2017 – Read the best of COMEDY TELEVISION Shows loglines

Read the best of COMEDY TV Show ideas and synsopsis’ from around the world.

GREY HATS, by Ayoub Charki

THE HOT DOG EATER, by Adam Dietz

RANDOM JOBS, by Fitzgerald Elliot

CRASH PAD, by Kevin Goodson

THE LIMO DRIVER, by Daniel Cho

MANATEE TOWERS, by Eli B

PERCY HARTWELL, by John Hayes

ED’S DOOR AND WINDOW CO., by Parker Cross Jr.

DIVORCED, by Sandra U

ZAPPED, by Ben Hinman

BAG YOUR OWN, by Christian Callahan

BEDTIME STORIES, by Karine Chami

NOBODY WANTS TO BE HERE, by Adam Heinis

ACROS THE HALL, by Renae Watson

RORSCHACH, by Federico Franchi

PARTY ANIMALS, by Kurt Jackson

HOTEL HULALA, by Sally Jackson

PARA-SIGHT, by Tiffany Rae Larkin

LIBERTY, by Knayi Clement

KOSHER DELICATE LESSON, by Jim Norman

MARRIAGE EQUALITY, by Jamie Pierce

PICK UP OR DELIVERY, by Jared Griffith

PRE-WRECKS, by Jess Latimer

FINDING OURSELVES, by Deckonti Tiah

WILL DATE WON’Y DATE, by Stuart Wheeldon

PART TIMERS, by David Stano

THE TICK VS THE INFINITE, by Bree Weinrich

WORKADAY, by Michael Sawran

THE CARGO, by Howard Adelma

101 WAYS TO END THE WORLD, by Sabreena Nazimudeen

CONFESSIONS OF A BIPOLAR POTHEAD, by Rochelle Daguilar

ONLY UGLY ON THE INSIDE, by Theresa Drew

HICKS, by Jason Spencer

THE LOUDMOUTH, by Michael Atkinson

MY OLD KENTUCKY HOME, by MD Scharfman

ON AIR, by Mark Mantastic

SNAP OUT OF IT, by Todd Zing

MEN WITH DICKS, by Peter Norman

TEMPORARILY 1X1: THE NAKED TRUTH, by Melissa K. Willis

HOOKED, by Alex Kellerman

APARTMENT, by Mladen Mijajlovic

THE RETURN OF KYLE WILD, by Ozlem Suleyan

SKIN, by William Maurer

FUNNY FARM, by Nicholas Geisler

A MATTER OF BAD TASTE, by Gene Gwynn

THE PITTSBURGHERS, by Megan Roethlein

S.E.N.I.O.R.S., by Maria Mavropoulou
ACCIDENTALLY EnGAYged, by Jake Parker

AH HAPPINESS, by Karen Toft

SCHOOL OF FOOLS, by Jason T. Paige

FUNNY FARM, by Deshon Porter

CRUDE INVESTIGATIONS, by Chris Roberts

MR. DICKS NEIGHBORHOOD, by Dani Renee

SENTENCE to SUBURBIA, by Adam Staten

LOSING IT!, by Mandi M. Siler

DOOMATES, by Moosa Dagia

MAN WRITING ROMANCE, by David Thome

FUNNY FARM, by Porter Deshon

THE REPUBLICANS, by Doug Goodrich

KINGS OF THEIR CASTLE, by Ignacio Gonzalez

THE STIFF LIFE OF CHARLIE B BROWN, by Will Carlson

WARSHOUT, by Adrian Stride

NEET FREAK, by Kristin Ruff-Frederickson

JOYTON SHREW, by Ian Bradburn

LEAVING THE NEST, by Jakob Creighton

CORPORATE FLAG, by Gary Smiley

GROWN ON AMERICAN SOIL, by Warren Benjamin Johns Jr.

NEW GIRL – CAREER DAY, by Melissa K. Willis

HE’S THE MAN, by Gabrielle Legendre

NEW GENERATION, by Salvatore Cesarano

LUSCIOUS BITES, by Humberto Guida

LOST & FOUND, by Tim Hitpas

HARLEM BLUES, by Allyson Rice & Tara Lonzo

FISHNETS, by Shelli Wright<br
UNIVERSAL UNIVERSITY, by Daymon Long

LIFE IN THE FAST LANE, by Debi Calabro

MAY CONTAIN NUTS, by Sarah Myles and Paul Holmes</br
THE WAY TO HAVEN, by Hank Nae

DON’T BANK ON IT, by Artemis Penny

GEORGIA’S GORGEOUS PEACHFISH: WORST BURLESQUE TROUPE IN NEW ORLEANS, by Holly Combs

GEMMA’S WORLD, by Peter Sims

BREW DAYS, by Tyler Omoth

THE B-LIFE, by Deborah A. Vines

MASON 2 MASON, by Dee Kelly Barrett

FRONT OF HOUSE, by Ryan Metcalfe and Will McCabe

DISORGANIZED CRIME, by Anthoney J. Anderson

CHATSWORTH, by Hal Russek

SOL, by Genevieve Heineman

RAINBOW REEF, by JT Quinn & Danilo Di Julio

THE MISADVENTURES OF BOB & MAGGIE, by Bronwen Winter Phoenix

HIGHER ED, by Kiara Juniel

TRIBUTE, by Lori Crawford

BEAST AT THE DOOR, by Bob Canning

TEMPORARY DETECTIVE, by Hansen Scott

VIDEO PITCH: THE SHADE RIDER SERIES by Beth Zurkowski
POPPY GO LUCKY, by Natalie Mwedekeli

FOUR OF A KIND, by Dani Renee

SMALL BODIES, by Hal Russek

AMERICAN SCHOOL, by Michael Hager

HAPPY-DALE HOME, by Peter Breeze

HOLLYWOOD CLOWNS, by Jason Lassen

SOMETIMES I’M SO SMART I ALMOST FEEL LIKE A REAL PERSON, by Graham Parke

THE WHISTLER, by Joshua Lenahan

TOMORROW NEVER COMES, by Victor Kerr

MY BLACK AND WHITE FAMILY, by Richard Welch

TOMORROW WAITS FOR NO ONE: WHO AM I, by Marcello Aurelio Lanfranchi

SKUNK-BOY, by Lois Wickstrom

AD GAME, by Greg Wayne

SPARKLE AND C.R.E.W., by Pat Mikulec and Heather Alexander

FAMOUS LAST WORDS, by Su Hoyle and Nina Wishengrad

LOWERING THE BAR, by Andy Lear

TOMORROW WAITS FOR NO ONE, by Marcello Aurelio Lanfranchi

PARENTAL ADVISORY, by Christopher Sweeney

COMMITTED, by Adam Kennedy

GREETINGS FROM THE KILLINGTONS, by Harrison Flatau

FOOT SOLDIERS, by Frances Miller

CAMERA EH?, by Philip Corr

 

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Original Script Reading of BOJACK HORSEMAN TV Show, by Cameron Chapman

Set at the end of Season Three, BoJack takes his new philosophy of isolation literally when he’s accidentally kidnapped by a health and wellness cult.

Genre: Comedy, Animation

CAST LIST:

Narrator: Laura Kyswaty
BoJack: Rob Notman
Kevin Spacey: James Boutcher
Buzz: Luke Robinson
Ethan: Brandon Knox
Olivia: Lindsay Rolland Mills
Sabrina: Premika Leo
Lizzie: Julie McCarthy

 Get to know the writer:

What is your screenplay based on the TV show about?

This BoJack Horseman Spec Script picks up right at the end of Season Three when BoJack is accidentally kidnapped by a health and wellness cult and their charismatic leader, Kevin Spacey. While unknowingly trapped in their desert compound he explores his newfound philosophy of isolation while deep-diving into an old episode of his former sitcom “Horsin’ Around”.

I tried to connect BoJack closer with his character from “Horsin’ Around” through the idea that they both manage to surround themselves with a supporting cast, mainly, to not allow themselves to be truly alone. When he flees to the desert at the end of the third season I think there’s this notion that BoJack needs to work on breaking down all the emotional barriers he’s built up over the years but I liked the idea that, in true BoJack self destructive style, he decides what he needs is the opposite. That he needs the isolation and maybe in his own BoJack way, he’s not wrong?

How does this screenplay fit into the context of the TV series?

When I wrote this I envisioned it as essentially Episode 13 of Season 3 of the series, picking up right where we left off, BoJack in the desert, alone, watching the herd of wild horses running off in the distance. Of course since then Season 4 has been released so I would have assumed it’s context within the full arc of the series would be obliterated, however with a couple tiny tweaks I can still see it slipping in quite nicely between the first and second episodes of Season 4 which starts off with BoJack still AWOL.

How would you describe this script in two words?

Alone together, (question mark)…

What TV show do you keep watching over and over again?

Obviously BoJack Horseman, I usually crush it in a hurry the day it’s released but they created such a rich, fast paced show and it’s wall to wall jokes so it’s always worth going back over again and again to pick up more details. I also love Man Seeking Woman, Rick & Morty and Silicon Valley. This past year Search Party, Fleabag and Catastrophe were especially great. There’s so much great TV on right now in all genres, on so many platforms, I’m just devouring it all!

How long have you been working on this screenplay?

I wrote this in 14 days, start to finish. Hahaha! I received an email about applying to a writing program at an animation studio and part of the application process was to write a Spec Script off their list of approved shows. I saw BoJack on there and thought, yup, this is happening! Unfortunately the deadline to apply was in 14 days but somehow I finished and submitted in time. It was the first Spec I’ve ever written but it all came together fairly quickly.

How many stories have you written?

I’ve written several short and full length screenplays and am currently about six episodes into a Series that, I suppose, would fall into the 1 hour drama category. I work full time in the Film Industry mainly as a Production Coordinator so I try to write as much as I can. Of course, anyone familiar with the hours we work in film might question my sanity but this is why we do it. Right?! We’re here to tell stories no matter how self destructive, Hahaha!

What is your favorite song? (Or, what song have you listened to the most times in your life?)

I’ve always said that “Rainbow Connection” by Kermit the Frog is my favourite song of all time. There’s a beautiful cover by Willie Nelson too.

What obstacles did you face to finish this screenplay?

Well as I said above, I was working full time, 12-14 hour days on a Series for SyFy called Wynonna Earp when I wrote this and I remember being on the ice at hockey one night thinking, “Oh what if this happened in BoJack or what if that happened” or whatever. Hahaha! I also have an amazing Wife and two incredible Children so I would say the hardest part was not sleeping for two weeks.

Apart from writing, what else are you passionate about?

I’m Canadian so naturally I’m a huge Hockey fan but I love Baseball, Music and Film, anything Star Wars… I love Comedy and Animation. My Family is the most important thing in the world to me so every chance I get to share one of my passions, including my writing, with them is very special.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I had entered this same Spec Script into a different contest and it luckily performed quite well, making it to the semi-finals. There was only one other Spec in that group of scripts and I noticed it was one that had previously won this Festival. When I saw that the reward for winning was a live reading I couldn’t not enter it. The value as a writer of hearing your script read aloud in the hands of professional actors is too immense and can’t be overstated. It was a no brainer. Plus I was really looking forward to seeing who got cast as a man with the head of a horse.

The feedback was unexpectedly thoughtful. I was bracing to get raked a bit for writing such a BoJack-centric BoJack episode which I assume is not the best way to tackle a Spec Script but I feel like the feedback I received understood most of the themes and what I was going for. That was a pleasant surprise which really helped me to push forward on some other projects I’m working on and to trust myself going forward.

Any advice or tips you’d like to pass on to other writers?

Share! Don’t be overprotective of your ideas or your writing. You’re not alone in the universe, you’re not the only one scratching out crappy dialogue at 3:00am on a Sunday. Find like minded people either in your hometown or online and share, work together, go away and write, come back together and give feedback. Talk about it, work it, be open, make it better.

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Producer: Matthew Toffolo http://www.matthewtoffolo.com

Director: Kierston Drier
Casting Director: Sean Ballantyne
Editor: John Johnson

Camera Operator: Mary Cox

First Scene Reading of TV SPEC: RICK and MORTY TV Show, by Daniel Richardson

Watch the August 2017 TV SPEC Screenplay Winner.

Genre: Comedy, Animation

After shooting Summer and Morty with a ray that forces them to spout their inner monologues, Rick takes Beth out on a space adventure for her birthday.

CAST LIST:

Narrator: Elizabeth Rose Morriss
Rick: Scott McCulloch
Morty: Brogan Caulfield
Beth: Julie Sheppard
Summer: Sandra Krstin
Jerry: Peter-Mark Raphael

 Get to know the writer:

What is your TV Pilot screenplay based on RICK AND MORTY about?

My speculative script for Rick and Morty is about developing a tangible relationship between Rick and Beth. The sub-plot focuses on gender roles and how people perceive them. I thought it was really fun to explore reactions to people speaking their mind as well as gender stereotypes through Morty and Summer’s schooling.

How does the episode fit into the context of the television show?

In the context of the show, this episode would fit somewhere in season 2. I wrote the screenplay whilst waiting for season 3 and it felt like a natural continuation of what preceded it. With the release of season 3 and the character changes that have already occurred, I’d now definitely place my screenplay as a season 2 episode.

How would you describe this script in two words?

Heaven Burning.

What TV show do you keep watching over and over again?

Bob’s Burgers is my favourite show to binge-watch. It reminds me of the wholesome, family oriented, comedy that was so successful in early episodes of The Simpsons (another show I have watched over and over again).

How long have you been working on this screenplay?

The original draft was written in around a month, when I wasn’t too busy with work. The re-drafts and edits took about two months because of a busy schedule. During that time, I’d spend a lot of time jotting down fresh thoughts for the show and tinkering with ideas.

How many stories have you written?

I have written around 9 television specs and pilots, some of which will never see the light of day (for good reason). In terms of stories, I have a lot of notes outlining beats in old notepads. I think it is always good to have a bunch of ideas to draw off, even if you leave parts of the story behind. The only problem is sifting through the bad ideas.

What is your favorite song? (Or, what song have you listened to the most times in your life?)

My favourite song, by some margin, is Millencolin – ‘No Cigar’. It’s a great punk-rock song and was one of the first tracks that introduced me to the genre. I think the message of the song is fantastic and its support of diversity has made it a track that has grown in significance, for me personally, as the years have passed.

What obstacles did you face to finish this screenplay?

I found two big obstacles in writing this screenplay and they were time management and re-reading. Time management is pretty self explanatory, I wanted to give more time to the script than I had. The issue of re-reading your own work is that it’s quite an insular process and so I find myself growing tired of my own writing and questioning my jokes. During this time, it was really helpful to get friends to read the script and tell me what they liked/ disliked.

Apart from writing, what else are you passionate about?

I’m a big fan of music, particularly punk and metal. I feel these genres offer interesting ideological perspectives and also my joy of music introduced me to working with radio which was really gratifying. I also love soccer (or football as we call it here in the UK). Between football, music and writing I play video-games when I’m tired of being passionate for the day.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

The main thing that influenced me to enter WILDsound’s festival was the fact that they gave feedback. So many competitions demand a large amount of money for feedback or give non at all, as someone who considers himself to be a developing writer, these kinds of competitions didn’t offer as much room for me to grow.

I always think feedback is incredibly useful, but it puts you on an emotional rollercoaster. Scripts take so long to put together, that you become reluctant to see its flaws. With that said, the feedback I received was very helpful. On my first effort, the script relied on meta humor rather than real motivation for the continuation of the story. I think this is a problem that the writers of Rick and Morty have now found in season 3.

Episodes like ‘Rickmancing the Stone’ and ‘Vindicators 3: The Return of Worldender’ both have moments where they outline the call to action or turn to the camera and skip to later in the story. These moments are too knowing and disrupt the story for a small comedic payoff. I like to think the final version of my screenplay avoided this disorientating style of humor and that’s thanks to the feedback I received.

Any advice or tips you’d like to pass on to other writers?

Buy a notepad, pester any literate friends you have to read your work and plan your stories thoroughly before you write. Also, collaborations can be really helpful for developing your skills and getting out of an insular writing space!

****

Producer: Matthew Toffolo http://www.matthewtoffolo.com

Director: Kierston Drier
Casting Director: Sean Ballantyne
Editor: John Johnson

Camera Operator: Mary Cox

July 2017 TV Pilot/Spec Screenplay Winners

Deadline for Television Pilot/Spec Screenplay Festival: https://tvfestival.org/

Watch the 3 TV Screenplay Winners for July 2017:

ACTORFAN FICTION TV PILOT Screenplay – D FOR DEXTER
July 2017 Reading
by Jessi Thind

ACTORWESTERN TV PILOT Screenplay – SIRINGO
July 2017 Reading
by Nathan Ward

ACTORANIMATION TV PILOT Screenplay – CHICKEN COP
July 2017 Reading
by Bryan Cahill

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Producer: Matthew Toffolo http://www.matthewtoffolo.com

Director: Kierston Drier
Casting Director: Sean Ballantyne
Editor: John Johnson

Camera Operator: Mary Cox

May 2017 TV Pilot/Spec Screenplay Winners

Deadline for Television Pilot/Spec Screenplay Festival: https://tvfestival.org/

Watch the 2 TV Screenplay Winners for May 2017:

 

ACTORLGBT TV PILOT – FAUK MY LIFE
May 2017 Reading
by Stephanie Neroes

ACTORTV SPEC of SUPERNATURAL
May 2017 Reading
by Bonnie Bonaduce

 

ACTORTV BEST Scene – INFINITY’S EDGE
May 2017 Reading
by Anthony M. Dionisio

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Director/Producer: Matthew Toffolo http://www.matthewtoffolo.com

Editor: John Johnson

Casting Director: Sean Ballantyne

April 2017 TV Pilot/Spec Screenplay Winners

Deadline for Television Pilot/Spec Screenplay Festival: https://tvfestival.org/

Watch the 2 TV Screenplay Winners for April 2017:

 

ACTORFAN FICTION TV PILOT Screenplay – THE GHOST AND MRS. MUIR
April 2017 Reading
Written by Richard Mueller

ACTORTV SPEC Screenplay – BOB’S BURGERS
April 2017 Reading
Written by Matthew J. Gonzalez

 

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Director/Producer: Matthew Toffolo http://www.matthewtoffolo.com

Editor: John Johnson

Casting Director: Sean Ballantyne

January 2017 TV Pilot/Spec Screenplay Winners

Deadline for Television Pilot/Spec Screenplay Festival: https://tvfestival.org/

Watch the 2 TV Screenplay Winners for January 2017:

 

ACTORTV PILOT Screenplay – DOWN WITH THE BUREAUCRACY
January 2017 Reading
Written by Dimitry Pompee

ACTORTV SPEC Screenplay – MODERN FAMILY “Relax, I Got This”
January 2017 Reading
Written by Edward Pronley

ACTORFAN FICTION Screenplay – UNIVERSAL SAINT BATMAN
January 2017 Reading
Written by Nathan Trumbull

 

 

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Director/Producer: Matthew Toffolo http://www.matthewtoffolo.com

Editor: John Johnson

Casting Director: Sean Ballantyne