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2011-2012 Pilots


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NBC: Untitled Dan Goor project

The untitled Dan Goor project, from UMS and BermanBraun, is a multicamera comedy about a young doctor who joins his parents' medical practice and spends as much time tending to his family as to his patients. It was was written by Dan Goor (Parks & Recreation) who is exec producing with Gail Berman and Lloyd Braun.

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NBC: Untitled Kari Lizer project

In what could be the last comedy pilot pickup at NBC this season, the network has given a cast-contingent order to a multi-camera comedy from The New Adventures of Old Christine creator Kari Lizer. The project, produced by Warner Bros. TV where Lizer is under an overall deal, is a workplace comedy about a relationship-challenged woman who, with the help of her co-workers, guides people through unexpected career transitions and downsizings. The comedy sparked a bidding war when it hit the marketplace in October, eventually landing at NBC with a production commitment. It brings Lizer back to NBC where she worked on Will & Grace for 4 years before segueing to developing. The pickup at NBC means that all of Lizer's projects so far have gone to pilot. She previously developed during the 2004-05 season when she sold Christine to CBS and True to the WB. Both were ordered to pilot and Christine went on to become a series, which wrapped its 5-year run on CBS in May and earned star Julia Louis-Dreyfus a best comedy actress Emmy in 2005.

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NBC: The Crossing

NBC is saddling up for The Crossing, picking up to pilot a period Western from Peter Horton. The Crossing (formerly Reconstruction) was originally developed at FX where it was set up in 2009. The drama, written by St. Elsewhere co-creator Josh Brand, is set in a Missouri town during the post-Civil War Reconstruction era and centers on Jason, a Civil War soldier who crosses the country and settles into a complicated town where he is welcomed as its savior -- whether he likes it or not. Brand and Horton are exec producing, with Horton set to direct. Also expected to executive produce is Aaron Kaplan, who has been attached to the project from the very beginning. Back in 2009, Horton told me he Brand came up with the idea for Reconstruction while discussing today's realities: the economic crisis and the situation in the Middle East, including war-ravaged Iraq. "We thought a good way to tell the story would be through the allegory of the Western," Horton said. "How does one heal after (a war)? How do you find your humanity again?" This is the second period drama pilot ordered by NBC this season, along with the 1960s Playboy.

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NBC: Prime Suspect

Additionally, the network has officially greenlit its adaptation of the British classic Prime Suspect, which had been rolled over from last season. Prime Suspect, from UMS and ITV Studio, centers on an iconoclastic female detective who has to make her bones in a tough New York precinct that is dominated by men. The pilot was originally picked up last season but was pushed after difficulties casting the lead. The adaptation was also given a revamp with a new producing team, Peter Berg and Sarah Aubrey of Film 44, and new writer, Alexandra Cunningham, coming on board. The three are executive producing the pilot, with Berg also set to direct.

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CBS: Untitled Rob Schneider project

The untitled Rob Schneider project, from CBS TV Studios and the Tannenbaum Co., was written by Schneider and fellow Saturday Night Live alum Lew Morton. It is based on Schneider's life and centers on a solitary guy who marries into a huge Mexican-American family. The project originally landed at CBS in October with a script commitment. Morton, Eric and Kim Tannenbaum (Two and a Half Men) are executive producing, with Schneider and his brother John Schneider producing through their From Out of Nowhere Prods. This marks Schneider's first TV series gig in 13 years. He last did a series in the 1996-97 season, NBC's comedy Men Behaving Badly. Schneider has since been focused on films, most recently co-starring in Grown Ups.

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CBS: Home Grown

Jeff and Jackie Filgo's Home Grown is a multicamera comedy about a blue collar man who wrestles with how to parent his unmarried grown daughter and her 12-year-old son while sharing a house with them, his wife and his recently widowed mother. The Filgos wrote the script and are exec producing. Beth Lacke serves as consultant.

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CW: Secret Circle

The CW has picked up its sixth and final pilot this season, the witch tale Secret Circle executive produced by Vampire Diaries co-creator/exec producer Kevin Williamson. Williamson recently joined the project, based on a three-book series from The Vampire Diaries author L.J. Smith. He worked on the original script penned by Andrew Miller, with the two sharing writer credit. Produced by Alloy Entertainment, WBTV and CBS TV Studios, the companies behind Diaries, Secret Circle tells the story of a young woman who moves to a new town and discovers that not only is she a witch and part of a secret coven, but she’s also the key that will unlock a centuries-old battle of good versus evil. Miller and Williamson are executive producing Secret Circle with Elizabeth Craft, Sarah Fain and Alloys' Leslie Morgenstein and Gina Girolamo. Vampire Diaries co-creator/exec producer Julie Plec is not currently attached to the project but could come on board in the future.

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NBC: BFFs

NBC has given a presentation order to an untitled comedy written by and starring Upright Citizens Brigade alums Lennon Parham and Jessica St. Clair. The single-camera project, from Scot Armstrong and Ravi Nandan's American Work and UMS, is a comedy triangle centered on a woman (Parham) and her new live-in boyfriend. They find themselves taking in her distraught (and pushy) best girlfriend (St. Clair) who ends up on their doorstep after a divorce. Parham, St. Clair, Armstrong and Nandan are all exec producing. The pilot order stems from American Work's first-look deal with NBC. The company previously produced the network's 2009 comedy pilot Off Duty.

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FOX: Weekends at Bellevue

Fox has handed a late pilot order to Weekends at Bellevue, a medical drama from former ER writer-producer Lisa Zwerling and BermanBraun. The project, centered on a psychiatrist in charge of the weekend shift of Bellevue Hospital psychiatric unit, was originally set up at NBC and UMS earlier this season. After the network recently passed on the script, it was taken to Fox. UMS, which produces Fox's hit drama House, will stay on as the studio. Weekends at Bellevue is based on Dr. Julie Holland's memoir about her nine-year stint as the weekend physician in charge of the psychiatric emergency room at the oldest public hospital in the United States whose name has become synonymous with insanity. Zwerling, Gail Berman, Lloyd Braun and Gene Stein are executive producing.

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CBS: Person of Interest

CBS has handed a pilot order to Jonathan Nolan's CIA drama Person of Interest, which is being executive produced by J.J. Abrams. The project, from Warner Bros. TV and Abrams' Bad Robot, is a crime drama centered on a CIA agent, presumed dead, who is recruited by a reclusive billionaire to wage war against violent criminals in New York City. Nolan, who shared a writing Oscar nomination with his brother Christopher for Memento, is executive producing with Abrams and Burk. This marks the TV debut for Nolan. Person of Interest is the second pilot order for Bad Robot this year, following the early pickup for Alcatraz at Fox.

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Too bad GCB isn't a reality series on Bravo. Otherwise, if it were to become a hit there, you just know Andy Cohen & Co. would spin off "Good Muslim B***hes" and so forth.

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    • They didn't need to have some slutty gay dude as their representation. Just a 'normal' guy getting involved with another guy or two (or three). Just like the straight characters. Thinking about it, they missed the boat by not having a few other single charcters at the beginning. Maybe Naomi or Ashley could be shown meeting Derek/Jacob and  we could follow their romance. Too many characters were coupled up at the start. As a tattoo hater I was surprised to see Tomas so inked. Don't find it attractive or sexy. I'm surprised an actor would do that as it's definitely a statement and may not be appropriate for some roles. Suppose they can cover if necessary. I didn't buy Kat being all girly and then paying off Darius to get into Eva's room. Way too cliche. She should have just come along when the housekeeping was leaving and breezed in saying it was her room. And her smug looks in the hotel room and 'Now I've got you!!' talks to herself at Orphey Gene's...no.  
    • 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. Terri encourages Leslie to see Rick in a romantic light and then suggests to Rick that Leslie is interested in him. Rick likes this idea and tells Mark he’s growing ‘unwilling to cope with Monica’s unreasonable demands. But Monica immediately recognizes the threat Leslie represents and decides to attack. She goes to Leslie and tells her flatly that she and Rick are having an affair and he’s her exclusive property. Leslie, who realizes she has been falling in love with Rick, is hurt, and Rick is mystified when he feels Leslie pulling away from him. Monica’s big moment comes when she brings Rick a housewarming gift and seduces him into letting her stay overnight. She is in the bedroom when Leslie stops by to apologize for refusing his dates, and makes a dramatic entrance into the living room draped in Rick’s bathrobe. Leslie turns and runs out. Rick later informs her he’s disappointed in her, because she prejudged Monica and him rather than giving him the benefit of the doubt. 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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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