Logline
A luxury real estate agent hunts the people who trafficked her as a teen, one listing at a time.
Open houses by day.
Open graves by night.
Logline
Introduction
Set in the spray-tanned world of Los Angeles luxury real estate, it lives at the crossroads where the glossy meets the gruesome.
The drone-shot glamour and champagne sabrage of Selling Sunset… meets the carnage and brutality of Atomic Blonde with a Dexter-style ADU out back.
Dead Listings is a marriage of reality TV and neo-noir thriller. On the surface, it's a revenge fantasy. Underneath, it takes the real thing seriously: a show about trauma, guilt, and how survivors cope.
Angela Webb was fourteen when they took her. She escaped. Most don't.
Now she sells houses in LA. Big, multimillion-dollar listings to the same kind of men who built the world that swallowed her. By night, she hunts them. It's not a calling. It's a debt she can't stop paying.
And for the first time since the basement: she wants to stop paying it.
A network of wealthy men and women who pay for access, protection, and silence. Venture capitalists. Gallery owners. Developers.
The kind of people who sit on boards and buy small islands.
They brand their members like cattle: a small tuning fork, seared into the hip. They call each other Singers.
Engine
Genre / Tone
Betrayals. Double-lives. Close-range kills. The tension of Killing Eve wrapped in leather and plastic surgery.
Murder, justice, cover-ups, and secrets. Like Dexter, we root for a killer who only kills the worst.
The glitz and absurdity of luxury real estate hides a vicious truth. Think Selling Sunset with blood.
Lives in Angela herself. Constitutionally incapable of putting herself first, doing the right thing for everyone else while she comes in second. Off the clock she's quirky, awkward, defensive. The comedy is the gap between the flawless closer her clients see and the woman who can't accept a compliment without short-circuiting.
Glossy by day, neon-drenched by night. Days borrow from Selling Sunset: loud pop, drone shots, sun-bleached luxury. Nights cool into Drive and Taxi Driver: wet asphalt, sodium light, long silences. The cut between them is the show's signature.
Season one…
follows Angela Webb as she climbs two ladders at once: the LA luxury real estate rankings and a kill list of sixty-three names. And honestly? She's crushing both. Listings are closing. Chorus members are disappearing. She's up for the Rising Star Award, her office family loves her, and she and Gina are finally taking their lives back, one commission and one body at a time. She's even falling in love. Sure, it's with Mike, the detective quietly investigating her, but come on. Nobody's perfect.
Then the strangest thing happens: happiness. The fake life starts feeling real, and Angela starts losing her stomach for the mission. The revenge that built her is now the only thing standing between her and an actual future.
And just as she softens, Katya Kozlov arrives. The widow of a man Angela killed, a survivor who fell in love with her captor and built a kingdom inside the nightmare. Angela didn't just take her husband. She took her whole world. Now Katya wants Angela's world in return: her career, her friends, her future. Everything.
In one season, Angela goes from cold-blooded to falling in love. From hunter to hunted. From the best night of her life to standing alone in an unsold mansion, holding an award that means everything and nothing.
Turns out the hardest part of getting your life back is that now you have something to lose.
Watch
Shot vertical for the phone in your hand. Tap a card to play.
Tap a frame to take the shot