More GP appointments available due to success of pilot scheme

Time For Care saved the equivalent of 1.23m GP appointments last year and is now being expanded.
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E! Greenlights Pilot for ‘Juicy Stories’

JUICY PILOT: E! has green lit a pilot to “Juicy Stories,” an hourlong scripted development project, inspired by Juicy Couture cofounders Pamela Skaist-Levy and Gela Nash-Taylor.
“Juicy Stories” is produced by Michael Patrick King Productions in association with Warner Horizon Scripted Television and Universal Cable Productions. Michael Patrick King and Amy B. Harris will serve as executive producers, along with Pamela Skaist-Levy and Gela Nash-Taylor, who are producers, according to a spokesman for NBCUniversal.
E! is a network of NBCUniversal Cable Entertainment, a division of NBC Universal.
“Juicy Stories” is inspired by the memoir, “The Glitter Plan,” by Skaist-Levy and Nash-Taylor, who will narrate the TV show. Skaist-Levy and Nash-Taylor met while working at a Los Angeles boutique and became friends. They established the business in 1997 in Nash-Taylor’s one-bedroom Hollywood apartment and the brand became known for its iconic Juicy Couture terry cloth and velour track suits that were worn by countless celebrities such as Madonna, Christina Applegate and Cameron Diaz. The designers’ initial $ 200 investment led to a $ 50 million sale of the company to Liz Claiborne Inc., and Juicy Couture became a billion-dollar brand.
The story tells the tale of the designers’ lifelong friendship, how they made clothes, made mistakes, made

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Prince William Talks About His ‘Incredibly Tough’ Days As An Air Ambulance Pilot

“It is days like this, when you know you have made a difference, that give you the determination to keep going.”
Fashion News, Celebrity Style and Fashion Trends – HuffPost Style
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Call for drug test services at all UK festivals and clubs after successful pilot

Secret Garden Party founder backs the calls after a successful pilot scheme at his 2016 event.
BBC News – Health
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A Pilot Explains the Truth About Turbulence

You likely have nothing to worry about.

Lifestyle – Esquire

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In Defense Of The Unaired ‘Buffy The Vampire Slayer’ Pilot On Its 20th Anniversary

A brunette Buffy Summers walks the halls of Berryman High School on her first day, befriends a very different Willow, and still kicks ass, if only for 25 minutes. Into every generation a slayer is born, but before we knew her as our chosen one ― or as a member of the Scooby Gang, for that matter ― there was another version of the slayer running around staking bad guys in between classes and nights out at The Bronze.

Friday marks the 20th anniversary of the “Buffy the Vampire Slayer” premiere. As fans celebrate the series’ lasting cultural impact — a slew of official anniversary merchandise was released last week ― let us revisit the show’s humble and admittedly cheesy beginnings. In order to understand why Buffy captivated a generation and transformed teen storytelling on TV as we know it, it’s time to reclaim the series’ own origin story as an essential part of its legacy. Brace yourselves, “Buffy” purists. We’re talking about the unaired and much-derided pilot, because if you can’t love Buffy at her worst, you certainly don’t deserve her at her best. 

Before “Buffy” came into being, creator Joss Whedon and company shopped the series around to networks in hopes that a vampire slayer might feel more at home on television than she did in the movies. A film version starring Kristy Swanson as the titular cheerleader-turned-demon-hunter hit theaters in 1992 and promptly left with little fanfare. Years later, Gail Berman, who owned the rights to the feature, made it her mission to breathe new life into the concept with the help of Whedon by pitching the project as a TV show. After NBC and Fox passed, the motley crew of writers and producers arrived at the fledging WB network, which ordered a pilot presentation then and there. And so, the unaired pilot was born. 

It’s not unusual for a series to put together a presentation before filming a pilot ― all it takes is a Google search to find unaired episodes of “The Big Bang Theory” and “30 Rock”  ― but rarely is one bootlegged and circulated so heavily in fan communities. A quick glance at comments on the many copies that found a second life on YouTube reveals just how strongly Whedonites feel about “Buffy” 1.0. In between those bowled over by the gloriously ‘90s fashions, you’ll find just as many people criticizing the production value, casting choices and everyone’s early acting abilities. Most express a sheer disbelief that the presentation ever convinced a network to make a full series order. 

Even the patron saint of Buffydom himself legitimized the narrative that this early iteration was to be considered more ugly cousin than canon. In a 2003 interview with IGN, Whedon declared that the pilot would never see the light of day “while there is strength in these bones” and insisted that despite the archival and historical value, it still “sucks on ass.” 

Rough around the edges? Yes. But the unaired presentation is hardly deserving of the fan vitriol or complete denouncement by its creator. Running about half as long as the pilot, “Welcome to the Hellmouth,” the presentation opens in an almost identical fashion, with Whedon’s trademark subversion of the pretty blonde as the near instant victim. Dressed in a schoolgirl outfit, Darla (Julie Benz), a 400-year-old vampire who would go on to appear throughout the series, lures an unsuspecting boy into the high school at night to feast. 

What follows is a condensed and slightly more cutesy version of the series’ first entry that still manages to capture what made “Buffy” great, albeit with some noticeable changes. The first wrinkle in this alternate universe is the name of the iconic Hellmouth-covering Sunnydale High, which goes by Berryman High. Not-long-for-this-world Principal Flutie, played by Stephen Tobolowsky in this version, is the next. He briefs Buffy (Sarah Michelle Gellar) — or “Bunny,” as he calls her — on school rules, like not hanging from the cafeteria rafters screaming “Meat is murder” on Sloppy Joe Day. The scene was one of a handful that never made it to air. 

Due to the shortened runtime, the unaired pilot also has no mention of The Master, the ancient vampire who served as the season’s big bad, or Angel, Buffy’s doomed love interest throughout the series. Locations like the library, which is much more spacious than the one in the series, are also changed, as is the setting of the final fight scene, which is switched from the school’s auditorium to the graveyard at night. 

A name change here and the recasting of a minor character there were easy enough to swallow for most diehards, but fans drew the line at another actress besides Alyson Hannigan playing Willow Rosenberg. In the unaired pilot, actress Riff Regan is the geek girl destined to become an all-powerful witch until she was recast for reasons Whedon has never revealed. Admittedly, Regan’s appearance is jarring at first, as Hannigan was the lifeblood of the series as it aged, at points becoming more popular among fans than Buffy herself. Here, Regan fails where Hannigan succeeds at immediately capturing the character’s quirkiness and supreme intelligence, although criticism of her performance is overblown. 

There’s no argument to be made that the final product is superior. However, there’s something to be said about the strength in the unaired pilot’s bones. Despite the production value and the low-budget vampire “dusting” effects, the potential for greatness is just as clear as it was in the original pilot. Whedon’s dialogue, no matter how self-indulgent or unpolished in its early stages, is still distinctively his own. Buffy is the sarcastic heroine we know and love, striving to be a normal teenager in a supernatural world. Xander (Nicholas Brendon), whose character across the two pilots is perhaps the most consistent, remains perpetually friend-zoned and just as relatable. And as for Cordelia (Charisma Carpenter)? Well, she still steals every scene with deliciously bitchy lines like, “I see you’ve found the softer side of Sears.”

After seven seasons of ass-kicking, looking back at the 25-minute dress rehearsal reminds us why “Buffy” is so special after all of these years: it still stood for something. Even at its most elemental level, the show succeeds as a commentary on the horrors of high school, using its supernatural elements to explore the shared fears over rejection and being accepted. Had it not been for the experimentation in the unaired pilot, these ideas might have never been finessed in later episodes, as the series found its footing toward the end of the first season. 

Genre television shows tend to get better with time, as opening episodes are overburdened with character exposition and world building. Even the “Buffy” pilot that made it to air is a far cry from the series strongest entries in the second and third seasons. For a fandom that prides itself on embracing expansions of the “Buffy” universe in the form of comic books, video games and even spinoffs, bringing the unaired pilot back into the fold as #BuffySlays20 is long overdue. So as you celebrate the series’ 20th anniversary watch the unaired pilot, laugh at the goofy special effects, praise the gods and goddesses for recasting Willow, but remember why you fell in love with the Buffy in the first place. 

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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Humans: AMC’s Sci-fi Pilot U.S. Debut Magnifique!

Do we really need another sci-fi TV show about humanoid beings you may fairly ask? For doesn’t it seem like yesterday when Edward James Olmos acted in Battlestar Galactica before Agents of S.H.I.E.L.D.? Initially I was skeptical about Humans. Now I’m not.

Humans is the product of a joint British and American (AMC) sci-fi series that had a recent U.S. launch on Sunday June 28, 2015, whereas U.K. viewers had an earlier launch. Inspired by the award winning Swedish sci-fi TV drama titled Atka manniskor (Real Humans), the pilot of Humans was written by British writers Sam Vincent and Jonathan Brackley. Besides that, the two are also the creators of the new AMC sci-fi TV series.

By making it as more relatable as possible by not having the story set in some far off future as usual sci-fi, Humans begins in the here and now. And while story location is based in the U.K., the premiere episode does not fail to capture. Though patience is required from the jump. That is, if one is simply not used to leisurely paced storytelling which is the hallmark of AMC dramas.

The story begins in London, just after Joe Hawkins (Tom Goodman-Hill) had breakfast with his three children, teenage daughter Mattie, teenage son Toby, and youngest daughter Sophie. It’s then that he receives a text from his wife Laura (Katherine Parkinson), a lawyer, reading that her case is running over to which she’ll arrive home the next day. Now feeling glum before telling the three children the recent news, to attempt to uplift his spirit and theirs, he tells his daughter Sophie that they’re going shopping. And no it’s not to get the newest breakthrough smartphone.

In the world of the sci-fi film Blade Runner, humanoid machines are called Replicants. Also called skin-jobs, nicknamed by Capt. Bryant, commander of the Los Angeles Police unit of Blade Runner cops who terminates runaway Replicants in the year 2019. And in the world of the sci-fi TV show Battlestar Galactica, humanoid machines are called Cylons, also called skin-jobs borrowed from Blade Runner, yet different from the other metallic battle-bot Centurions. Now, in the world of Humans, humanoid machines are called synths, short for synthetic. Synths are programmed to serve mankind, just like both Replicants and Cylons were originally intended.

“What if she’s not pretty? Can we change her if she’s not pretty?” asks the little girl Sophie Hawkins enthusiastically, before the salesman unveils the plastic synth shroud. Enter Anita, which the Hawkins later agreed to name her, all five-foot nine with a gracefully slender frame, played by former model and drama school trained British actress Gemma Chan. And, of course she’s pretty. For one doesn’t buy expensive luxury tech if it’s not also easy on the eyes.

“This is the best thing you’ll do for your family,” says the salesman before releasing her to Joe Hawkins. For if by chance one is not satisfied after purchasing a synth, one may return it within 30 days, no questions asked, which is explained to Joe Hawkins. Next, after all formalities have been established, the female synth reaches to shake Joe Hawkins hand as she says pleasantly, “Hello Joe, I’m now securely bonded to you as my primary user.” Which shortly afterwards, the irises of her eyes gleam to an iridescent deep green.

Finally the next day, Laura Hawkins arrives. And from there, Anita, who represents the latest achievement of bioengineered beings, quickly changes the Hawkins family dynamic. Laura takes an immediate dislike to Anita, feeling that her role as a wife and mother is now in jeopardy. Especially when she later sees Anita is reading a bedtime story to Sophie. “I’ll take over now, Anita,” says Laura. “No! I want her to do it!” exclaims Sophie, who is enthralled with Anita. To which Laura adds, “Reading to you is Mummy’s job.” “But she doesn’t rush,” Sophie replies. Son Toby, sees Anita as one hot chick. While Joe, as husband and father, sees Anita as a remedy to save both marriage and family life. For during an argument with his wife, he says, “I didn’t buy Anita to replace you. I bought her to get you back.” Whereas rebellious Mattie, also sees Anita as a threat. Although bright, she explains to her parents about her underperforming at school, saying, “I could be anything I want, right? What about a doctor? That would take me seven years, but by then you’ll be able to turn any old synth into a brain surgeon in seconds.” Given that scene, the pilot episode of Humans couldn’t have come at a better time. Such as the recent July/August 2015 issue of The Atlantic with the cover story titled, “Technology will soon erase millions of jobs. Could that be a good thing? – The End of Work.”

Also later, the story flashes back to a scene taking place five weeks earlier in the woods. A group of synths under the care of a young man named Leo (Colin Morgan) begin to set up camp. The synth later to be known as Anita, is among them. Then Leo and a black synth called Max (Ivanno Jeremiah) decide to leave the others to go after supplies. Yet upon their return, they discover their synths are being stolen by men in a van as the two attempt to chase. And thus begins Leo’s odyssey, who begins a desperate search for his family of synths.

Synths are involved in all manners of service, from standard domestic such as Anita to the Hawkins family, as a caretaker like the synth Odi to Dr. George Millican (William Hurt), formerly a brilliant engineer from the beginnings of the synth project, to being also sex workers. For in a later scene, Leo visits a synth brothel to check on the blonde synth Niska, who hates her work. Already knowing that, he vows he would return to come for her but needs more time, and telling her that she would be safer where she is for now.

Meanwhile, another black synth named Fred (Sope Dirisu) while working as a laborer at an apple orchard, fails to make the rendezvous with Leo and Max. For Fred is captured and given to Professor Edwin Hobb, whose mentor was the creator of synths, a man named David Elster. Hobb is the first to discover something unusual about Fred, now temporarily incapacitated. For Hobb discovers that Fred is showing self-awareness, seeing that as he calls a singularity, and concludes other synths may be as well, like those of Leo’s. Hobb, as he speaks to a colleague while looking at Fred in fascination, sees also the possibility of danger. Now recognizing the possibility that his former mentor gave other synths consciousness, and that the world is becoming ever more dependent on synth labor, he then asks, “Do you think they would still want to be slaves?”

Then also there’s another danger, touched upon in a recent on-line June 25, 2015 article by Katharine Trendacosta for io9, titled, “In AMC’s New Android Show Humans, People Are the Real Monsters.” For within, the actor Tom Goodman-Hill states, “Because the question is not just whether the synths are sentient and what sort of people might they become, it’s more about the humans not realizing how inhuman they can be. And how unlikable they can be without even trying.” To which fellow actor Katherine Parkinson adds, “That’s sort of the human condition full stop. We cause the damage and then worry about it afterwards.”

Such a sentiment, is somewhat similar to a scene from Battlestar Galactica the mini-series. Near the beginning of the pilot episode, there’s a decommissioning ceremony on the starboard hangar bay, as Commander William Adama (Edward James Olmos) is giving a speech. For within the speech, he says, “We decided to play God, create life (Cylons). When that life turned against us, we comforted ourselves in the knowledge that it really wasn’t our fault, not really. You cannot play God, then wash your hands of the things that you’ve created.”

The pilot episode of Humans premiered both solid acting and story, and from there onward, can only get better.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.



Entertainment – The Huffington Post
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A ‘Minority Report’ TV Show Is Getting A Pilot On Fox

If you’re a fan of the Philip K. Dick short story, the Steven Spielberg film adaptation or of sci-fi in general, we have good news: “Minority Report” is coming to the small screen.

A TV adaptation of Spielberg’s 2002 film has been one of the most buzzed about projects for months, and now Fox has given it a pilot order. The drama will be a follow-up to the film, which starred Tom Cruise as a cop who stops crime before it happens using psychic Precogs. Set 10 years after Precrime is over in Washington, D.C., it will follow a female detective and a Precog who has trouble leading a “normal” life while still suffering from visions of the future.

The pilot, which has yet to be cast, was written by Max Borenstein (“Godzilla”), who will also executive produce along with Justin Falvey and Darryl Frank. Kevin Falls (“The West Wing”) will serve as showrunner.

For more, head to The Hollywood Reporter.
Entertainment – The Huffington Post
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