner Circle). The project, written by Remember Me scribe Will Fetters, is described as a sexy soap centered around the young people behind the power brokers of Washington, DC. It hails from Fake Empire, Schwartz's company with Stephanie Savage, and Warner Bros. TV where the company is based. Schwartz, Myers, Savage and Fake Empire's Leonard Goldstein are executive producing, with Fetters co-executive producing. Journalist Ashley Parker serves as consultant.

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CW: Awakening

Awakening, written on spec by William Laurin & Glenn Davis, centers on two sisters who come of age and face off against one another amidst the beginning of a zombie uprising. Reveille is co-producing the pilot with Warner Bros. TV, where the script has been laid off. Laurin, Davis, Howard T. Owens, Carolyn Bernstein and Todd Cohen are exec producing.

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CW: Hart of Dixie

Hart of Dixie, from WBTV and Josh Schwartz and Stephanie Savage's Fake Empire, is a comedic drama centered on a young New York City doctor who inherits a medical practice in a small Southern town inhabited by an eclectic and eccentric group of characters. Leila Gerstein penned the script and is exec producing with Josh Schwartz, Stephanie Savage and Len Goldstein. This is Fake Empire's second pilot this afternoon, along with Georgetown at ABC.

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CW: Heavenly

Heavenly, written by Richard Hatem, is from CBS Studios and Fineman Entertainment. It centers on a dedicated young female attorney and a former angel, Dashiel Coffee, only recently turned human, who tackle cases together at the attorney's legal aid clinic – she saves clients’ butts while he saves their souls. As an angel, Dash never experienced feelings or emotions, and his “awakening” is a big part of the series, sometimes to hilarious effect. Hatem and Ross Fineman are exec producing.

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Remember D.C. starring Mark-Paul Gosselaar and that girl from the Real World? Crashed and burned. Sally Quinn was behind a pilot called Georgetown about ten years ago starring Helen Mirren as a Katharine Graham-type. Speaking of D.C. pilots, after the failed Washingtonienne about two years back, HBO is gearing up for yet another D.C.-themed pilot shot in Baltimore called Veep starring Julia Louis Dreyfus as a female vice president.

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CBS: Unforgettable

CBS' Ed Redlich/John Bellucci drama pilot [unforgettable], which was rolled over from last season, has been given a formal green light, with Niels Arden Oplev, director of The Girl with the Dragon Tattoo, on board to direct. The project, co-produced by Sony Pictures TV and CBS TV Studios, centers on a female NYPD detective who possesses the special ability to remember everything and, although a gift in her job, it’s also a curse in her personal life. Redlich and Bellucci wrote the script, which is inspired by J. Robert Lennon's short story The Rememberer, and are exec producing with CBS TV Studios-based Sarah Timberman and Carl Beverly who originally developed the project while at Sony.

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CBS: The Assistants

CBS is back in business with Tucker Cawley, former executive producer of the network's hit Everybody Loves Raymond. CBS has greenlighted to pilot Cawley's multicamera comedy The Assistants, a young ensemble about four assistants who work for a celebrity couple. CBS TV Studios and studio-based Tannenbaum Co. are producing, with Cawley, Eric and Kim Tannenbaum exec producing. Cawley win 3 Emmys for Raymond, two best comedy series statuettes, which he shared with the rest of the show's producing team, and one for writing one of Raymond's most memorable episodes, Baggage. Post-Raymond, Cawley created the short-lived ABC sitcom Hank and recently joined his Raymond buddies Ray Romano and Mike Royce on their TNT dramedy Men of a Certain Age.

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NBC: Awake

NBC has picked up to pilot [Awake], the spec by Lone Star creator Kyle Killen which was taken out by 20th TV a couple of weeks ago. Killen's [Awake], from 20th TV, is described as an Inception-style thriller about a cop who wakes up after an accident to find he is living in two different realities. The project has been given a cast-contingent order. As expected, new NBC chief Bob Greenblatt has been very opportunistic with spec scripts, handing out a significant chunk of his pilot orders to project brought to the network as specs.

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NBC: Free Agents

Free Agents, from UMS and Party Down co-creator John Enbom, is a single-camera romantic comedy based on the U.K. format that explores the attraction between two quirky co-workers who are both on the rebound, one from a divorce and the other from the loss of a fiancé. While in the original series, which ran on Channel 4 in 2009, the lovebirds were agents, in the NBC version they will be PR executives. Enbom is executive producing with Kenton Allen from Big Talk Prods., producer of the British series. Todd Holland and Karey Burke are also exec producing through their UMS-based company, with Holland directing. The comedy has been given a cast-contingent order.

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NBC: LoveLives

LoveLives, from 20th TV and Chernin Entertainment, is a multicamera comedy about a couple who explore cheating on their spouse and the friends/family members around them who encourage it. Family Guy executive producer Chris Sheridan wrote the script and is exec producing with Peter Chernin and Katherine Pope.

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    • Omg I was so annoyed. Like girl calm down. Coming on way too strong. Omg I forgot about this

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    • I thought it got stale before Jocks death lol. His death picked things back up for me.
    • 1976 Pt 5 Tony is summoned to the reading of the will in the Llanfair library,as he’s a principal in the will. He tells Joe there’s not a chance of coming to terms with Dorian, as he is sure she brought about Victor’s death by torturing him emotionally when he was her helpless prisoner after his stroke. Ironically, Chapin hand delivers to Viki a letter her father wrote before his stroke, praising Dorian and asking Viki to befriend and support his widow when he was no longer there. Viki feels a responsibility to her father’s wishes and vows to try with Dorian. Victor’s will leaves the expected amounts to members of his family and staff, with the lion’s share of his stock and property going to Dorian. Victor’s will explains that his son Tony expressed the desire that he not be “bought from the grave,” and, in keeping with his son’s wishes, the only bequest to him is the knowledge of his father’s love and respect. Tony is deeply moved. Dorian’s first attempt to use her new power is the recommendation of Peter as head of the Merideth Lord Wolek hospital wing, claiming that naming Larry would be virtual nepotism. Peter, who has devoted considerable time and effort to helping Jenny get over Tim’s death with gentle, affectionate support, is happy at this suggestion, but Jenny points out Dorian is merely using him to hurt Larry. Viki disregards Dorian’s ingenuous assurances that she’s not trying to wield her new power but is merely putting Peter up for consideration for a future opportunity, if not this one, and tells her she won’t be able to fulfill her father’s desire that they be friends unless Dorian stops interfering. Larry, fully understanding Dorian’s personal motives, warns her he’s going to fight for the appointment no matter what. Realizing that she has made a tactical error, Dorian announces that she won’t even attend the board meeting but will give her proxy to Jim. She admits to Matt McAllister, still her confidant, that this was humiliating, but it was a necessary protective tactic. Dorian manages to win her next round at Joe’s office when, after he praises her decision to yield on appointing Peter, she expresses concern for Viki “at a time like this.” Joe, of course, jumps on her words, and Dorian, pretending great distress at having mentioned something she shouldn’t have, is “forced” to explain that she knew about the congenital heart condition Megan had and that any child of Joe’s is likely to inherit it. She overheard the doctors discussing it at the time of the accident, she continues, and naturally assumed that Joe already knew.  Joe arranges a meeting at home with Viki and asks her how she could live a lie like this; how she could go through their lives as if everything were fine while every moment was a lie. He is further upset when, in trying to explain that it was out of her love for him that she kept the truth from him, she mentions that Jim and Larry also know but Cathy still hasn’t been told. Viki tells Joe that Dorian deliberately told him this way to hurt their marriage, and she is very upset when he starts toward the door, pleading that they have always talked things out in the past. Joe coolly points out that she didn’t do that when she learned about Megan and continues out the door.  A tearful Viki is shaken and when Joe later returns, having spent several hours in a bar drinking only soft drinks,she breaks down, crying that she was convinced he’d left her. Joe assures her they can get through this despite everything, because their relation is based on love and mutual respect. 
    • If you think about it, DALLAS and DYNASTY grew stale right about the same time, even if the ratings were slow to reflect that.  FC and KL, on the other hand, tried to stay fresh, but KL was way more successful at it, I think, than FC.  (That [!@#$%^&*] with The Thirteen does not hold up well, lol).
    • GH 1976 Pt 8 Heather takes advantage of the situation by asking Jeff to come and look at Tommy. She uses sympathy, compassion, and her own feminine wiles, together with his misery and his pills, to lure him into bed. Later, sober, he apologizes. Learning from Pearson that Monica has seen a divorce lawyer, Jeff confronts her, and she insists it’s a lie. Avoiding his attempts to kiss her, she musses her hair and tears her blouse, then rushes to Rick’s, claiming that she can’t stay with that maniac any longer. They wind up in Rick’s bed, and after making love he confesses he always loved her. Rick replies to her question of whether he wants to marry her by saying he has to talk to Jeff. Monica insists that Jeff not bear any pressure from their problems. As she leaves, Rick gives her a key to his apartment. Jeff, having spent the night drinking, misses his surgical assignment, and Steve, informing him that his personal life can’t interfere with his profession, puts him on suspension. Rick can’t persuade Steve to reverse his decision, but Mark, sensing what’s at the heart of Jeff’s problem, convinces Steve to lift Jeff’s suspension and transfer him to Mark’s service. Rick asks for his key back, telling Monica they can’t do anything as long as she’s under Jeff’s roof. So she has a duplicate made and moves into intern’s quarters, explaining that Jeff’s violence drove her out. She tells Jeff she needs privacy to work things out, and tells Rick Jeff wanted her out. Thinking that this is the preliminary to a divorce, Rick tells her she can come to his place. In New York, Leslie’s abortion is delayed by a mix-up in scheduling, and she calls Terri to commiserate. Rick overhears Terri’s conversation and forces the whole story from her. He flies to New York to stop Leslie, feeling responsible for pointing out how evil Cam was, and arrives to find that she has decided she can’t deny her child the right to live. Monica, meanwhile, expecting that Rick will be home, uses her key to let herself into his apartment and is shocked to find Mark there; knowing that Mark was uncomfortable at the hotel, Rick offered Mark use of the apartment in his absence. Monica is upset to learn that Rick is in New York with Leslie, and Mark doesn’t know why. Mark does advise Monica to play fair with Jeff, but she resents his interference. The next day, while covering for Leslie at the clinic, Monica discovers Leslie’s lab test report and jumps to the conclusion that the baby is Rick’s. When Rick and Leslie return, Monica wastes no time in accusing him. He is dismayed to see that she is still as suspicious and possessive as she was before he went to Africa, and points out that her making a duplicate  key proves she hasn’t changed. 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    • 1976 Pt 12 Final part Laurie agrees with Stuart that Peggy is rushing into marriage to prove that the rape didn’t ruin her life.  She points out that the only way Peg can be sure is to make love with Jack before the wedding. Stuart admits she’s right but points out that he can’t suggest that to Peggy. As the wedding approaches, Peg seems happy that Jack’s become close to the family. However, her happiness is shattered by a nightmare in which her loving bridegroom turns into a leering Ron Becker, forcing her to cancel the wedding. Jack reassures her he’ll wait as long as it takes, and Chris confides that she and Snapper didn’t consummate their marriage on their wedding night because of her own rape experience, but Peggy tells Chris she might never be ready.  Despite her desire to keep Karen as her own daughter, Chris helps a police artist create a sketch of Nancy so it can be printed in the newspaper as part of a search for her. When the attempt proves fruitless, however, Chris asks Greg to file application for permanent custody of the child. Greg points out that adoption is the only way to prevent Ron from returning and claiming the child, and that it will take quite a while. Meanwhile, a nurse in the psychiatric ward sees a resemblance  between the newspaper drawing and her autistic patient, Mrs. Jackson, but since “Fran” doesn’t respond to the name Nancy and no one else sees the similarity, she fears she’s mistaken. Jill is horrified to overhear Kay, when brihging baby Phillip a Christmas gift, telling the child she remembers the night he was conceived. Kay has to then admit to Jill she saw her with Phillip in the bunkhouse that night. Jill is aghast to realize that Kay new the truth all along and put her through such agony in spite of it, denying her baby his father’s name. Lance tells Laurie they’ll marry on Valentine’s Day. He laughs that it’s corny but agrees, secretly wishing it were sooner, as Vanessa has vowed to prevent it. Indeed, Vanessa makes an unprecedented venture out of the house to visit Brad, telling him to rebuff any advance Leslie might make to him, as she’s reaching out to him only from a sense of duty. But Laurie then makes a concerted effort to reach Vanessa. Without being sure why she’s trying so hard, she tries to assure the woman she’s not losing Lance and she, Laurie, will help her find a plastic surgeon somewhere who can help her. Grudgingly, Vanessa seems to be reconsidering her view of Laurie, and Laurie is delighted when Lance offers her a choice between two diamond necklaces, explaining that her preference will be Vanessa’s Christmas gift. Learning from Les about Brad’s blindness, Stuart tells Brad he could have turned Leslie away only out of great love. Knowing that Les is going to see Brad again, Laurie warns him not to bring the baby into their discussion, as Leslie will come back only she’s convinced he loves her, not for the babies sake. Leslie finds Brad disheveled and sloppy, and proceeds to straighten the apartment, stating that she can't respect him if he lets himself go. Realizing that neither Brad nor Les will make the first move, Laurie hurries things along by refusing to help Brad with his grooming, saying he should ask his wife. Then, having learned  that Brad offered Les the use of their piano, Laurie untunes the Brooks' piano forcing Leslie to accept his offer. By refusing to cater to his  blindness, Les manages to get Brad to stop wallowing in pity, and by the time Leslie’s Christmas braille message of her love and her need for him arrives, they are husband and wife again Lance takes Laurie on a business trip on New Year's Eve, and tells her, on board his plane, she won't be  won't be able to call him “Mr. All Talk and No action” after tonight. When Laurie protests that waited this long and will continue to wait until married, Lance delights her by instructing his pilot to land in Las Vegas, where they are married immediately.
    • Yeah, not sure why Jack and Jen didn’t rush to Marlena - or even Carrie - to offer their condolences. A few flashbacks would've been a nice touch too. Instead, we got a whole episode of them talking about Chad and Abby? Come on. On the bright side, I loved Anna’s scenes with Marlena and Carrie - sweet and heartfelt, felt like a real 80s throwback.
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