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A television pilot (also known as a pilot or a pilot episode and sometimes marketed as a tele-movie) is a standalone episode of a television series that is used to sell the show to a television network. At the time of its creation, the pilot is meant to be the testing ground to gauge whether a series will be successful, and is therefore a test episode of an intended television series. It is an early step in the development of a television series, much like pilot studies serve as precursors to the start of larger activity. In the case of a successful television series, the pilot is commonly the very first episode that is aired of the particular series under its own name;the episode that gets series "off the ground" . A "back door pilot" is an episode of an existing successful series that features future tie-in characters of an up-and-coming television series or film. The purpose of the "back door pilot" is to introduce the characters to an audience before the creators decide on whether they want to pursue a spin-off series with those characters or not.
Television networks use pilots to discover whether an entertaining concept can be successfully realized. After seeing this sample of the proposed product, networks will then determine whether the expense of additional episodes is justified. They are best thought of as prototypes of the show that is to follow, because elements often change from pilot to series. Variety estimates that only a little over a quarter of all pilots made for American television proceed to the series stage, although the figure may be even lower.
Most pilots are never publicly screened if they fail to sell a series. If a series eventuates, pilots are usually—but not always—broadcast as the introductory episode of the series.
- 1 Pilot season
- 2 Types of pilots
- 3 As distinguished from "first episode"
- 4 Ratings
- 5 References
- 6 Further reading
- 7 External links
The examples and perspective in this article deal primarily with the United States and do not represent a worldwide view of the subject. (October 2015) (Learn how and when to remove this template message)
Each summer, the major American broadcast television networks – including ABC, CBS, The CW, Fox, and NBC – receive about 500 brief elevator pitches each for new shows from writers and producers. That fall, each network requests scripts for about 70 pitches and, the following January, orders about 20 pilot episodes. Actors come to Los Angeles from within the area or elsewhere in the United States and around the world to audition for them. By spring, actors are cast and production crews assembled to produce the pilots.
Casting is a lengthy and very competitive process. For the 1994 pilot of Friends, casting director Ellie Kanner reviewed more than 1,000 actors' head shots for each of the six main roles. She summoned 75 actors for each role to audition, then chose some to audition again for the show's creators. Of this group, the creators chose some to audition again for Warner Bros. Television executives, who chose the final group of a few actors to audition for NBC executives; as they decide whether to purchase a pilot, network executives generally have ultimate authority over casting. Since the networks work on the same shared schedule, directors, actors, and others must choose the best pilot to work for with the hopes that the network will choose it. If it is not chosen, they have wasted their time and money and may have missed out on better career opportunities.
Once they have been produced, the pilots are presented to studio and network executives, and in some cases to test audiences; at this point, each pilot receives various degrees of feedback and is gauged on its potential to advance from one pilot to a full-fledged series. Using this feedback, and factoring in the current status and future potential of their existing series, each network chooses about four to eight pilots for series status. The new series are then presented at the networks' annual upfronts in May, where they are added to network schedules for the following season (either for a fall or "mid-season" winter debut), and at the upfront presentation, the shows are shown to potential advertisers and the networks sell the majority of the advertising for their new pilots. The survival odds for these new series are low, as typically only one or two of them survive for more than one season.
Types of pilots
If a network is not completely sold on a potential series' premise but still wants to see its on-screen execution, and since a single pilot can be expensive to produce, a pilot presentation may be ordered. Depending on the potential series' nature, a pilot presentation is a one-day shoot that, when edited together, gives a general idea of the look and feel of the proposed show. Presentations are usually between seven and ten minutes. However, these pilot-presentations will not be shown on the air unless more material is subsequently added to them to make them at least 22 or 45 minutes in length, the actual duration of a nominally "30 minute" or "60 minute" television program (taking into account television commercials that fill the remaining time). Occasionally, more than one pilot is commissioned for a particular proposed television series to evaluate what the show would be like with modifications. Star Trek: The Original Series and All in the Family are famous examples of this presentation-to-pilot-to-series situation.
An example of change between the making of a pilot and the making of a series is To Tell the Truth in 1956. The show's original title at pilot was Nothing But the Truth and was hosted by Mike Wallace; by the time it became a series, the title was changed and Bud Collyer was tapped as host.
Pilots usually run as the first episode of the series, and more often than not are used to introduce the characters and their world to the viewer. However, the post-pilot series may become so different that it would not make sense for the pilot to be aired. In this case, the pilot (or portions of it) is often re-shot, recast, or rewritten to fit the rest of the series. The pilot for Gilligan's Island, for instance, showed the castaways becoming stranded on the island. However, three roles were recast before going to series, with the characters either modified or completely altered to the point where the pilot could no longer be used as a regular episode. As a result, CBS aired Gilligan's second produced episode, which had the characters already stranded on the island, first; the story from the pilot was largely reworked into a flashback episode which aired later (with several key scenes re-shot). Even Gilligan's theme song, which was originally done as a calypso number, was rewritten and recomposed to be completely different. Another example was in the original Star Trek where most of the footage of the original pilot, "The Cage," was incorporated into the acclaimed two-part episode, "The Menagerie," with the story justification that it depicted events that happened several years earlier. Conversely, the second pilot for Star Trek, "Where No Man Has Gone Before", aired as the third episode of the show's first season, even though it included some casting and costuming differences that set it apart from the preceding episodes (enough that a literary work based on one of its spin-offs would actually place the episode in a parallel universe).
If a network orders a two-hour pilot, it will usually broadcast it as a television film to recoup some of the costs even if the network chooses to not order the show. Sometimes, a made-for-TV-movie is filmed as the pilot, but because of actors not being available, the series intro is reshot and the first reshot episode is considered the pilot. The original Cagney & Lacey movie co-starred Loretta Swit (of M*A*S*H fame) as Chris Cagney, but when she could not get out of her contract, they reshot it with Meg Foster, who after the first season was replaced with Sharon Gless; therefore, the original movie is not considered a pilot, and is not included in the series collections on DVD. In some cases, this does not hamper broadcast, such as Jackie Cooper playing the role of Walter Carlson in the TV movie pilot of the 1975 series The Invisible Man, but replaced by Craig Stevens for the remainder of the series; the pilot is still considered part of the series and released to DVD as such. Likewise, The Homecoming: A Christmas Story had an almost entirely different cast than the series it was intended to pilot (The Waltons), but both were rerun for many years.
The majority of TV pilots are aired twice (typically in September and December), while some have aired more times.
Examples of pilots airing three times, typically in September, December, and June, include:
- Scrubs (first airing: 15.4 million; second airing: 10 million; third airing: 6.5 million)
- Medium (first airing: 16.1 million; second airing: 9.3 million; third airing: 5.2 million)
- The Office (first airing: 11.2 million; second airing: 3.4 million; third airing: 4.2 million)
- Ghost Whisperer (first airing: 11.3 million; second airing: 8.8 million; third airing: 4.9 million)
- The Good Wife (first airing: 13.7 million; second airing: 5 million; third airing: 6.9 million)
Some examples of pilots airing more than three times:
- ABC aired the pilot of Lost five times (first airing: 18.7 million viewers; second airing: 8.8 million; third airing: 11.6 million; fourth airing: 8.1 million; fifth airing: 6.4 million)
- Desperate Housewives (first airing: 21.6 million; second airing: 7 million; third airing: 12.9 million; fourth airing: 7.4 million)
- My Name Is Earl (first airing: 15.2 million; second airing: 5.3 million; third airing: 8.3 million; fourth airing: 4.8 million)
Since the mid-1990s, television producers and networks have increasingly used presentation tapes called "demos" in lieu of full-length pilots. These demos tend to be substantially shorter than a standard episode, and make limited use of original sets and post-production elements. The idea is merely to showcase the cast and the writing. These types of pilots are rarely broadcast, if ever, although the material is sometimes partially fitted onto a future episode of the resulting series. A demo prepared at an early stage, normally using amateur equipment, is also known as a sizzle script.
Some series sold using demos:
- 101 Dalmatians
- Adventures of Sonic the Hedgehog
- Batman: The Animated Series
- Black Lightning
- Buffy the Vampire Slayer
- It's Always Sunny in Philadelphia
- King of the Hill
- Knowing Me, Knowing You... with Alan Partridge
- One Tree Hill
- PB&J Otter
- Pepper Ann
- Superman: The Animated Series
- Saul of the Mole Men
The "demo" episode is not a new concept, as The Munsters was sold on the basis of a 13-minute demo episode in 1964, while Who's Afraid of Diana Prince? in the late 1960s attempted without success to launch a comedic Wonder Woman series.
The term may also be used for an episode of a currently running show that serves to introduce a spin-off. Such backdoor pilots commonly focus on an existing character or characters from the parent series who are to be given their own show. For example, to introduce A Different World, built around Cosby Show character Denise Huxtable (Lisa Bonet), the Cosby Show episode "Hillman" was devoted to Denise's visit to the college that would become the new show's setting, and her encounters with some of the new show's supporting characters. A 2018 episode of ABC's 1980s-set sitcom The Goldbergs, titled "1990-Something", heavily featured teachers who were recurring characters on the series served as the backdoor pilot to Schooled, which is set to debut in early 2019.
In other cases, however, an episode of the parent show may also focus on one or more guest characters who have not previously appeared in the show; for example, the JAG season eight episodes "Ice Queen" and "Meltdown" introduced the characters for what would become NCIS, while the NCIS season six "Legend Part 1" and "Legend Part 2", two-part episode introduced the characters for what would become the NCIS spin-off series, NCIS: Los Angeles and the NCIS season 11 two-part episode, "Crescent City", introduced the characters for what would become NCIS: New Orleans. Similarly, the backdoor pilot for the television sitcom Empty Nest was an episode of The Golden Girls, which relegated that show's regular stars to supporting characters in an episode devoted to new characters who were introduced as their neighbors. Feedback on the episode resulted in Empty Nest being extensively reworked before its debut; while the concept and the "living next to the Golden Girls" setting was retained, the series ended up featuring different characters from those in the original Golden Girls episode. In a 2011 episode of the TV Land original sitcom Hot in Cleveland focused on the wedding of the Elka character (Betty White). Boyce Ballentine (Cedric the Entertainer), an R&B singer-turned-preacher, was introduced as the pastor for the wedding, with the intention to give the Boyce character his own series on the network. That came to fruition in 2012, when TV Land introduced The Soul Man.
Not all backdoor pilots lead to a series. In 1968, the Star Trek episode "Assignment: Earth" was intended as the pilot for a spin-off of the same name, featuring a human named Gary Seven (played by Robert Lansing), taken from Earth's far past and raised by aliens to be sent to watch over Earth in the 1960s; while the series was not picked up, its characters have appeared in numerous non-canon Trek productions set in the 20th century. The series finale of One Day at a Time in May 1984 was supposed to serve as a backdoor pilot to a spin-off featuring Pat Harrington, Jr.'s character of Dwayne Schneider in a new setting, but CBS ultimately passed on the potential series. The Dukes of Hazzard aired two episodes, named "Jude Emery" and "Mason Dixon's Girls", which served as a backdoor pilot complete with the Dukes cast interacting with the new characters. Ultimately, CBS passed on the two series in favor of a series starring Hazzard County deputy Enos Strate. Another example within sitcoms would be a season 2 episode of The Nanny called "The Chatterbox", which centered around a struggling actress who gets a job at a barbershop owned by a single father. In an example from June 2010, Lifetime pursued a spinoff procedural drama of Army Wives featuring Brigid Brannagh's character, police officer Pamela Moran. The fourth-season episode "Murder in Charleston" was intended to serve as a backdoor pilot for the proposed spin-off. The episode sees Moran teaming up with an Atlanta-based detective on a murder that is related to a case she has been working on for the past three years. At the end of the episode, the detective encourages Moran to take a detective's exam, and to look for her if she is in Atlanta. In September 2010, however, Lifetime declined to pick up the project to series. In 2013, The CW announced there was a spin-off of their genre hit Supernatural in the works. The 20th episode of season nine titled Bloodlines, served as a back-door pilot, revealed in January 2014 to have been titled Supernatural: Bloodlines. The series was set to explore the "clashing hunter and monster cultures in Chicago". The show was not picked up by the CW for the 2014–2015 season due to dismal overall reception by viewers.
The Gossip Girl episode "Valley Girls" was supposed to be a backdoor pilot for a prequel spin-off series starring Brittany Snow as a young Lily van der Woodsen, however the show was not picked up. "The Farm" was an episode of NBC's The Office that was supposed to act as a backdoor pilot for a spin-off series starring Rainn Wilson and focusing on his character, Dwight Schrute. Upon review, the spin-off was not picked up by NBC and the original version was never aired; instead it was reworked with additional material shot later, as the original version contained "certain aspects that were appropriate for a pilot of a new show".
A historically important venue for backdoor pilots has been the anthology series. They have variously been used as a place to show work still being actively considered for pickup, and as a venue for completed work already rejected by the network. With the decline of anthology series, backdoor pilots have increasingly been seen as episodes of existing series, one-off television films, and miniseries. As backdoor pilots have either failed to sell or are awaiting audience reception from its one-time broadcast, networks will not advertise them as pilots, only promoting them as a "special" or "movie". It is thus often unclear to initial viewers of backdoor pilots that they are seeing a pilot of any kind, unless they have been privy to knowledgeable media coverage of the piece.
In one extraordinary case, an unsold pilot was released as a theatrical film. Lum and Abner Abroad, a 1956 attempt to create a television vehicle for film and radio stars Lum and Abner, was never picked up as a series, but the three pilot episodes produced as proof of concept for the series were strung together and released as a theatrical film.
While, as listed above, there are many telemovies or episodes within series intended as pilots, there are often telemovies or episodes within other series that are so popular that they inspire later television series. Popular examples are South Park, which began as a duo of shorts its creators made at college; The Simpsons, which began as an occasional comic short within The Tracey Ullman Show; and Family Guy, which began life as a short, titled The Life of Larry. A two-part episode of The Six Million Dollar Man introduced the character of Jaime Sommers who, despite dying in the story, was popular enough to narratively return to life and a spinoff series, The Bionic Woman, was commissioned. The 2006 Doctor Who episode "School Reunion" was intended as a one-off reunion appearance by Sarah Jane Smith, but ended up leading to a spin-off series, The Sarah Jane Adventures.
A put pilot is a pilot that the network has agreed to air either as a special or series. If the network does not air the pilot episode, the network will owe substantial monetary penalties to the studio. Generally, this guarantees that the pilot will be picked up by the network.
Unsold television pilots are pilots developed by a company that is unable to sell to a network for showing.
In a 10/90 production model, a network broadcasts ten episodes of a new television program without ordering a pilot first. If the episodes achieve a predetermined ratings level, the network orders 90 more to bring the total to 100 episodes, immediately enough to rerun the show in syndication. Series that used the 10/90 model include Tyler Perry's House of Payne, Meet the Browns, For Better or Worse, Debmar-Mercury's Anger Management, and Are We There Yet?.
As distinguished from "first episode"
A pilot episode is generally the first episode of a new show, shown to the heads of the studio to whom it is marketed.
The television industry uses the term differently from most viewers. Viewers frequently consider the first episode available for their viewing to be the pilot. They therefore assume that the first episode broadcast is also the episode that sold the series to the network. This is not always true, however, in part because of the factors mentioned above. For instance, the episode "Invasion of the Bane" was not a pilot for The Sarah Jane Adventures because the BBC had committed to the first series before seeing any filmed content – yet it is routinely referred to as a pilot. In the Canadian supernatural drama Lost Girl, the pilot that sold the series to Showcase, "Vexed", was used as the eighth episode of the first series. In the case of Firefly, the original pilot (Serenity) which was intended to serve as the series premiere was rejected by the network, and a new first episode, Train Job, was shot specifically for broadcast.
Sometimes, too, viewers will assign the word "pilot" to a work that represented the first appearances of characters and situations later employed by a series – even if the work was not initially intended as a pilot for the series. A good example of this is "Love and the Television Set" (later retitled "Love and the Happy Days" for syndication), an episode of Love, American Style that featured a version of the Cunningham family. It was in fact a failed pilot for the proposed 1972 series New Family in Town, but was a successful pilot for 1974's Happy Days. So firmly embedded is the notion of it as a Happy Days pilot, however, that even series actress Erin Moran viewed it as such, as well as its creator, Garry Marshall.
On other occasions, the pilot is never broadcast on television at all. Viewers of Temple Houston, for example, would likely have considered "The Twisted Rope" its pilot because "The Man from Galveston" was only publicly exhibited in cinemas four months later. Even then, "The Man from Galveston" had an almost entirely different cast, and its main character was renamed to avoid confusion with the then-ongoing series.
List of highest rated television pilots which attracted 28 million or more viewers in America:
|1||A Different World||38.9||31.3%||September 24, 1987||NBC|
|2||Undercover Boss||38.7||19.1%||February 7, 2010||CBS|
|Lead in: Super Bowl XLIV Post Game||75.5||33%|
|3||The Last Precinct||39.7||N/A||January 26, 1986||NBC|
|4||Dolly||37.4||24.7%||September 27, 1987||ABC|
|5||Veronica's Closet||35.07 ||23.3%||September 25, 1997||NBC|
|6||Twin Peaks||34.6 ||21.7%||April 8, 1990 (two hours)||ABC|
|7||Brothers and Sisters||31.722||N/A||January 21, 1979||NBC|
|8||Full House||31.3||21.7%||September 22, 1987||ABC|
|9||Roseanne||30.8||23.7%||October 18, 1988|
|10||Grand Slam||30.765||N/A||January 28, 1990||CBS|
|11||seaQuest DSV||30.4 (8–10pm) ||17.8 rating||September 12, 1993||NBC|
|12||Chicken Soup||30.2||21.8%||September 12, 1989||ABC|
|13||Suddenly Susan||30.1 ||20.4%||September 19, 1996||NBC|
|14||Caroline in the City||30.0||20.5%||September 21, 1995|
|15||Delta||30.0||20.5%||September 15, 1992||ABC|
|16||Dear John||30.0||19.8%||October 6, 1988||NBC|
|17||The Single Guy||29.1||19.2||September 21, 1995|
|18||Frasier||28.1||19.3%||September 16, 1993|
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