
If the broadcast development season were a reality competition show, we would now be in the final round where some 85 pilots are battling for spots on next season’s schedule. And while the winners won’t be known until the upfronts in May, here are the overachievers in the pilot stage of the competition.
Greg Berlanti — he killed it in his first development season at his new (old) studio home, Warner Bros. Television. Berlanti and his company Berlanti Prods. sold five projects to the broadcast networks. Four of them netted pilot orders: Guilty at Fox written by Marc Guggenheim, an Nicholas Wootton-written drama at CBS, Arrow at the CW, penned by Berlanti, Guggenheim and Andrew Kreisberg, and a comedy at CBS written by Berlanti and Greg Malins. And if that’s not enough, while working on his broadcast development Berlanti found time to write a cable spec, Political Animals, which just received a six-episode straight-to-series order by USA Network and is now casting alongside Berlanti’s broadcast pilots.
Aaron Kaplan — the one-man selling machine. Since founding his company, Kapital Entertainment, two-and-a-half years ago with his own money, the former WMA agent has landed 12 pilot orders while operating independently without the backing of a studio. Four of them came from the broadcast networks this season, all comedies: The Manzanies and the untitled Dan Fogelman project at ABC and Daddy’s Girls and Isabel at NBC. (Technically, there are 5 Aaron Kaplan broadcast pilots this season. The lit manager by the same name is executive producing the Adam Sztykiel ABC comedy pilot, and the matching names have created a lot of confusion and wrongly addressed emails.) Like Berlanti, Kaplan is casting a cable project along with his 4 broadcast pilots, Darren Star’s HBO comedy pilot Viagra Diaries starring Goldie Hawn. He also has several other projects in pilot contention, two upcoming series: ABC’s GCB and MTV’s The Inbetweeners, and a third one awaiting word on Season 2, Fox’s Terra Nova.

Mark Gordon, Marty Adelstein & Shawn Levy and Jamie Tarses. The Mark Gordon Co., Adelstein & Levy’s 21 Laps/Adelstein Prods. and Tarses’ Fanfare landed 3 pilot orders each this broadcast pilot season. The ABC Studios-based Mark Gordon Co., which has 4 series on the air,
ABC’s Grey’s Anatomy and Private Practice, CBS’ Criminal Minds and Lifetime’s Army Wives, is behind 3 ABC pilots: dramas Americana and the Roland Emmerich project and comedy White Van Man. Additionally, the company has a cable pilot casting, the Showtime drama Roy Donovan starring Liev Schreiber. In its second year, 20th TV-based 21 Laps/Adelstein, whose first development season produced ABC’s solid freshman Last Man Standing, is fielding the untitled Karyn Usher drama pilot at Fox and comedies Little Brother at Fox and the Mandy Moore project at ABC.
Sony TV-based Fanfare, which has 3 series on the air, ABC’s Happy Endings, TNT’s Franklin & Bash and TBS’ upcoming Men At Work, is shepherding CBS’ Baby Big Shot, NBC’s Hilary Winston and Fox’s cast-contingent Must Hire. Additionally, 3 Arts’ Howard Klein is an executive producer on 3 pilots, Greg Daniels’ Friday Night Dinner at NBC, Mindy Kaling’s Fox comedy and Melissa Rosenberg’s ABC drama Penoza. (In total, 3 Arts managers serve as exec producers on 6 pilots this season.)

Several pods are producing two pilots each. In his first season, the Universal TV-based company of former Brillstein Entertainment TV president Peter Traugott saw green light for dramas Midnight Sun and Do No Harm at NBC. Three Warner Bros. TV heavyweights, J.J. Abrams‘ Bad Robot, John Wells‘ JWP and Josh Schwartz and Stephanie Savage‘s Fake Empire have two pilots each: Revolution & Shelter (Bad Robot); NBC’s Bad Girls & Fox’s Prodigy Bully (John Wells Prods.) and the CW’s The Carrie Diaries and Cult (Fake Empire). Two of the top 20th TV pods, Chernin Entertainment and Imagine TV, also have two pilots each: Fox’s Ben Fox Is My Manny & CBS’ Nick Stoller (Chernin) and NBC’s Sarah Silverman and ABC’s How To Live With Your Parents (Imagine). NBCU-affiliated BermanBraun has Notorious at NBC and the Spike Feresten/Louis CK comedy pilot at CBS (plus Rewind at Syfy). Lionsgate TV‘s push in broadcast development this season also resulted in two pilots, ABC’s Nashville and NBC’s Next Caller Please. And Alon Aranya has an EP credit on two pilots based on formats he brought to the US, NBC’s Midnight Sun and ABC’s Penoza.

Berlanti is not the only multitasking showrunner this season. The New Adventures of Old Christine creator Kari Lizer saw both her NBC and ABC comedy scripts go to pilot. She is the only executive producer on the two projects and if they go to series, she plans to run both. The orders extended Lizer’s perfect pitch-to-pilot streak, with every project she has sold to date going to pilot. Lizer is one of 3 writer-producers to get multiple green lights this season for projects they have written by themselves. The others are The Nine co-creator KJ Steinberg and Pushing Daisies creator 
Bryan Fuller. Steinberg wrote ABC’s drama pilot Gilded Lilys, executive produced by Shonda Rhimes, and her other ABC pilot script, Mistresses, received a straight-to-series order for summer 2013. Fuller wrote NBC’s Munsters reboot Mockingbird Lane and Hannibal. Neither was a standard pitch sale this season: Munsters was redeveloped from last season, while Hannibal came to NBC in November via a script-against-a-series-order deal with Gaumont International TV. Hannibal received a straight-to-series 13-episode order earlier this week, while production on the Mockingbird Lane pilot has been pushed to June because of casting issues. Additionally, Marc Guggenheim wrote the Fox pilot Guilty and co-wrote CW’s Arrow, executive producing both. Similarly, Jennifer Levin & Sherri Cooper executive produce the CW’s Beauty And The Beast, which they wrote, and CBS’ Applebaum, which they co-wrote with Ayelet Waldman. Claudia Lonow also executive produces two pilots: ABC’s How To Live With Your Parents For The Rest Of Your Life, which she wrote, and multi-camera comedy Counter Culture, penned by Stephnie Weir.

It is a strong year for prolific directors helming multiple pilots. Scott Ellis is topping the list with three multicamera comedy pilots: ABC’s off-cycle pilot The Manzanis, NBC’s Kari Lizer female buddy comedy and NBC’s Jimmy Fallon male buddy comedy. Two veteran multicamera directors, who often juggle multiple pilots, James Burrows and Pamela Fryman, are each directing two this year: CBS’ Greg Malins/Greg Berlanti project & Max Mutchnick and David Kohan’s Partners (Burrows), and CBS’ Friend Me & NBC’ Daddy’s Girls (Fryman).

While directing two multicamera pilots in one season is not that unusual given the format’s simpler production, helming two single-camera pilots within the same pilot cycle is very unusual. And to have three directors helming two single-camera pilots each in one season, as is the case this year, is pretty much unprecedented. Jason Winer is directing Fox’s Rebounding and NBC’s 1600 Penn, and Shawn Levi is directing Fox’s Little Brother and ABC’s Mandy Moore comedy.

There are 7 actors who are doing double duty this year, starring in pilots they wrote or co-wrote: Roseanne Barr, Sarah Silverman, Mindy Kaling, Rebel Wilson, Josh Gad, Mike O’Malley and Ben Falcone. The last 3 were not originally attached as actors but signed on to star upon request from the networks/studios.
On the studio side, 20th TV’s comedy team, led by Johnny Davis, and Warner Bros. TV’s drama department, overseen by Clancy Collins White and her boss Susan Rovner, excelled, landing 13 and 14 pilots, respectively, more than any other studio departments around town. 20th tally is particularly impressive given the fact that it came from 4 networks and ties the studio’s all-time record.
Note: This is a Pilot Season edition to my annual Overachievers Of The Upfronts report, which returns in May.
TV Editor Nellie Andreeva - tip her here.


Does anyone have any idea what’s going on with the Mark Gordon produced THE SOURCE CODE TV series for CBS, written by Steve Maeda? I haven’t heard too much about it in a while.
Not moving forward at CBS.
Maybe they were spooked from that direction in crime procedurals by the initial weak returns for Person Of Interest.
STOP creating competitive scorecards like this!!! This is not a game and making ‘best of’ lists like this only furthers the ‘more is better’ quality killing mindset that pushes already rich showrunners to feel the need to have FIVE pilots going instead of focusing on one great one while the rest of us get shafted.
You are fostering a very irresponsible mindset with these stupid scorecards.
This article shows that fresh voices are not wanted in TV. Recycling is why TV network TV sucks right now. No risks no rewards. This article takes no point of view. It’s like reading a police blotter.
That’s one way to look at it, or you could see that these are the folks who are producing pilots and network your way into their circles with your top-notch script, world and bible and make some headway. The business is not going to change SOP, so you need to adapt and figure it out.
Brick you sound so self satisfied you must be a non writing producer carving out a huge chunk of dough for yourself while doing as little work as possible on projects you don’t create, write and barely produce.
This means writers have to bow down to the mediocrity of a Mark Gordon or Greg Berlanti to be successful? These guys are too busy to have any impact at all on the final outcome. With Gordon it’s better to leave it out of his hands entirely. It’s why TV sucks.
I am not a non-writing producer, in fact I write all my own original material, I’m just saying that it took me 10+ years to get to the point I am at because it’s simply way too hard to meet people like Aaron Kaplan or Mark Gordon as a newbie. First because new writers on average are terrible (you need practice and repetition) and second, your lack of awareness to the entertainment community at large means that you’re gonna have a hell of a time attaching name talent to your material thus making it more attractive to a buyer.
I have material with A-listers attached and it’s still hard to sell the shows. How do you do that as a new writer unless you are related to someone? No one will read your script unsolicited. Just being honest man. You have to be in it for the long haul.
Dear Brick,
Quality over connections. The first script I ever wrote won or was nominated for every major award. Talent has something to do with it. Sucking 80,000 grand out of the weekly budget of TV show is what Mark Gordon does. He calls once a month and asks if he can recommend a director.
Associating with non writing pods who don’t bring anything to the table doesn’t make a successful show. It also lowers the value of a Creator/Writer/Producer to just a writer. The best TV is run from the top down by a great Creator/Writer/Showrunner-producer. Some former agent or manager has no idea how to make great TV. Homeland, MASH, The Wire, The Sopranos are not made with this kind of baggage.
I’ve never heard a nice word said about Kaplan. Somebody said to me – exact words, “Kaplan is the slimiest most talentless leech in this business.” You can assume anybody writing anything nice about him after this is coming from his mother.
I’ve worked with Kaplan twice. He’s a first-rate, top flight, class act with an uncanny creative sense for what works. Go try some charity work, hater. Jeez.
Agreed. Good for you Kaplan. I was in a tough situation with him (when he was an agent) and he was nothing but helpful and put his client first and we moved on… Like anyone with a big job you have to make tough decisions and that where I think the haters come from. Also delt with him as a mgr and was met with the same… Simply put a pro…
It would be so much more fun and interesting to see an underachievers piece instead of another ass-kissing article.
Do you mean underachievers or underdogs?An underachievers list would be a list of producers who failed to get pilots greenlit.
An underdogs list would be a list of producers who may have struck out in the past finally getting a pilot or multiple pilots greenlit.
No wonder there is no real diversity on TV these days.
Ummmm, you seemed to have missed something DEADLINE. Greg Berlanti, in addition to his many pilots (writing, producing, directing) was chosen to direct REPLAY at Warners. Over a lot of BIG feature directors. Talk about a good year. Not sure I get it, but I’ll be watching closely as that was one of my favorite screenplays.
uptospeedey
Kap, is killing it. His calling really is producing it seems.
A majority are white males in this list. The percentage of minorities/women are less than 5%. Minorities/Women DO NOT get the breaks that white men get, that is a fact. Yet, minorities/women outnumber white men. Could someone explain why Hollywood never puts their money where their mouth is when it comes to hiring minorities/women?
Here’s the problem with TV right here. The business only jumps at projects that have ‘heat’ attachments – be it feature directors or producers with a track record who set up multiple projects each year. So they basically just throw a bunch of stuff at the wall and see what sticks. The scripts for the most part this year have been terrible.
I am friends with an ‘a’ list director who gets an Executive Producer credit on a hit show… he helped set it up by simply lending his name. He collects a sizable check every week. He doesn’t even know what the show is about.
Also, these ‘hype’ articles happen every year… and every year we are left with very few shows to watch. None of these shows mentioned above will be on the air at this time next year. None.
The last couple years of new TV shows have sucked. We should definitely hire all the same guys over again.
Kaplan is the man! Makes Dixon, August, Fogelman look like waiters.
Butter Thy Toast
Why isnt Eric Kripke included? He has two pilots Revolution at NBC and Deadman at CW.
Take this list with a grain of salt.
Last year, Deadline picked Andrew Reich & Ted Cohen as pilot season over-achievers. The fruits of their labors? “Work It!”, now reviled as the worst television show in the history of the medium.
Nah, The Secret Diary of Desmond Pfeiffer was the worst TV show ever.
Work It! was just more of the same Hollywood vomit.
Someday someone will notice that Berlanti’s stuff never lasts, and he defines ‘thinly spread’. He must be a hell of a pitch artist.
So let’s see–these superhumans (title bestowed by network/cable kingpins) are such talented and epic creators, that they can overcome the time/space continuum, serve WAY more than one master, and produce/write great shows that amuse, move, entertain, scare, and enlighten…FAR MORE than say, a staff writer or an unknown given the chance to run ONE show, with an original (as yet unrecognized) creative voice?
Absolute bullshit stupidity by execs…and shows the EXCESSES of money being thrown around, to produce what HAS to be mediocity or worse, for the most part. Apparently only in Television does the law of diminishing returns not apply
This business just follows heat, and the past (even if it’s not that stellar) and connections. It’s tribal politics at its WORST.
Marty Adesltein is the hardest working man in show business. In between 3 pilots and a show on the air he will take at least 4 first class vacations this year!
Quick answer? Because white men have been practicing being taken seriously while having no actual ability or talent of any kind a lot longer than us. They can make the concept of schmoozing appear worthy of our time and respect and the rest of us can’t even get in the damn door. Way to go making sure genuine talent never gets read.