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‘Eternally Yours’: The Story Of 11-Year-Old Script That Wouldn’t Die

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For those lamenting the slow pace of the TV development process, how about one that spans 11 years? That is how long it took for Joe Port and Joe Wiseman‘s new CBS vampire comedy series Eternally Yours, starring Ed Weeks and Allegra Edwards. Their pilot script, written in 2015, got a table read in 2019, a development room in 2024, a pilot order in 2025, and a series pickup in 2026.

The 2019 table read was staged on Andrew Reich and Ben Blacker’s Dead Pilots Society podcast, with Weeks as the male lead. Six years later, he would be cast in the same role in the CBS pilot that went to series for 2026-27. The podcast helped keep Eternally Yours alive through the various twists and turns that included an animation incarnation.

The 2015 script of Eternally Yours also landed Port and Wiseman a job as developers and executive producers for CBS’ adaptation of the UK comedy series Ghosts. Next season, the duo will serve as executive producers and showrunners on Ghosts and Eternally Yours, both of which have 18-episode orders.

Here is the story of Eternally Yours, the first-ever busted script featured on Dead Pilots Society to subsequently make it to series. Its journey is intertwined with another vampire title, What We Do In the Shadows.

First Sale To CBS

Eternally Yours centers on vampire couple Charles (Weeks) and Liz (Edwards) whose once-passionate romance has devolved into a pulseless marriage after 500 years together. Port and Wiseman, a writing team since meeting as assistants on the UPN animated series Dilbert in 1999, first came up with the idea for the show in 2015.

At the time, they were not aware of Jemaine Clement and Taika Waititi’s movie What We Do In the Shadows, which had been released in the U.S. in February of that year, but were quickly alerted to it. “We watched it and loved it because it was incredible,” Port said.

As for how Eternally Yours came about, Port and Wiseman were developing something else when the conversation turned to their 16 years together as writing partners.

“We started talking about writing partnerships and the idea of a marriage and people stuck together forever, so the idea of a marriage on steroids, like vampires who never die, and what it would be like to be truly together forever is how we came up with that,” Port said.

The duo teamed with Two and a Half Men executive producers Eric and Kim Tannenbaum after working together on CBS’ Odd Couple reboot. All four were under overall deals at CBS Studios at the time.

“What we loved most about the kernel of this idea, which is a couple trapped in an endless marriage. It came from Joe and Joe, as a writing team, feeling like a married couple, and we loved the fact that it came in with the Tannenbaums, producers who not only are married, but work together,” CBS Studios’ longtime head of comedy Kate Adler said. “It was super relatable to just about everybody, married or otherwise, but we loved that it came from such a real place.”

The pitch went to the usual suspects at that time, the four broadcast networks. CBS Studios’ main buyer, sibling CBS, was the most interested and already had an existing relationship with Port, Wiseman and the Tannenbaums, so the project was set there for development in September 2015.

Eternally Yours had been conceived and sold as single-camera. While CBS introduced a single-camera comedy series during the 2015-16 season, Life In Pieces, its half-hour slate at the time was dominated by multi-camera sitcoms.

When pilot pickup time came in early 2016, Eternally Yours got a pass. Its format likely was a factor; CBS ultimately went with four new comedy series for the 2016-17 season, all of them multi-cam.

CBS Studios made a Hail Mary attempt, sending the finished script to other networks, broadcast and cable, including smaller outlets like TV Land, but there were no takers, with Eternally Yours headed to the dead pilot script graveyard.

That’s where it was found by Reich.

Andrew Reich

‘Dead Pilots Society’ Table Read

Like Port and Wiseman, Reich was a network comedy writer-producer and part of a writing team in the 2000s and 2010s with former writing partner Ted Cohen. The duo came out of Friends, where they rose to executive producers and co-showrunners and subsequently worked on a string of comedy series, creating the 2012 ABC sitcom Work It.

The same 2015-16 development season, during which Eternally Yours was bought, written and passed on, was brutal to Reich and Cohen too — they sold three projects and none of them got made.

“It’s just feeling bad, and there was one especially where I was just really feeling like, I just wish I’d gotten to hear it read out loud, I just wish I’d gotten to have a table read,” Reich said.

That’s how the idea was born for the Dead Pilots Society, which gives scripts developed by studios and networks but never produced “the table reads they deserve,” per its manifesto.

The podcast was launched in September 2016 with three table reads, including one for the rejected 2015-16 script Reich and Cohen were particularly fond of. It had two female leads for which the duo recruited Molly Shannon and Sarah Chalke.

Since then, Reich has been reaching out to well-known comedy writers — many of them friends of his — to get some of their favorite unproduced scripts, cast them and stage table reads that are taped for the podcast, often at The Hollywood Improv. In 2019, he approached Port and Wiseman about Eternally Yours and quickly got their blessing.

“It’s amazing that they do that, because it’s really fun,” Wiseman said. “Even if it doesn’t become a pilot and a series, it’s really nice to hear your pilot that you’ve worked so hard on come to life.”

It was Reich who suggested Weeks for Charles. A couple of other actors had passed on the part, and Reich was friends with The Mindy Project alum who had done another Dead Pilots Society table read for him. (This is not a paying gig; the actors who participate in the table reads volunteer their time and do it for free.)

“We weren’t thinking it was a British guy for some reason but after hearing him do it, it seemed like it was written like that,” Port said about their reaction to hearing the Charles character interpreted by Englishman Weeks in his native accent.

The rest of the table read cast included Briga Heelan as Liz; she was brought in by Port and Wiseman, who had just worked with her on a pilot, as well as Matt Walsh playing one of the children, Asif Ali, Vella Lovell, Tony Cavalero, Yassir Lester, Mindy Sterling, Brendan Scannell and David Fumero.

“It was a fun night, and it was very useful to us,” Port said about attending the table read. “In the years to come, we started using that recorded table read as a calling card for Eternally Yours.”

The table read made an impression on Reich too.

“There’s pilots we’ve done that I think are great, but I totally see why they didn’t get on, they’re just too out there, there’s other issues, but they’re still worth doing a table read of,” he said. “But this was one where it was like, oh, this was so good, and I can totally see it as a show.”

While the Dead Pilots Society table reads are largely designed to give writers closure, Port and Wiseman would go on to use theirs as a valuable tool, not only sending it out to people but also using the feedback to punch up their script over the coming years.

‘Ghosts’ (L-R): Brandon Scott Jones as Isaac, Danielle Pinnock as Alberta, Devan Chandler Long as Thorfinn, Rebecca Wisocky as Hetty, Utkarsh Ambudkar as Jay, Asher Grodman as Trevor, Rose McIver as Samantha, Richie Moriarty as Pete, and Román Zaragoza as Sasappis.

Bertrand Calmeau/CBS

‘Ghosts’ & Animated ‘Eternally Yours’

Taped in late 2019, the Eternally Yours episode of Dead Pilots Society was released on March 17, 2020, just a couple of days before the world was shut down by the pandemic.

Also in 2019, the Eternally Yours script helped Port and Wiseman land the job of adapting the UK series Ghosts, another single-camera supernatural comedy for CBS. They were top of mind for both the network and CBS Studios who pitched the duo to co-producing entities Lionsgate TV and BBC Studios L.A. (Port and Wiseman’s writing samples at the time also included an out-there spec they had handed to the studio in May 2016, shortly after Eternally Yours’ initial rejection, for People vs. O.J. Simpson Episode 201, envisioning a comedic second season of Ryan Murphy’s limited series about the Simpson trial.)

Ghosts was picked up to pilot in February 2020, just a few weeks before Dead Pilots Society‘s Eternally Yours episode was released, but its production was delayed by the pandemic.

Meanwhile, looking to capitalize on the attention Eternally Yours received from the table read, CBS Studios set out to repackage the show as an animated comedy, using the podcast table read as part of the pitch, along with Port and Wiseman’s script and concept art.

“We were able to hire an animator, Arthur Jones, who was great,” Wiseman said. “He did drawings of all the characters and big pictures of the family together.”

By the time the project was ready to be taken out in 2021, Port and Wiseman were working on Ghosts, which had been picked up to series in March of that year. The two did some Zoom pitch meetings for the animated version from a trailer on the set of Ghosts in Montreal.

Once again, What We Do In The Shadows came into play, this time FX’s series version of the movie, which had premiered in 2019 but broke out in a major way in 2021 with its third season that earned the vampire show its first Outstanding Comedy Series Emmy nomination.

And once again, there were no takers for the animated Eternally Yours, with Hulu reportedly referencing the fact that it already had a vampire comedy with What We Do In the Shadows, which streams on the platform.

Looking back, Port is relieved by the outcome.

“The story of this pilot, and series now, is that things worked out for a reason,” he said. “Even as we were pitching it as the animated thing, we were starting to do Ghosts. It hadn’t premiered yet but once that came out and did well, I was kind of relieved we hadn’t sold it as this animated thing, because I was like, this seems like such a good Ghosts companion. It seems like there’s an appetite for this single-camera genre, comedy with heart, for network TV now.”

‘Eternally Yours’: (L-R) Allegra Edwards as Liz, Ed Weeks as Charles, Helen J Shen as Emma and Jaren Lewison as Max

Bertrand Calmeau/CBS

‘Eternally Yours’ CBS Rebirth

While CBS Studios executives would periodically bring up Eternally Yours in meetings with CBS executives, the project’s comeback did not kick off in earnest until around April 2023, a few months after Amy Reisenbach was named CBS Entertainment President in November 2022. She championed the script which, a year later, emerged as a top comedy contender at the network. A development room was commissioned in August of that year, followed by a pilot order in July 2025.

The series’ second stint in CBS development took longer as Port and Wiseman juggled it alongside their showrunner duties on Ghosts, now headed into its sixth season. The Dead Pilots Society podcast made a cameo during the process with an unexpected January 2025 Eternally Yours episode re-release in the wake of the devastating Los Angeles wildfires.

“It was really a sentimental favorite of mine,” Reich said. “In fact, the one time we’ve done a rerun, it was January of last year. With the fires and everything, it was just too hard to get an episode out. And so the one rerun we’ve ever done was Eternally Yours.”

While the rerun did not necessarily impact the TV show’s momentum, the podcast table read did influence the casting of the Eternally Yours pilot. Port and Wiseman, who kept hearing Weeks’ voice as Charles in their heads, invited him and Heelan to audition for the roles they had performed at the table read. (The producers wanted to bring others too but a lot of them were unavailable, like Ali, who stars on Hulu’s Deli Boys, Lovell, who is a series regular on Fox’s Animal Control, and Cavalero, who was a series regular on CBS’ DMV.)

“Both Ed and Briga read, and they both did fantastic, Briga is an incredible actress,” Wiseman said. “Allegra Edwards, who ultimately got the part, just came in and made it undeniable. But having Ed and Briga in was fantastic.”

Like Weeks and Heelan, Edwards was invited to test for Eternally Yours because of a pre-existing connection.

“She was in two or three episodes of Ghosts, and was fantastic,” Wiseman said. “Everyone loved working with her, she was inventive. So, yeah, she was very much on our radar.”

The cast of CBS’ Eternally Yours, which Reisenbach calls “a big hearted, clever take on relationships, family and the fact that eternal love takes work,” also includes Helen J. Shen, Jaren Lewison, Parker Young, Rose Abdoo, Tristan Michael Brown and Shylo Molina.

(L-R): Tristan Michal Brown, Parker Young, Rose Abdoo, Ed Weeks, Allegra Edwards, Helen J. Shen, Jaren Lewison and Shylo Molina of ‘Eternally Yours’ attend the CBS Fest 2026-2027

Francis Specker/CBS

Manifesting Resurrection

Earlier this month, Eternally Yours was picked up to series by CBS 11 years after Port and Wiseman first came up with the idea, 10 years after getting the first rejection from the network, 6 years after the script was featured on the Dead Pilots Society podcast and 3 years after the project re-entered development.

“For us, Eternally Yours was a project that never went away, it was merely hibernating,” Adler said. “We were always deeply in love with it, I guess you could say our love was eternal. We always promise creators we won’t give up on their projects, and we remain hopeful that a great project will ultimately find a home. Obviously, no one knew this one would take 11 years!” 

Port and Wiseman, who have had their fair share of rejected pilots, also thought there was something special about Eternally Yours.

“There’s a lot of dead pilots, but this one felt like it kept trying to come back; every few years, the studio would ask us about it and say, what about this?,” Wiseman said. “Most shows don’t go, and most dead pilots don’t go, so I can’t say I knew this was going to happen but it did feel like people were supporting this project for a long time.”

Befitting the supernatural nature of Ghosts and Eternally Yours, Port got a premonition once the former got off the ground.

“I have a picture in my home office of the Ghosts poster,” he said. “I moved it over to the left, and I left an empty space for it for the past few years because I was envisioning putting up an Eternally Yours poster next to it.”

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Obama Relives Tan Suit Debacle In ‘Life, Larry & Pursuit of Unhappiness’

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As Larry David‘s comedic trip through U.S. history comes to an end, he took credit for one of the nation’s more recent presidential scandals.

On Friday’s season finale of the HBO sketch comedy miniseries Life, Larry and the Pursuit of Unhappiness, President Barack Obama made a surprise appearance as himself in a sketch set in 2014, as David advised him to wear the now-infamous, outrage-inducing tan suit during his live press conference on military response to ISIS.

Following some banter on how the POTUS avoids stains, David accidentally spills juice on Obama’s suit jacket when he leaves the room. When the 44th president returns, the comedian recommends he wear the tan suit that Obama planned on taking it to Turin for NATO Summit, for “a daytime event, it’s outdoors, a little more casual.”

“First of all, it’s a gorgeous suit,” David declared. “And this is casual Friday!”

“It is a great suit,” admitted Obama, as David told him, “Oh boy, oh boy. I think this is the move. … Old lips won’t let you down. You’ll thank me!”

As Obama models the look, David gives him his signature, “Pretty good! Pretty, pretty, pretty, pretty, pretty good.”

“You sure about this?” asks Obama, as David assures him, “Never been more sure about anything in my life. People are going to be talking about this for a long, long time.”

Obama’s cameo in the finale comes as David marks the United States Semiquencentennial with the seven-part sketch comedy limited series, which recounts major events in U.S. history through the comedian’s signature observational humor.

David’s longtime Curb Your Enthusiasm partner Jeff Schaffer, who serves as an executive producer on Life, Larry and the Pursuit of Unhappiness, previously told Deadline that Obama, who produced under his Higher Ground banner, reached out to his buddy David to ask if he’d be interested in making the show to celebrate the country’s 250th birthday.

“When you’re doing a show about American history, you want to do it warts and right now we have this orange saggy wart that we wish would go away,” said Schaffer. “But the nice thing about having President Obama produce this and be a part of it is that this country’s had a lot of fuck ups, we’ve seemed to have learned very little, but we’re still moving forward sometimes, and then we move back a little bit, but we always move forward again. While Larry’s pointing out a lot of the steps back, the President is telling us we can still step forward.”

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Matthew McConaughey Performs “Quill” From ‘Rivals of Amziah King’ — Watch

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Matthew McConaughey shows off his vocal skills (and some hidden banjo talents) with his latest role in The Rivals of Amziah King.

On Friday, Lakeshore Records released the single and music video for “Quill” from the original motion picture soundtrack, performed by the Oscar-winning and co-star Ben Hardesty, also featuring Miranda Zickler, Angelina LookingGlass and Andrea Pister.

Set in the backwoods of Oklahoma, The Rivals of Amziah King follows the musically gifted Amaziah King (McConaughey) and his bluegrass-playing band of misfits while overseeing the premier honey-making operation in town. When Amaziah’s estranged foster daughter unexpectedly returns, he leaps at the chance to reconnect and create a family business. But the honey game is ruthless, and Amaziah’s rivals threaten to destroy everything he has built.

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Premiering Aug. 14 in theaters, the Andrew Patterson-written-and-directed drama also stars Angelina LookingGlass, Cole Sprouse, Jake Horowitz, Tony Revolori and Kurt Russell.

Producers are David Heyman, Teddy Schwarzman, Jeffrey Clifford, Michael Heimler, James Montague and Will Greenfield.

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Jane Schoenbrun On Tackling “Toxic Soup” Of Slasher Genre In ‘Camp Miasma’

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With their latest directorial outing, Jane Schoenbrun used subtle pieces of nostalgia to deconstruct the slasher genre.

The Teenage Sex and Death at Camp Miasma writer/director explained to Deadline that they wanted to create “a mindset where you can really enjoy something scary,” noting the frequent symbolism of candy and junk food as providing an atmosphere “that’s actually safe” while diving into a horror movie or exploring sexuality after trauma.

“There is this idea that if it gets too real, you can turn it off, that you’re exploring something dangerous, doing it in a way that’s actually safe,” said Schoenbrun, who is non-binary. “Which in my experience of coming into my sexual identity post-transition, kind of required some gummy candy on hand. What I mean by that is, even if we’re going to be exploring scary and vulnerable and potentially embarrassing, triggering parts of ourselves, we trust each other well enough to know that at any moment, we can be like, ‘Let’s stop, we gotta just eat some fucking gummies.’”

In Schoenbrun’s latest film, Hannah Einbinder stars as queer director Kris, who is tapped to helm a new installment of the long-running Camp Miasma horror franchise. While courting Billy Presley (Gillian Anderson), the actress who played the “final girl” in the original film, to reprise her role, the pair spirals into a psychosexual frenzy as the slasher’s killer, Little Death (Jack Haven), comes to life.

Acknowledging the problematic trans representation of horror films like Psycho (1960), Sleepaway Camp (1983), The Silence of the Lambs (1991) and Texas Chainsaw Massacre: The Next Generation (1995), Schoenbrun admitted the genre has been “catnip to me since I was 10 years old,” and they jumped at the chance to direct their own.

Jane Schoenbrun at the
Jane Schoenbrun attends the ‘Teenage Sex and Death at Camp Miasma’ premiere on Aug. 5, 2026 in New York City.

“So many slashers do have this sense of humor, and even if they’re not overtly meta like the Scream movies are, they’re so aware of their own tropes and the sort of rituals … And I just loved that from a young age and loved all of the little rituals within it, and so, getting to make my own is just like play and joy,” they explained.

“But it also felt like the perfect way to talk about sex and to talk about my experience as a trans person post-transition, learning how to come into a sexual identity that I could feel comfortable within, because so many of these movies are obviously deeply engaged in gender and sexual roles, and these movies have so much to say for better or for worse about deviants,” said Schoenbrun. “It is there in the DNA of the slasher genre that these movies are talking about fear and desire, gender and sexuality, normativity and deviance. And that’s all swimming in the toxic soup of the genre, so I wanted to remake it in my own language.”

Read on about Jane Schoenbrun’s love letter to the slasher genre with Teenage Sex and Death at Camp Miasma, now playing in theaters.

DEADLINE: It was really fun to see the slasher genre through your eyes. Tell me about finding inspiration in that genre and “final girls.” 

JANE SCHOENBRUN: I mean, it was the easiest thing in the world because it’s just one of those genres that has been catnip to me since I was 10 years old. I just raided the horror section of the video store as a kid from an age when I really shouldn’t have been doing that, like in 5th grade, I watched in the span of about one week, every Nightmare on Elm Street movie. I think that I was always drawn to movies and really anything entertainment where it felt forbidden in some way, like the thing on the tape, how is that even allowed? And that’s the thing that I love about a lot of my favorite slashers. Don’t get me wrong, I love like brutal ones, like I love Texas Chainsaw, that’s a nasty movie at its core, and that’s what’s so special about it. But so many slashers do have this sense of humor, and even if they’re not overtly meta like the Scream movies are, they’re so aware of their own tropes and the sort of rituals of, OK, what’s the most outrageous way that like these like dumb kids can get killed? But watching it, it’s not about fear a lot of the time, it’s about joy and celebration. And I just loved that from a young age and loved all of the little rituals within it, and so, getting to make my own is just like play and joy. But it also felt like the perfect way to talk about sex and to talk about my experience as a trans person post-transition, learning how to come into a sexual identity that I could feel comfortable within, because so many of these movies are obviously deeply engaged in gender and sexual roles, and these movies have so much to say for better or for worse about deviants, whether that be Norman Bates or Buffalo Bill or Sleepway Camp or Jason, Michael Myers, Leatherface in drag. It is there in the DNA of the slasher genre that these movies are talking about fear and desire, gender and sexuality, normativity and deviance. And that’s all swimming in the toxic soup of the genre, so I wanted to remake it in my own language. 

‘Teenage Sex and Death at Camp Miasma’ (2026)

DEADLINE: I’m curious about the symbolism of all the processed junk food and the chandelier of wrappers.

SCHOENBRUN: The junk food in the movie, I forget when it found its way in there. It’s like so much of the movie is about, like I said, ritual, about being in a mindset where you can really enjoy something scary, whether that be Kris [Hannah Einbinder] in bed, with, you know, with Raisinets and the popcorn, watching a schlocky horror movie, or the two characters learning how to be present and enjoy sex after a lot of trauma. There is this idea that if it gets too real, you can turn it off, that you’re exploring something dangerous, doing it in a way that’s actually safe. Which in my experience of coming into my sexual identity post-transition, kind of required some gummy candy on hand. What I mean by that is, even if we’re going to be exploring scary and vulnerable and potentially embarrassing, triggering parts of ourselves, we trust each other well enough to know that at any moment, we can be like, “Let’s stop, we gotta just eat some fucking gummies.”

DEADLINE: And one thing I really love—I just feel like it’s a theme in your work—is how it depicts the way media and entertainment influence us. Why does that inspire you? 

SCHOENBRUN: I think it comes from a fascination and sensitivity to the complex relationship between what we think of as fiction and what we think of as reality, which we tend to, as a society, think of as pointing in one direction. Like, reality dictates fiction, not vice-versa, but when you actually look at the way the world works, it’s like one echoes off the other. And I think a complicated, sometimes terrifying and sometimes beautiful way, where the fiction, the cultural norms, the things we grow up looking at on our screens, the roles that we’re told people play, they kind of inspire us to create reality. There’s something liberating when you start thinking in that way. I think it’s a way of thinking that we as a culture, could do a lot more of. To think about the idea of fiction inspiring reality just as much as reality is inspiring fiction, is a potential path to liberating us from this hellscape that they’re telling us is the only way the world can be. 

Gillian Anderson in ‘Teenage Sex and Death at Camp Miasma’ (2026)

DEADLINE: And I know you have the Secretary reading. Tell me what it’s been like prepping for that and why you all chose that movie. 

SCHOENBRUN: I mean, that was such a huge influence on on Miasma. There just aren’t that many fun and funny movies about deviant sex. And just the way that movie is like feather light while talking about really raw and taboo things, it is just really inspiring to me. And the dynamic between those two main characters is definitely one that had a lot of influence on on Kris and Billy’s [Gillian Anderson] relationship in Miasma. And it’s already to me a very queer movie in its way, but having Gillian reading the James Spader part and Hannah reading the Maggie Gyllenhaal part, I think it’s just gonna be like a very unique joy. Honestly, we’ve been prepping a little bit, but I think it’s just gonna be about getting up there and feeling the chemistry of it all, and just letting these folks who we have all gotten to know each other really, really well, but we haven’t actually done anything wacky and creative like that in a while, like as a reunion, it’s gonna be a real blast, I think.

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