When you take that feature script and make it over into a pilot, and you will…
Open the end. Films arc to a close. TV shows tend to keep going. Unless they are Firefly, which I’m still too raw to discuss. The arc that you efficiently built into 100 pages now has to have the potential to go on for years.
Magnify the character-based conflict. In a film, a character’s cheapness might count as a running gag three times, for laughs. In a TV show, it will launch many episodes, especially when pitched against one character’s naive generosity and one’s profligate trustafarianism. Make the conflicts many and obvious, by which I mean build scenes around them.
Amp up your hook. Your movie is about two sisters fighting over an inheritance? Your TV hook is an east coast liberal feminist sister moves in with her spoiled LA wannabe actress sister to establish her rights to the house while the court case grinds on. As a not particularly compelling example. But you can see the built-in conflicts and the device that forces them into conflict.
Be more inclusive. Have you seen any TV lately? It’s happening, and it will happen more.
Know your structure. Read a hundred scripts in your format.