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CBS: Applebaum

Based on Ayelet Waldman’s Mommy Track Mysteries series of books, Applebaum, also from CBS Studios, centers on a former public defender who becomes a private investigator to keep from being bored to death as a stay-at-home mom. Ayelet collaborated on the script with Jennifer Levin and Sherri Cooper. The 3 will executive produce with Chris Columbus, who will direct, and Michael Barnathan.

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CBS: Quean

Quean, written by [ilene] Chaiken, centers on an edgy and independent Millennial hacker girl who teams up with an Oakland police detective to solve crimes. Chaiken and [Joel] Silver executive produce for Warner Bros. TV where Silver’s TV company is based.

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ABC: Malibu Country

Malibu Country is a multicamera comedy starring the country star/actress as Reba who, after her “good ol boy” rock star husband cheats on her and burns through most of their money, divorces him and moves her family from Nashville to the only asset she has left — a little house in Malibu. There she’ll try to reignite her own singing career and keep herself and her three kids from being corrupted by the materialistic and rarefied Malibu world she now calls home. The project, which had a put pilot commitment, reunites McEntire with key auspices of her successful 2001 WB sitcom Reba. Former Reba showrunner Kevin Abbott wrote Malibu Country and executive produces with McEntire and former Reba executive producers McEntire, Mindy Schultheis & Michael Hanel. Also exec producing the sitcom are McEntire’s manager Narvel Blackstock; Dave Stewart, formerly of the Eurythmics; and Laura Ziskin Prods’ Pam Williams.

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ABC: Prairie Dogs

Prairie Dogs, written/executive produced by Jackie Filgo & Jeff Filgo, centers on Neil, an uncool cubicle worker (“prairie dog”) at one of the coolest companies in the world, who becomes the victim of identity theft. When he discovers the thief has created a much more fulfilling, kick ass life with his identity than he ever has, he engages the charismatic conman to help him change his life.

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ABC: Devious Maids

Devious Maids is loosely based on the Mexican telenovela The Disorderly Maids Of The Neighborhood and centers on four Latina women who are maids in Beverly Hills. The original Televisa format revolves around five housekeepers who work in a quiet residential condominium where nothing ever happens until a tenant mysteriously disappears, a suitcase full of money appears, along with a dead body, and the maids find themselves in the middle of it all. Paradigm-repped Desperate Housewives creator [Marc] Cherry wrote the script and is exec producing the pilot with his Cherry/Wind Prods. partner Sabrina Wind, Televisa’s Michal Garcia and John Mass, Larry Shuman & David Lonner. ABC Studios is the studio.

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ABC: Gotham

Michael Green’s Gotham, from 20th Century Fox TV, centers on a female cop who, after pursuing a seemingly unsolvable case, discovers a magical world that exists within New York City.Kings creator and The River showrunner Green, repped by WME, is executive producing with his manager, 3 Arts’ Erwin Stoff.

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ABC: Zero Hour

Paul Scheuring’s Zero Hour, through ABC Studios, centers on a man who, in a bizarre twist of fate, is pulled into one of the most compelling conspiracies in human history after spending 20 years as the editor of a skeptics magazine. Lorenzo DiBonaventura and Dan McDermott are executive producing with Prison Break creator Scheuring.

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ABC: Red Widow (previously Penoza)

[Melissa] Rosenberg’s Penoza, also from ABC Studios, is based on the Dutch format. It centers on the widow of an assassinated criminal who is forced to adopt her husband’s role in a crime syndicate in order to protect her family. Endemol Studios, Alon Aranya and Howard Klein are attached to executive produce with UTA-repped Rosenberg, writer on the blockbuster Twilight movie franchise .Penoza was originally created by Pieter Bart Korthuis for Endemol’s NL Film & TV and producer Alain de Levita. The series is now in its second season on KRO in the Netherlands.

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NBC: Bad Girls

ER, Third Watch and Southland executive producer John Wells is back at NBC with a new drama. The network has handed out a pilot pickup to Bad Girls, written by Nancy Pimental and executive produced by Wells. The project, based on the long-running UK hit series of the same name, follows the ins-and-outs of a group of unlikely women in a federal prison: a scandalous female warden, her new protégé and a host of inmates — some mothers, some friends — who struggle with loyalties to people on the inside and the outside. Wells and Pimental are executive producing with John Wells Prods’ Andrew Stearn and original series’ producer Shed Media.

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CW: Shelter

Shelter, written by One Tree Hill creator/showrunner [Mark]Schwahn and produced by Warner Bros TV, is set at a historic New England summer resort where the new and returning staff attend to the practical, emotional and often comical needs of the guests while navigating friendships, rivalries and romances of their own. WME-repped [J.J.] Abrams and Schwahn are executive producing through their companies Bad Robot and Mastermind Laboratories, along with Bad Robot’s Bryan Burk.

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CW: The Selection

Elizabeth Craft and Sarah Fain’s The Selection which until recently had flown under the radar, also hails from WBTV. Based on the forthcoming series of books by Kiera Cass, it is described as an epic romance set 300 years in the future that centers on a poor young woman who is chosen by lottery to participate in a competition to become the next queen of a war-torn nation at a crossroads.

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CW: Joey Dakota

[bert] Royal’s romantic time-travel musical Joey Dakota is based on the successful Israeli half-hour series Danny Hollywood. It centers on a documentary filmmaker who travels back in time to the 1990s, where she meets and falls in love with the rock-star subject of her film. When she unexpectedly returns to present day, she must find her way back to the past to reunite with her love and prevent his untimely death.Easy A writer Royal penned the adaptation and is executive producing with Harmon, Eric & Kim Tannenbaum and Martha Haight for CBS TV Studios and studio based Harmon/-Tannenbaum Co., a production entity Harmon and the Tannenbaums use for their joint projects.

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ABC: American Judy

ABC has started giving pilot orders to its starring comedy vehicles. First off is single-camera comedy American Judy toplined by Judy Greer and written by Deborah Kaplan & Harry Elfont. It centers on a cosmopolitan woman (Greer) who gets married and becomes a fish out of water in the suburbs having to juggle step-kids, her mother-in-law, and the ex-wife of her husband who also happens to be the town sheriff. The project is inspired by Greer’s life, where she moved from Los Angeles for the man she loves and found herself raising stepchildren and making new friends in a small suburban town. ABC Studios is producing, with Greer producing and and Principato-Young’s David Gardner, Peter Principato and Paul Young executive producing alongside Kaplan and Elfont.

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ABC: Scruples

ABC has greenlighted to pilot drama Scruples, produced by former Imagine TV CEO-turned-feature director Tony Krantz and actress Natalie Portman. It is based on the 1978 bestselling book by Krantz’s mother, Beverly Hills novelist Judith Krantz, who also penned a sequel in 1992, and centers on a rich and powerful clothing designer in a world of sex, revenge and scandal. Bob Brush and Mel Harris wrote the adaptation and executive produce with Portman, her producing partner Annette Savitch and Krantz. Krantz’s Flame Ventures is producing with Warner Bros. TV, which has the rights to the property via the 1980 Scruples miniseries starring Lindsay Wagner, which it produced.

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FOX: Rebounding

Steve Levitan is back at Fox. The network has picked up Rebounding, a single-camera comedy from the Modern Family co-creator, Joe Port and Joe Wiseman, with Modern Family helmer Jason Winer on board to direct. The pilot order comes a couple of days after 20th Century Fox TV — where Levitan, Port and Wiseman are under overall deals — sent the comedy spec to the broadcast networks. Written by Port and Wiseman, Rebounding was inspired by Port’s real-life experiences. It is described as an uplifting comedy about a man recovering from the death of his fiance with the help of the idiots on his pick-up basketball team. Levitan, who has been very involved in the development of the project, was originally attached to direct but his schedule is not permitting, so Winer, who directed the pilot for Modern Family, will helm Rebounding, exec produced by Levitan, Port and Wiseman.

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    • How did I never notice how tall Colton was?

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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. Heather tries to arrange another tryst with Jeff, but he replies that he still loves his wife. Heather decides there’s only one way to get Jeff to be pregnant with his child. She manages to overhear Monica putting Jeff down by telling him he no longer turns her on and should look for someone he does. Heather goes to Jeff and tells him that she heard Monica and that she is the one he’s looking for. She manages to get him into bed again, and sweetly assures him this is right. She then sets the stage for future meetings. Steve, meanwhile, offers to help Monica and Jeff work out their problems. Jeff is willing, but Monica turns the idea down. Instead, she presses Terri to convince Jeff to end the marriage. Terri now knows that Monica isn’t a good wife for Jeff and promises to try. But Jeff makes it clear to Monica that he still loves her and won’t let her go. She is bitter and upset, as she has already implied to Rick that she will soon be free. Audrey is upset to find that Florence Andrews has been inquiring about Tommy and herself. She goes to Florence’s home and finds she’s away now. Florence has gone down to Mexico to sign a sworn statement that she purchased a false death certificate for Tom, to protect his son after his wrongful conviction. Tom, learning from her that Steve and Audrey are to be married and Steve is planning to adopt Tommy, tells  Florence not to do anything, as there’s still no assurance that he’ll ever get out. But the judge does accept the statement, and, ironically, on the day that Steve  and Audrey are married, Tom is released from prison.
    • 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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