Oh, wait, I know why you don’t remember it: because it only ran for 13 episodes in the summer of 2009 before ABC axed it.

Thankfully, however, the fine folks at Shout Factory have come through for “Goode Family” fans in the same way they’ve come through for fans of so many other too-quickly-canceled series over the years, offering up a complete-series set which features all of the episodes, including audio commentary from executive producers John Altschuler and Dave Krinsky on several of them, as well as deleted scenes and premises for unproduced episodes. Even better, the aforementioned Mr. Altschuler was kind enough to spend a few minutes on the phone with Bullz-Eye to discuss the series, not to mention some of the other projects he’s worked on over the course of his career.

John Altschuler: So, Will, what can I do you for?

Bullz-Eye: Well, sir, I do this TV column for Bullz-Eye, I’ve more or less got carte blanche to cover what I want, and, dammit, I want to cover the DVD release of The Goode Family: The Complete Series.

JA: [Laughs.] Well, great…I hope!

BE: It is absolutely great. I was a fan for the all-too-few episodes that aired, so it’s been nice not only to revisit the series as a whole but also to listen to the commentaries that you and Dave recorded for the set.

JA: Excellent, excellent. Well, I can’t stand the sound of my own voice, personally, but I hope it wasn’t too bad for you.

BE: No, no, not painful at all.

JA: Well, good!

BE: So to begin at the beginning, as it were, you and Dave actually knew each other well before you first met up with Mike Judge on “King of the Hill.”

JA: That’s right. Dave Krinsky and I go back to…we went to the University of North Carolina together and moved out to L.A…wow, back in ’87! And we just did movies and TV for, y’know, forever, and got hired on “King of the Hill” in its first season, and that’s how we met Mike Judge.

BE: When you guys went out there, did you have a vision for what you wanted to write? Did you have a specific hankering to work in animation?

JA: We never considered it in our lives. We actually wanted to do features, and…back then it was such a different world. An agency would not represent you if you wanted to do TV and movies. And we wanted to do both, but since nobody would rep that, we were doing features. And then just on a fluke, this woman named Carolyn Strauss at HBO…she was great. Well, obviously, I liked her because she read our movie script, and she said, “Would you guys consider working on a TV show?” And we said, “Yeah!” And she showed us this show called “The High Life.” It was black and white, set in the ‘60s, but it was this guy Adam Resnick who was doing it, so we said, “We’ll do that!” She said, “Will you move to New York?” “Yeah!” “In three days?” Sure!” [Laughs.]

So that’s how we got into TV. And that show didn’t do well, but people liked it. Y’know, it was a good show, and people respected it, so it allowed us to have really our choice of working on television shows…and we liked it. I mean, the thing about TV is that you have a little bit more control over the medium, and you do a lot of them, so you can learn more, whereas you make so few movies that you can’t really learn anything, so you can’t really get better. Now, oddly enough, because the world’s changed, Dave and I are able to do animated TV, live-action TV, live-action movies…everything. Which is pretty great for us.

BE: When you got to “King of the Hill,” was there any sort of learning curve for working in animation?

JA: Yes, but…what’s interesting is that the writing wasn’t that different, because it was a very real show. You know, a lot of reviewers even said that it was the most realistic show on TV. And being from North Carolina, it just sort of fit in our wheelhouse. So the writing itself wasn’t so different, but when we started producing…animation is an incredibly intricate, long process that really takes about 10 years to get a handle on. There’s just all of these different stages and processes, with designs going here and then going to Korea and then coming back…it’s just this never-ending loop. But the writing was actually not that different.

BE: I must tell you that, were it not for “King of the Hill,” no one would know that I once spent three months working for A&B Propane in Chesapeake, Virginia. But the show has provided me with a certain pride in being able to say, “You know, I once sold propane and propane accessories…”

JA: [Laughs.] Yay! Our work is done!

BE: When “King of the Hill” was finally shuffled off into oblivion by Fox, who apparently finally realized that it was still on schedule…

JA: Yes, and they were upset that we were still making money. [Laughs.] I’m never going to understand the workings of that. We were a great show, and they just kept trying to cancel us. But we just kept hanging on until they finally succeeded in canceling us. It was, like, “What’s the deal? Is the problem that we’re too good and we make you too much money?”

I don’t think they ever understood why it was funny. It’s, like, with “Family Guy,” even though they canceled that, too, at least they go, “Oh, we know why it’s funny!” Even though they don’t. They think, “It’s ‘cause it’s crude!” But “King of the Hill” makes no sense to them. It’s not replicable in their minds. It’s, like, “Well, that show’s not funny. It’s boring!” That’s all I can figure out, anyway.

BE: Well, I loved it, anyway. In fact, I’m in the Television Critics Association, so I was in attendance for that table read that you did for the 200^th episode.

JA: Oh, so you’ve heard me blather on before! [Laughs.] Well, good.

BE: So what was the timeline as far as the end of “King of the Hill” and the beginning of “The Goode Family”?  

JA: Well, Dave and I had done the screenplay for “Blades of Glory” while we were doing “King of the Hill,” so what happened was… [Hesitates.] I’m trying to remember the exact timing, but…oh, of course we were still doing “King of the Hill” when we did “The Goode Family,” because Fox was very angry at us. [Laughs.]

BE: My apologies. I had convinced myself that “The Goode Family” was actually after “King of the Hill.”

JA: Hey, trust me, with this brain of mine combined with my general lack of sleep last night, I’m familiar with confusion. But, no, we did the season of “The Goode Family” concurrent with doing “King of the Hill.”

BE: You must’ve been pretty exhausted, then.

JA: You know, it wasn’t bad, because the timing of it…we only did the pilot and the 12 episodes of “The Goode Family,” and…Dave and I were really efficient. [Laughs.] And we were so ahead with “King of the Hill.” We had just great personnel – this woman Garland Testa was helping – so “King of the Hill” was going really fairly well, so we could concentrate. So we had a lot going on, but…it’s strange. I don’t know if you know this feeling where…well, like you just said, you cover what you want to cover for your column, so you cover a lot of things, I bet, which means you’re not bored and you’re not angry, because you’re sort of in control of what you’re doing. But when you’re on someone else’s clock and someone else’s dime, that’s devastating. When it’s your show, though, it’s kind of energizing. If that makes sense.

BE: It does, thanks to you putting it into my frame of reference. [Laughs.] Okay, so it’s fair to say that “The Goode Family” wasn’t exactly on for a lengthy period of time, but was there ever anything that had to be changed because ABC said, “Sorry, you can’t do that”?

JA: You know, it’s interesting, because ABC were actually really good partners creatively. With all the problems of when we were aired and how we were aired and picking shows to pair us with that we were not a great fit, they were very good with us creatively. The only thing we would run into were things like…we had the character of Charlie, who the gruff, Archie Bunker-ish character, except milder, say something like, “Let’s go down to the Asian place, those guys really know their way around a pig.” And it’d be, like, “How is this a Standards note?” And they’d go, “Well, you’re implying that all Asians like pork.” And I’m, like, “They do!” [Laughs.] “What do you want me to say? You go find me an Asian that doesn’t like pork that isn’t Buddhist…and even the Buddhists like pork!” So that was sort of frustrating.

And then one time we did an episode where the neo-Nazis adopt a highway, and at one point…what happened was that the main Standards guy was out of town, and we got these Standards notes that were just unbelievable. They wanted to shut us down! They even cited the word “sturm und drang,” which is just an uproar, because they thought it was some sort of slur! At one point, I was, like, “Okay, are you afraid we’re going to offend the neo-Nazis? Because I can’t figure out what the hell is going on!” And to be fair, when the normal guy got back…see, the stuff that Dave and Mike I do, we have absolutely no interest in offending people. We just don’t. But we like dealing with interesting stuff that nobody else deals with. So when you’re first working with us, it’s, like, “Oh, my God, you can’t do that, you can’t do that,” but then when you see how we handle it…

Like, when you pitch, “We’re going to do a show about class warfare in the lesbian community,” they’re horrified. But then they see it, and…the lesbians loved our show! [Laughs.] Basically, they see that we don’t do hatchet jobs. In fact, some people said that one reason maybe why the show didn’t catch on was that we didn’t do a hatchet job, that we sort of made the Goode family likeable when maybe we would’ve been better off just going the other direction. But that’s just not what we do. Look at “King of the Hill.” We’re just not into ridicule.

BE: And like “King of the Hill,” “The Goode Family” may have been a little exaggerated at times, but for the most part you tried to paint character as realistically as possible.

JA: Yeah, exactly. And, oh, my God, you come out here to California, my friend, and I’ll show you that things might seem a little bit ridiculous on that show, but we actually had to tone down reality to put it on that show. [Laughs.]

BE: To look at the IMDb page for “The Goode Family,” you kind of see that the show’s biggest problem was that people had such diverse opinions about it. The first user review calls it “the best show ever,” while the “Did You Know?” section leads off by noting that the show was canceled after a single season because of poor ratings and poor critical reception.

JA: Yeah, but, y’know, we actually got great reviews. For the most part, anyway. I mean stunningly good reviews. The bad reviews that we got…it’s pretty interesting and actually makes sense, but we got scathing reviews from The New York Times, NPR, and The San Francisco Chronicle. And it’s like a fucking joke, because they’re literally, like, “Oh, my God, how can you make fun of global warming?” But to be honest, we were pretty freaking happy, because we got a lot of great reviews. The sad thing, though, was that the reviews tended to say, “Watch it while you can.” [Laughs.] I remember one case…it was a good review, but the guy said, “The show’s fantastic, but it will not make it past the first season. If it was on Fox, it’d last for eight seasons, but on ABC, it’s gonna be gone.”

So there were a lot of reviews like that, and…it’s interesting, and we’ll never know if it was the wrong place, the wrong time, if the show wasn’t hard-hitting enough. We loved it, though, and when people watch it, when people actually see it, they seem to really respond to it. “That was great!” And all we can do is say, “Well, we thought so.” So who knows why it didn’t take off?

BE: Before the show premiered, did you consider the fact that, because it was being so politically correct to an absurd degree, it might take time to find an audience?

JA: You know, what’s interesting is…I thought it would connect, even though we knew it was weird going on ABC. We were really worried when we were put with “Wipe Out.” It was, like, “Oh, boy, this doesn’t seem like our audience.” This one comedian said, “You know the people you made your show about…? People really hate those people. They really don’t want to hang out with them.” And we were, like, “Okay…” [Laughs.] It was interesting, though, that the lefty blogosphere types really liked the show. Lesbians, even wacko environmentalists, they sort of understood that, yes, we were making fun of them, but it wasn’t ugly making-fun. But the ABC audience for a family game show was decidedly different.

BE: How long ago did you start working on the DVD set? Was it right after the show went off the air, or did it only come about because Shout Factory asked about doing one?

JA: Well, this was very frustrating, actually. The DVD set happened because of the tenacity of this guy named Glenn Lucas, but what was frustrating was that…I don’t know, I guess we kind of fell between eras, sort of. It wasn’t actually before Hulu, but it was before Hulu had a lot of deals set up. You couldn’t get “The Goode Family” anywhere. You couldn’t stream it, you couldn’t buy downloads…it just wasn’t available! But basically Shout Factory just loved the show, and this guy Glenn Lucas made the deal for us. It was a tough deal, because a lot of times with Hollywood, if there’s not a lot of money involved, companies will just say, “Eh, let it go.” And not “let it go, go ahead and do it,” but, “nah, we’d rather not.” So it took a few years, but we did it, and…it just makes me happy. Because, y’know, we’ve just put so much work into the underground-comic look of the show that I just think is so beautiful. And, I mean, where else do you get to see a vegan dog running around eating all of the other pets in the neighborhood? [Laughs.] Well, I think it’s fun, anyway…

BE: Shout Factory invariably does a great job with their reissues.

JA: Oh, they’re a top-flight company. They’re just good at what they do, and they’re solid citizens. We’re going to keep working with them.

BE: If only you could get them to put out the rest of the “King of the Hill” seasons…

JA: Oh, God, they want to.

BE: Do they, really?

JA: They do! They’ve been trying, but…I guess it’s just not going to happen.

BE: That sucks.

JA: Yeah. And it’s really frustrating because, like Mike Judge points out, Fox stopped putting them out just as the show had a resurgence and started getting really good again. [Laughs.] And he wants those out on DVD, but they’re not.

BE: Well, at least they’re available for online screening. That’s something.

JA: Something, yes. But it’s still frustrating.

BE: Before we wrap up, I wanted to ask about a few other things very quickly, the first being the script for “Blades of Glory.” Given that you and Dave came out with the intent of working on features, that must’ve been great to get that big-screen break at last.

JA: Oh, it was great. And it was interesting, because Dave and I were brought on, and we did the script, and it got put right into production. It was, like, “Wow, when does that happen?” [Laughs.] It was a very fun project, because the initial idea was not ours. The script was, but the initial idea wasn’t. We just stepped in, and we were, like, “Okay, let’s take this and treat it incredibly seriously, where everything with these skaters is life or death, and take it completely over the top.” It’s been incredibly satisfying, because people just love that movie. I mean, I can’t even tell you the range of people. There’s this judge who’s very high up in the ranks, and his favorite movie is “Blades of Glory,” and I met a woman at a party who said, “You know, we bought that movie  for my dad because it’s the only thing that makes him laugh!” So it’s beyond gratifying. And it opened up a lot of doors for us. So we’re very proud of it.

BE: So what’s the status of “Silicon Valley,” the live-action pilot you guys are doing with Mike for HBO?

JA: We’re working on that as we speak. Literally. We’re starting to cast that, and Mike Judge is going to direct it, which I think is great. We love it. We think it’s a show that needs to be made, because…my brother is an electrical engineer, my brother-in-law is an electrical engineer, Mike Judge was an engineer, and the one thing we’ve noticed is that nobody gets these guys right. I mean, “The Big Bang Theory” is fine, but that’s not who these people are, and it’s such an interesting, vibrant world where everything’s happening. So it was, like, “Oh, let’s go make fun of that!” [Laughs.]

BE: Finally, I feel as though it’s my responsibility to get status updates on everything currently attributed to you on IMDb.

JA: [Laughs.] Well, “The Jetsons” is…that’s funny, we were just talking about that recently. Who knows what’s going to happen with that? But “The Giants of Groil” definitely isn’t going to happen. And “Woody Woodpecker,” man, that’s gonna be a long, long, long process. Like, we just started, and animated movies…by the time you say, “Oh, we’re rolling,” it’s four years later. But we’re doing this project, “Brigadier Gerard,” that has Steve Carell attached to star and Jay Roach to direct. It’s hard making movies these days, though. It’s tough. Good thing you’re in TV, my friend!

Here’s the premise, straight from the ABC press release:

Marty Weaver (Lenny Venito) just wants the best for his wife, Debbie (Jami Gertz), and their three kids. That’s why he’s moving them to Hidden Hills, New Jersey, a gated community complete with its own golf course. Marty is certain that their new home will be a dream come true. And then, they meet the neighbors.

The residents of Hidden Hills are a little… different. The Weavers have barely unpacked when 20 of their new neighbors show up in the driveway, standing in a triangle formation, each holding an identical cherry pie. Larry Bird (Simon Templeman) introduces himself as the “leader” of the community. Then he presents his wife, Jackie Joyner-Kersee (Toks Olagundoye), and their two sons (yes, they’re named after famous athletes – Dick Butkus and Reggie Jackson). As Debbie and Marty frantically try to make sense of the weird neighbors – European? A cult? Amish athletes? – they discover that the entire Hidden Hills community is comprised of aliens from the planet Zabvron. ‘Turns out the Zabvronians have been holed up in Hidden Hills for the past 10 years, awaiting instructions from back home, and the Weavers are the first humans who have ever lived amongst them.

At first the Weavers are ready to cut and run. But the aliens seem harmless enough. And there is a lot of closet space… So they decide to stay and help their new neighbors adapt to life on this confusing planet we call home. But as the Weavers and the aliens face the struggles of everyday life together, they discover that some things – the ups and downs of marriage, the desire to be a good parent and raise a happy family – are universal, intergalactic even. And the Weavers realize they’ve found an ally in the family next door… even if they do cry out of their ears.

When people have asked me to cite my favorite new shows of the season, I won’t pretend that “The Neighbors” has been at the top of my list, but I have found that I can rarely finish such a conversation without at least bringing it up. Not because I like it, although I do, but because my seven-year-old daughter absolutely freaking loves it…like, to the point where she has watched my advance DVD of the pilot three times now, almost lost her mind when I told her that ABC had provided me with an online screener of the second episode, and demanded that I add it to the TiVo queue immediately.

I realize that this reaction isn’t necessarily what your average adult might view as a ringing endorsement, but consider how much you enjoyed some of the shows I cited in the opening paragraph during your own youth, then consider that “The Neighbors” has been placed in the midst of ABC’s Wednesday lineup of family comedies. On the surface, it might seem like the night’s weak link (and, indeed, it may yet prove to be), but if it doesn’t do bang-up ratings right out of the box, I hope the network at least gives it a trial week in the 8 PM timeslot, because otherwise, based on my daughter’s reaction, a lot of the potential audience for the series is going to be in bed by the time it comes on.

Did I think “The Neighbors” was as funny as my daughter did? No, I did not. But as someone who’s still in possession of a (pre-stamped) autographed photo of Robin Williams and Pam Dawber that I received after sending a fan letter to “Mork and Mindy,” I also admit to having a very soft spot for aliens-on-earth comedies, so I did laugh. It certainly doesn’t hurt that both Venito and Gertz both have top-notch comedic timing, of course, and the fact that Templeman and Olagundove both have charming British accents means that everything that comes out of their mouths is sounds so charming that it’s automatically perceived by our American brains as being 25% funnier than it probably really is. Inevitably, the series will spend a fair amount of time on cultural misunderstandings, which is only inevitable with this premise, but what I liked most is that the tone of the show occasionally seems to be a bit darker than its predecessors in the genre, most notably during a moment in the pilot where – although you know it’s never going to happen – it looks as though one of the alien children is about to meet his alien maker for the good of his people. There’s also a suggestion during the second episode that there’s potential for a battle for leadership amongst the Zabrvonians, something which leaves me hopeful that we’ll soon be seeing a schism amongst the aliens, with some of them less interested in learning about Earth culture and more concerned about taking over the planet.

What I wouldn’t give for “The Neighbors” to turn into some semblance of a live-action “Invader Zim.” Man, that’d be sweet…

At first glance, “Revolution” may seem to be a little bit like “Terra Nova” without the dinosaurs, given that it’s more or less about humanity trying to recover from a nasty situation (in this case, a sudden and seemingly total absence of electricity), but the pilot – directed by Jon Favreau – sets up the premise nicely, establishes the new power-free world, and gives stars Billy Burke and Giancarlo Esposito a chance to shine as the good guy and bad guy, respectively. The truth of the matter is that I’ll give anything with J.J. Abrams’ name on it a shot, but after the debacle that was “Undercovers,” I’m still going to enter with hesitation until “Revolution” proves itself.

As I’ve said elsewhere on Bullz-Eye, I didn’t even know I had a three-strike rule until I tried and failed on three separate occasions to get a decent interview out of Hayden Panitierre, so it’s a testament to how much I enjoyed the pilot for the country-music drama “Nashville” that I included it in this list. (Admittedly, it doesn’t hurt that she’s playing a complete bitch in the series.) There’s a very real possibility that the show could leave music-industry reality behind so quickly that I bail out well before mid-season, but with Connie Britton and Powers Boothe in the cast, it’s going to have to get pretty ridiculous for me to give up the ghost.

I’m a sucker for a good-looking period piece, so “Vegas” has already got me in its clutches by premise alone, focusing as it does on the growth of Las Vegas in the early 1960s, but it certainly doesn’t hurt that the show is headlined by Dennis Quaid and Michael Chiklis, then rounded out by Carrie Ann Moss and Jason O’Mara. I’m as excited about the possibilities of this series as I am just about anything premiering this fall…so don’t let me down, CBS!

Another case where a creator’s name – Shawn Ryan – instantly makes a series worth considering, although this one has the added bonus of having a surprisingly unique premise for a series on a broadcast network: the submarine USS Colorado refuses to act on an order to fire nuclear missiles, instead setting up camp on the island of Sainte Marina and declaring themselves a sovereign nation with nuclear capabilities. You’ve got to admit, it’s not like anything else on the air at the moment. The question is whether or not enough people will buy into it.

I didn’t anticipate that I’d fall for this series when I first heard about it, given that – quite frankly – the world does not need another Sherlock Holmes series when “Sherlock” is already on the air. As it turns out, however, I was rather charmed by the pilot, which definitely stands on its own rather than coming across as piggybacking on the success of “Sherlock.” I’m sure it’ll ultimately pale in comparison to its UK cousin, but I may well watch it nonetheless.

Green Arrow has always been one of my favorite DC superheroes, but I’d already decided that I couldn’t be bothered to follow “Smallville” when he turned up on that series. I’ve always regretted that, so I won’t be missing the chance to get in on “Arrow” on the ground floor. Given that I’m kind of a geek about the mythos of the character, I’m already having to bite my tongue a bit about the adjustments they’ve made to perfectly good storylines from the comic, but the pilot played far better than I’d expected, and conversations with the producers during the TCA Press Tour raised my optimism considerably. In short, they’ve at least got me ’til they bring on Count Vertigo, but we’ll see if I last any longer than that.

For what it’s worth, I’m not in the camp who believes that Matthew Perry is forever going to be Chandler from “Friends”) although I do believe that a lot of the character that we came to know as Chandler is actually just how Matthew Perry is in real life), but I did find his last series “Mr. Sunshine” less funny than I’d hoped it would be. With “Go On,” however, we’re getting to see a slightly different character for a change, one who’s recovering from the death of his wife and trying to find his way with the help of a support group. There’s a “Community” vibe as times – no surprise, given that the Russo brothers work on both series – but it’s still early days yet, so here’s hoping it quickly finds its own groove. It’d be nice to see Perry enjoy the experience of having a series last beyond its first season for a change.

Look, it’s Mindy Kaling. She was cute and funny on “The Office,” and now she gets to be cute and funny on her own show. Some of these explanations don’t involve rocket science.

This is probably my dodgiest inclusion, given that it feels like an unabashed “American Horror Story” ripoff, but I’m a sucker for a creepy vibe, and “666 Park Avenue” definitely nails that much, at least, in no small part because Terry O’Quinn has pretty much been uber-creepy in my mind since his days as “The Stepfather.” But if the show doesn’t keep the chills and thrills coming fast and furious from the word “go,” then I’ll be the one who’s going.

There’s usually at least one series per season where I really enjoy the pilot but find so many of my peers disliking it that I start questioning whether I’d gotten it wrong on first viewing. This year, it’s “Animal Practice.” But, look, here’s the thing: it’s got both Tyler Labine and a monkey, and it’s like “Scrubs” in a veterinary hospital. How much more do I really need from a sitcom? The fact that the super-cute Joanna Garcia-Swisher is now the series’ female lead is just icing on the cake, as far as I’m concerned.

Pete Rock and Premo opened their shared set with a tribute to Rock’s cousin, the late, great Heavy D, taking turns spinning some of his best-loved jams, including the classic “Nuttin’ But Love.” The evening was heavy on R.I.P. shout outs to some of the great musicians of the past, including a medley of Rick James songs like “Give It to Me Baby” and “Mary Jane,” a brief medley of the Jackson 5 hits “I Want You Back” and “ABC,” and a much more extended medley of the James Brown classics “The Payback,” “Soul Power,” “Make It Funky,” and “Sex Machine.” Along with cuts from Al Green, Kool & the Gang, the Commodores and more, Premo and Rock’s set felt like a miniature history lesson in black music, continuing into the rest of the evening.

Promising to soon go head to head with some of their own original beats, the two deejays first segued into the Hip-Hop portion of the evening with some ’80s favorites like Afrika Bambaataa‘s “Planet Rock,” MC Lyte‘s “Survival of the Fittest,” Audio Two‘s “Top Billin’,” Eric B. & Rakim‘s “Move the Crowd,” and Biz Markie‘s “Nobody Beats the Biz.” When Premo spun the Boogie Down Productions battle classic “The Bridge is Over,” a diss track aimed partly at Marley Marl (a huge influence on both Rock and Premo), Rock observed, “It’s even hard to hear at a distance, ’cause those are my people.”

Unfortunately, before they could get into the golden era of ’90s Hip-Hop, including the promised battle of their own productions and a promised special guest rapper (who, based on the outstanding scope of their past collaborations, could have been virtually any heavyweight emcee still alive and breathing), there was a power failure that brought the show to a premature end. I thought it was a gimmick at first, and much of the crowd began chanting “Hip-Hop,” as if our true belief could bring the lights and sound back on. Sad to say, in a city with subways full of ads featuring the slogan “Never be powerless,” the promoters and technicians were unable to bring the show back. It was a disappointing ending to an otherwise enjoyable evening of music brought to us by two of the greatest deejays alive. 

666 Park Avenue (Sun., 10–11PM): At the ominous address of 666 Park Avenue, anything you desire can be yours. Everyone has needs, desires and ambition. For the residents of The Drake, these will all be met, courtesy of the building’s mysterious owner, Gavin Doran (Terry O’Quinn). But every Faustian contract comes with a price. When Jane Van Veen (Rachael Taylor) and Henry Martin (Dave Annable), an idealistic young couple from the Midwest, are offered the opportunity to manage the historic building, they not only fall prey to the machinations of Doran and his mysterious wife, Olivia (Vanessa Williams), but unwittingly begin to experience the shadowy, supernatural forces within the building that imprison and endanger the lives of the residents inside. Sexy, seductive and inviting, The Drake maintains a dark hold over all of its residents, tempting them through their ambitions and desires, in this chilling new drama that’s home to an epic struggle of good versus evil.

The Neighbors (Wed., 9:30–10 PM): How well do you know your neighbors? Meet the Weavers, Debbie (Jami Gertz) and Marty (Lenny Venito). Marty, in hopes of providing a better life for his wife and three kids, recently bought a home in Hidden Hills, a gated New Jersey townhome community with its own golf course. Hidden Hills is so exclusive that a house hasn’t come on the market in 10 years. But one finally did and the Weavers got it! It’s clear from day one that the residents of Hidden Hills are a little different.

For starters, their new neighbors all have pro-athlete names like Reggie Jackson (Tim Jo), Jackie Joyner-Kersee (Toks Olagundoye), Dick Butkis (Ian Patrick) and Larry Bird (Simon Templeman). Over dinner, Marty and his family discover that their neighbors receive nourishment through their eyes by reading books, rather than eating. The Weavers soon learn that the entire community is comprised of aliens from Zabvron, where the men bear children and everyone cries green goo from their ears.

The Zabvronians have been stationed on Earth for the past 10 years, disguised as humans, awaiting instructions from home, and the Weavers are the first humans they’ve had the opportunity to know. As it turns out, the pressures of marriage and parenthood are not exclusive to planet Earth. Two worlds will collide with hilarious consequences as everyone discovers they can “totally relate” and learn a lot from each other.

Nashville (Wed., 10–11 PM): Chart-topping Rayna James (Connie Britton) is a country legend who’s had a career any singer would envy, though lately her popularity is starting to wane. Fans still line up to get her autograph, but she’s not packing the arenas like she used to. Rayna’s record label thinks a concert tour, opening for up-and-comer Juliette Barnes (Hayden Panettiere), the young and sexy future of country music, is just what Rayna needs. But scheming Juliette can’t wait to steal Rayna’s spotlight. Sharing a stage with that disrespectful, untalented, little vixen is the last thing Rayna wants to do, which sets up a power struggle for popularity. Could the undiscovered songwriting talent of Scarlett O’Connor (Clare Bowen) be the key to helping Rayna resurrect her career? Complicating matters, Rayna’s wealthy but estranged father, Lamar Hampton (Powers Boothe), is a powerful force in business, Tennessee politics, and the lives of his two grown daughters. His drive for power results in a scheme to back Rayna’s handsome husband, Teddy, in a run for Mayor of Nashville, against Rayna’s wishes.

Last Resort (Thu., 8–9 PM): 500 feet beneath the ocean’s surface, the U.S. ballistic missile submarine Colorado receive their orders. Over a radio channel, designed only to be used if their homeland has been wiped out, they’re told to fire nuclear weapons at Pakistan. Captain Marcus Chaplin (Andre Braugher) demands confirmation of the orders only to be unceremoniously relieved of duty by the White House. XO Sam Kendal (Scott Speedman) finds himself suddenly in charge of the submarine and facing the same difficult decision. When he also refuses to fire without confirmation of the orders, the Colorado is targeted, fired upon, and hit. The submarine and its crew find themselves crippled on the ocean floor, declared rogue enemies of their own country. Now, with nowhere left to turn, Chaplin and Kendal take the sub on the run and bring the men and women of the Colorado to an exotic island. Here they will find refuge, romance and a chance at a new life, even as they try to clear their names and get home.

Malibu Country (Fri., 8:30–9 PM): When Reba Gallagher (Reba) discovers that her husband, Bobby, (Jeffrey Nordling) a country music legend, has a cheatin’ heart, her world is turned upside down. Reba dreamt of becoming a country star herself, but put her career on hold to raise a family. Now she’s questioning all of that, big-time. With the ink on her divorce barely dry, Reba packs up her sharp-tongued mother, Lillie May (Lily Tomlin), her two kids and the U-Haul and heads for sunny California to begin a new chapter. Leaving Nashville in the rear view, they start over at their Malibu residence — the last remaining asset they have. Reba gets to know her new open and loving neighbor Kim (Sara Rue) and her son, Sage, but also discovers that relocation to Southern California is going to be quite an adjustment for a traditional southern belle: the West Coast seems like the polar opposite of Music City, and Reba feels like an outsider. Still, with the support of her family she sets about finding her voice, jump-starting her music career with the help of her new music agent, Geoffrey (Jai Rodriguez), and embracing this chance to begin again.

Partners (Mon., 8:30–9 PM): a comedy based on the lives of creators David Kohan and Max Mutchnick, about two life-long best friends and business partners whose “bromance” is tested when one of them is engaged to be married. Joe (David Krumholtz) is an accomplished architect who leads with his head and not his heart, especially in his love life. That’s in stark contrast to his gay co-worker, Louis (Michael Urie), who is spontaneous, emotional and prone to exaggeration. Both have found joy in their love lives: Joe is newly engaged to Ali (Sophia Bush), a beautiful and sophisticated jewelry designer, while Louis is dating Wyatt (Brandon Routh), a vegan nurse who Louis insists is just a promotion away from becoming a doctor. As news of Joe’s engagement settles, time will tell if their business and personal bond can adapt to the addition of two other important relationships.

Vegas (Tue., 10–11 PM): Dennis Quaid and Michael Chiklis star in VEGAS, a drama inspired by the true story of former Las Vegas Sheriff Ralph Lamb, a fourth-generation rancher tasked with bringing order to Las Vegas in the 1960s, a gambling and entertainment mecca emerging from the tumbleweeds. Ralph Lamb (Quaid) wants to be left in peace to run his ranch, but Las Vegas is now swelling with outsiders and corruption which are intruding on his simple life. Recalling Lamb’s command as a military police officer during World War II, the Mayor appeals to his sense of duty to look into a murder of a casino worker – and so begins Lamb’s clash with Vincent Savino (Chiklis), a ruthless Chicago gangster who plans to make Vegas his own. Assisting Lamb in keeping law and order are his two deputies: his diplomatic, even-keeled brother Jack (Jason O’Mara) and his charming but impulsive son, Dixon (Taylor Handley). Ambitious Assistant District Attorney Katherine O’Connell (Carrie-Anne Moss), who grew up on the ranch next to the Lambs, also lends a hand in preserving justice. In Vegas, two powerful men – Lamb and Savino – are engaged in a fierce battle for control of the budding oasis, and for both of them, folding is not an option.

Elementary (Thu., 10–11 PM): stars Jonny Lee Miller as detective Sherlock Holmes and Lucy Liu as Dr. Joan Watson in a modern-day drama about a crime-solving duo that cracks the NYPD’s most impossible cases. Following his fall from grace in London and a stint in rehab, eccentric Sherlock escapes to Manhattan where his wealthy father forces him to live with his worst nightmare – a sober companion, Dr. Watson. A successful surgeon until she lost a patient and her license three years ago, Watson views her current job as another opportunity to help people, as well as paying a penance. However, the restless Sherlock is nothing like her previous clients. He informs her that none of her expertise as an addiction specialist applies to him and he’s devised his own post-rehab regimen – resuming his work as a police consultant in New York City. Watson has no choice but to accompany her irascible new charge on his jobs. But Sherlock finds her medical background helpful, and Watson realizes she has a knack for playing investigator. Sherlock’s police contact, Capt. Tobias “Toby” Gregson (Aidan Quinn), knows from previous experience working with Scotland Yard that Sherlock is brilliant at closing cases, and welcomes him as part of the team. With the mischievous Sherlock Holmes now running free in New York solving crimes, it’s simple deduction that he’s going to need someone to keep him grounded, and it’s elementary that it’s a job for Watson.

Made in Jersey (Fri., 9–10 PM): a drama about a young working-class woman who uses her street smarts to compete among her pedigreed Manhattan colleagues at a prestigious New York law firm. Martina Garretti (Janet Montgomery) finds her firm’s cutthroat landscape challenging, but what she lacks in an Ivy League education she more than makes up for with tenacity and blue-collar insight. After just a few weeks, firm founder Donovan Stark (Kyle MacLachlan), takes note of Martina’s ingenuity and resourcefulness, as does her sassy secretary Cyndi Vega (Toni Trucks). With the support of her big Italian family, including her sexy older sister Bonnie (Erin Cummings), Martina is able to stay true to her roots as a bold, passionate lawyer on the rise in a new intimidating environment.

Revolution (Mon., 10–11 PM): Our entire way of life depends on electricity. So what would happen if it just stopped working? Well, one day, like a switch turned off, the world is suddenly thrust back into the dark ages. Planes fall from the sky, hospitals shut down, and communication is impossible. And without any modern technology, who can tell us why? Now, 15 years later, life is back to what it once was long before the industrial revolution: families living in quiet cul-de-sacs, and when the sun goes down lanterns and candles are lit. Life is slower and sweeter. Or is it? On the fringes of small farming communities, danger lurks. And a young woman’s life is dramatically changed when a local militia arrives and kills her father, who mysteriously – and unbeknownst to her – had something to do with the blackout. This brutal encounter sets her and two unlikely companions off on a daring coming-of-age journey to find answers about the past in the hopes of reclaiming the future.

From director Jon Favreau (“Iron Man,” “Iron Man 2″) and the fertile imaginations of J.J. Abrams (“Lost,” “Person of Interest”) and Eric Kripke (“Supernatural”), comes a surprising “what if” action-adventure series, where an unlikely hero will lead the world out of the dark. Literally. The series stars Billy Burke (“The Twilight Saga”), Tracy Spiridakos (“Being Human”), Anna Lise Phillips (“Terra Nova”), Zak Orth (“Romeo + Juliet”), Graham Rogers (“Memphis Beat”), J.D. Pardo (“A Cinderella Story”), Giancarlo Esposito (“Breaking Bad”), David Lyons (“The Cape”), Maria Howell (“The Blind Side”), Tim Guinee (“Iron Man”) and Andrea Roth (“Rescue Me”).

Go On (Tue., 9–9:30 PM): Misery loves company. Unless you’re sportscaster Ryan King (Matthew Perry, “Friends,” “Mr. Sunshine”) who thinks misery should just be left alone. After taking some time off, Ryan – who recently lost his wife in a car accident – is now ready to get back to work. And while he seems like his same old charming, cocky self, his boss won’t set him back on the air until he seeks counseling. So, Ryan reluctantly joins a support group with one goal in mind: get in, get out and get back on the radio as quickly as possible. Played by the fast-talking, sarcastic, and charismatic Perry, Ryan gives grief a real run for its money. Within one day of group therapy, he hijacks the meeting and suddenly the downtrodden are cajoled into playing a game of “who’s got the best sob story?” And in no time all of them are battling it out, trying to one-up each other’s despair. Now, this is fun! Ryan’s total lack of interest in healing might be just what this group needs – and maybe, exactly what he needs to move on with his life. Also starring are Tony winner Laura Benanti (“The Playboy Club”), Julie White (“Transformers”), Suzy Nakamura (“Dodgeball”), Khary Payton (“General Hospital”) and Allison Miller (“Terra Nova”).

The New Normal (Tue., 9:30–10 PM): These days, families come in all forms – single dads, double moms, sperm donors, egg donors, one-night-stand donors… It’s 2012 and anything goes. Bryan (Andrew Rannells, “Girls,” “The Book of Mormon”) and David (Justin Bartha, “The Hangover”) are a Beverly Hills couple and they have it all. Well, almost. With successful careers and a committed and loving partnership, the one thing missing is a baby. And just when they think the stars will never align, enter Goldie (Georgia King, “One Day”), an extraordinary young woman with a checkered past. A Midwestern waitress and single mother looking to escape her dead-end life and small-minded grandmother (Ellen Barkin, “Ocean’s Thirteen”), Goldie decides to change everything and move to L.A. with her precocious 8-year-old daughter. Desperate and broke – but also fertile – Goldie quickly becomes the guys’ surrogate and quite possibly the girl of their dreams. Surrogate mother, surrogate family.

Animal Practice (Wed., 8–8:30 PM): Meet Dr. George Coleman (Justin Kirk, “Weeds”), a top-dog New York veterinarian. With an unorthodox style of operating, George’s success comes from his undeniable gift with animals of all kinds. That is, all but the human kind. Dorothy Crane once held the key to George’s heart, but today she also holds the key to the family business as she takes over Crane Animal Hospital. Not only is she George’s new boss, but her romantic history with him and her lack of experience with animals is seriously cramping his style. Dorothy is whip-smart and ambitious, and she’s going to make George pay for the past. Needless to say, he’s determined not to make any changes in his (animal) kingdom — which includes poker games with a resident capuchin monkey. Also starring are Tyler Labine (“Reaper,” “Sons of Tucson”) as Dr. Doug Jackson, a vet who’s great with animals but hapless in matters of the heart, Bobby Lee (“Harold & Kumar”) as Dr. Yamamoto, and newcomer Betsy Sodaro as Angela.

Guys with Kids (Wed., 8:30–9 PM): From Emmy winner and executive producer Jimmy Fallon comes a new comedy about three thirty-something dads trying to hold on to their youth, while holding onto their new babies’ hands. Easy, right? Thankfully, Chris (Jesse Bradford, “The West Wing”), Nick (Zach Cregger, “Friends with Benefits”) and Gary (Anthony Anderson, “Law & Order”) have each other to help navigate their survival as new dads, while still trying desperately to remain dudes. Balancing work or staying at home, painfully married or happily divorced, they know that taking care of the little ones while maintaining a social life is a daily challenge. Whether it’s hosing the little squirt down in the kitchen sink or hitting the bar strapped with a baby björn, these guys are on a roller-coaster adventure – parenting like you (and they) have never seen before. Also starring are Jamie Lynn Sigler (“The Sopranos”) and Tempestt Bledsoe (“The Cosby Show”). Someone once said it is much easier to become a father than to be one. These three guys are about to find out just how true that is.

Chicago Fire (Wed., 10–11 PM): No job is more stressful, dangerous or exhilarating than those of the Firefighters, Rescue Squad and Paramedics of Chicago Firehouse 51. These are America’s everyday heroes — the courageous men and women who forge headfirst into danger when everyone else is running the other way. But the enormous responsibilities of the job also take a personal toll. Big reputations and hefty egos, coupled with the pressure to perform and make split-second decisions, are bound to put squad members at odds. When a tragedy claims one of their own, there’s plenty of guilt and blame to go around. In the middle of a divorce, Lt. Matthew Casey (Jesse Spencer, “House M.D.”) tries to go about business as usual but can’t help butting heads with the brash Lt. Kelly Severide (Taylor Kinney, “The Vampire Diaries”) of the Rescue Squad – and each blames the other for their fallen team member. When it’s “go-time” though, they put aside their differences and put everything on the line for each other.

Do No Harm (Sun., 10–11 PM): Dr. Jason Cole (Steven Pasquale, “Rescue Me”) is a highly respected neurosurgeon who has it all – a lucrative career, confident charm, the gift of compassion. But he also has a deep, dark secret. One morning when he wakes up disoriented in a wrecked hotel room amidst several near-naked women he’s never seen before, he knows one thing: it’s happening again. Every night at the same hour, something inside Jason changes, leaving him almost unrecognizable – seductive, devious, borderline sociopathic. This new man is his dangerous alternate personality who goes by the name of ‘Ian Price.’ For years he’s battled Ian, keeping him in check with a powerful experimental sedative. But now his – their – body has developed a resistance to the serum, setting Ian free once again. And to make matters worse, after being suppressed for so long, Ian’s hell-bent on taking revenge on his oppressor. With everyone Jason cares about at risk – patients, friends, coworkers and even the woman he loves – he’s got to stop Ian once and for all. Will they find some common ground, or will they bring each other down? Hell hath no fury like an alter ego scorned. Also starring are Alana De La Garza (“Law & Order”), Mousa Kraish (“Superbad”), Michael Esper (“A Beautiful Mind”), Ruta Gedmintas (“The Borgias”) and Phylicia Rashad (“The Cosby Show”).

The Mob Doctor (Mon., 9–10 PM): For most physicians, the Hippocratic oath is sacred. But for one Chicago doctor, who is indebted to the mafia, saving lives isn’t her only concern. THE MOB DOCTOR is a fast-paced medical drama featuring a brilliant young female cardiothoracic surgeon who is split between two distinct worlds as she juggles her promising medical career with her lifelong debt as a doctor to Chicago’s Southside mob. DR. GRACE DEVLIN (Jordana Spiro, “My Boys”) is a top resident at Chicago’s Roosevelt Medical Center. Smart and self-assured, she’s heralded as one of the country’s most promising young surgeons. But family ties keep her glued to her Southside roots. To pay off her brother’s life-threatening gambling debt, she makes a deal with the devil and agrees to work “off book” for the mafia men she once despised.

During the day, Grace must deal with the emotionally compelling cases at Roosevelt Medical – a toddler in need of a heart transplant, an elderly man desperate to donate a lung to his sick wife, the mass chaos in the wake of a two-train collision on the ‘L.’ But in her other vastly different world, she must juggle an onslaught of mob-related demands, including operating in mob-sanctioned locations, removing bullets from dead bodies to hide incriminating evidence, saving a juiced-up race horse and covertly helping an aging mobster with his erectile dysfunction. All the while, Grace must keep her dual life a secret from everyone: her protective best friend, NURSE ROBERTA “RO” ANGELI (Floriana Lima, “Glory Daze”); her handsome, blue-blooded boyfriend, DR. BRETT ROBINSON (Zach Gilford, “Off The Map,” “Friday Night Lights”); her boss at Roosevelt Medical and Chief of Surgery, DR. STAFFORD WHITE (Zeljko Ivanek, “The Event,” “Damages”); her rival, DR. OLIVIA WATSON (Jaime Lee Kirchner, “Necessary Roughness,” “Mercy”); even her well-meaning screw-up brother, NATE (Jesse Lee Soffer, “As the World Turns”), and her overly dramatic mother, DANIELLA (Wendy Makkena, “NCIS”).

The only one who knows the true scope of Grace’s activities is the man to whom Grace owes her debt: the charming and diabolical Southside mob boss CONSTANTINE ALEXANDER (William Forsythe, “Boardwalk Empire”), an oddly compassionate killer whose relationship with Grace is more than it seems. Recently released from prison, the former head of the Chicago mob looks to reclaim his place in the organization, with the help of his right-hand associate – and Grace’s ex-boyfriend – FRANCO (James Carpinello, “The Good Wife”). As Grace tries to heed the demands of these two conflicting worlds – not to mention the needs of her own slightly dysfunctional family – her moral center comes into direct conflict with the very immoral things she’s asked to do. But with nerves of steel and a tough-as-nails exterior, she somehow manages to make it all work – at least for now.

Ben and Kate (Tue., 8:30–9 PM): What happens when an exuberant, irresponsible dreamer who always says “yes” moves in with his overly responsible little sister to help raise her five-year-old daughter? BEN AND KATE, a new single-camera young ensemble comedy, follows these odd-couple siblings as they push each other out of their comfort zones and into real life. KATE FOX (Dakota Johnson, “The Social Network”) followed the rules all her life…until she got pregnant in college and dropped out just shy of graduation. After the birth of her daughter, MADDIE (Maggie Jones, “We Bought a Zoo,” “Footloose”), Kate put her twenties on hold. Now working as a bar manager to make ends meet and maximize her time with five-year-old Maddie, she’s uber-prepared for every possible catastrophe – except for the arrival of her older brother, BEN FOX (Nat Faxon, “Bad Teacher”).

Ben likes trouble a lot more than his sister does. His infectious energy makes you want to follow him into any number of bad ideas. He’ll totally screw up your life, but somehow, you’ll feel good about it. Where Kate is all about planning and preparing, Ben is big on spontaneity and out-of-the-box ideas. But don’t let the Velcro wallet fool you – he’ll probably be a millionaire someday. When Ben comes to crash on Kate’s couch for a few days, he finds a sad state of affairs. Kate’s surviving, but not living. Ben realizes that for the first time in their lives, Kate needs his help and he’s determined to bring some much-needed chaos into her overly stable world. He starts by offering to help look after Maddie so Kate can get back to experiencing her mid-twenties and making mistakes, since the one real “mistake” she’s made turned out to be the best thing that ever happened to her.

Always there to help with Ben’s crazy schemes is his partner-in-crime, TOMMY (newcomer Echo Kellum), who worships Ben like a hero and nurses a serious crush on Kate. Kate’s British best friend, BJ (Lucy Punch, “Bad Teacher”), is a cocktail waitress at the bar that Kate manages and an all-around hot mess who would do anything for Kate, even if her advice is often questionable and occasionally illegal.

The Mindy Project (Tue., 9:30–10 PM): a new single-camera comedy from Emmy Award-nominated writer/producer and New York Times best-selling author Mindy Kaling (“The Office”) that follows a woman who, despite having a successful career, desperately needs to break bad habits in her personal life. After all, how many doctors make inappropriate toasts at their ex-boyfriend’s wedding, nearly drown at the bottom of a stranger’s pool and get arrested for disorderly conduct just moments before having to deliver a baby?

Funny, impatient and politically incorrect, MINDY LAHIRI (Kaling) can quote every romantic comedy starring Meg Ryan that exists. She loves the good ones and the bad ones, because the girl always gets the guy. Mindy is determined to be more punctual, spend less money, lose weight and read more books – all in pursuit of becoming a well-rounded perfect woman…who can meet and date the perfect guy. Mindy is a skilled OB/GYN and shares a practice with a few other doctors, none of whom make life any easier for her. JEREMY REED (British writer/comedian Ed Weeks) is the walking definition of total bad news. He not only shares a practice with Mindy, but sometimes her bed as well – despite her best efforts to resist. He is funny, self-absorbed and super sexy.

In contrast, DANNY CASTELLANO (Chris Messina, “Damages”) is a hothead and guys’ guy who has a habit of stealing Mindy’s patients. Danny criticizes her for everything, including her struggling love life and her lack of professionalism – even though it’s obvious to everyone except Mindy that he secretly admires her work. His blue-collar childhood gives him a big chip on his shoulder, but he is a dedicated physician, which Mindy can’t stand to admit because he’s always getting on her case. Rounding out the office staff are the receptionists – BETSY PUTCH (Zoe Jarman, “Huge”), young, earnest and easily excitable, who thinks the world of Mindy and is always trying to impress her; and SHAUNA DICANIO (newcomer Dana DeLorenzo), a self-assured Jersey Girl who is indifferent to Mindy, always knows where the cool party is and carries a poorly concealed torch for Danny.

Mindy is in constant communication with her beloved best friend from college, GWEN GRANDY (Anna Camp, “The Good Wife”), who also happens to be the governor’s daughter. Gwen is a hilarious, sometimes too-blunt friend, and secretly a former carefree party girl (which only Mindy seems to remember). Although Gwen is now happily married to a financial analyst, with a six-year-old daughter, this lawyer-turned-Pilates mom remains squarely in Mindy’s corner. As Mindy attempts to get her career off the ground and meet a guy who passes her red flag test (no drug habits, no skinny jeans and no secret families, among others), only time will tell if she gets her romantic comedy ending.

Emily Owens, M.D. (Tue., 9–10 PM): At long last, Emily Owens feels like she is an actual grown-up. She can finally put her high school days as the geeky-girl-with-flop-sweats behind her; she’s graduated from medical school and is now a first-year intern at Denver Memorial Hospital, where she’ll have the chance to work with world-famous cardiologist Dr. Gina Beckett – and where, not-so-coincidentally, her med-school crush Will Rider is also an intern. So why does everyone keep warning her that the hospital is just like high school?

Emily soon finds out the hard way – her high school nemesis, the gorgeous, popular Cassandra Kopelson, is also just starting out at Denver Memorial, and it seems like they’re rivals all over again – not only as surgical interns, but for Will’s attention. Fellow intern Tyra Granger warns Emily that the cliques at Denver Memorial are all too familiar: the jocks have become orthopedic surgeons; the mean girls are in plastics; the rebels are in the ER, and Tyra has her own awkward place as the principal’s kid – her father is the chief resident.

Emily’s the new kid all over again, and it’s just as awkward as high school. Only this time around, Emily will have to balance the personal and emotional turmoil of social politics with the high-stakes world of life-and-death medical decisions. At least she has fellow intern Tyra and nerdy-but-cute resident Micah, to count on as friends. Emily is growing to realize that although she may be a geek, she may also grow to be a great doctor, flop sweats and all. The series stars Mamie Gummer as Emily, Justin Hartley as Will, Michael Rady as Micah, Aja Naomi King as Cassandra, Kelly McCreary as Tyra and Necar Zadegan as Gina.

Arrow (Wed., 8–9 PM): After a violent shipwreck, billionaire playboy Oliver Queen was missing and presumed dead for five years before being discovered alive on a remote island in the Pacific. When he returns home to Starling City, his devoted mother Moira, much-beloved sister Thea, and best friend Tommy welcome him home, but they sense Oliver has been changed by his ordeal on the island. While Oliver hides the truth about the man he’s become, he desperately wants to make amends for the actions he took as the boy he was. Most particularly, he seeks reconciliation with his former girlfriend, Laurel Lance.

As Oliver reconnects with those closest to him, he secretly creates the persona of Arrow – a vigilante – to right the wrongs of his family, fight the ills of society, and restore Starling City to its former glory. By day, Oliver plays the role of a wealthy, carefree and careless philanderer he used to be – flanked by his devoted chauffeur/bodyguard, John Diggle – while carefully concealing the secret identity he turns to under cover of darkness. However, Laurel’s father, Detective Quentin Lance, is determined to arrest the vigilante operating in his city. Meanwhile, Oliver’s own mother, Moira, knows much more about the deadly shipwreck than she has let on – and is more ruthless than he could ever imagine. The series stars Stephen Amell as Oliver Queen, Colin Donnell as Tommy, Katie Cassidy as Laurel Lance, David Ramsey as John Diggle, Willa Holland as Thea Queen, with Susanna Thompson as Moira Queen and Paul Blackthorne as Detective Quentin Lance.

Beauty and the Beast (Tue., 9–10 PM): Detective Catherine Chandler is a smart, no-nonsense homicide detective. Several years earlier, Catherine witnessed the murder of her mother at the hands of two gunmen. Catherine would have been killed too, but someone – or something – saved her. No one has ever believed her, but she knows it wasn’t an animal that attacked the assassins…it was human. Years have passed, and Catherine is a strong, confident, capable police officer, working alongside her equally talented partner, Tess. While investigating a murder, Catherine discovers a clue that leads her to a handsome doctor named Vincent Keller, who was reportedly killed by enemy fire while serving in Afghanistan in 2002.

Catherine learns that Vincent is actually still alive and that it was he who saved her many years before. For mysterious reasons that have forced him to live outside of traditional society, Vincent has been in hiding for the past 10 years to guard his secret – when he is enraged, he becomes a terrifying beast, unable to control his super-strength and heightened senses. Catherine agrees to protect his identity in return for any insight he may have into her mother’s murder.

Thus begins a complex relationship between Catherine and Vincent, who are powerfully drawn to each other yet understand that their connection is extremely dangerous for both of them. The series stars Kristin Kreuk (“Smallville,” “Chuck”) as Catherine, Jay Ryan (“Terra Nova”) as Vincent, Max Brown (“The Tudors,” “MI-5″) as Evan, Nina Lisandrello (“Nurse Jackie”) as Tess, Nicole Gale Anderson (“Make It or Break It”) as Heather, Austin Basis (“Life Unexpected”) as J.T., and Brian White (“The Shield,” “The Cabin in the Woods”) as Joe.

1. Gilded Lilys (ABC)

It’s been quite awhile since a broadcast network has managed to sell viewers on a period piece set prior to the 20th century, so the fact that ABC is even considering this series, which takes place in 1895 and revolves around the first luxury hotel in New York, is proof of how much pull executive producer Shonda Rhimes has with the American Broadcasting Company. In truth, the big selling point for me is John Barrowman. This doesn’t exactly bode well for another season of “Torchwood,” but the dude deserves a big U.S. break. You never know: this could be it.

2. Untitled Louis C.K. / Spike Feresten Comedy (CBS)

Go on, admit it: you were sold the moment you saw the name “Louis C.K.,” weren’t you? And Spike Feresten isn’t bad, either. Seeing these two guys attached to this project is the only reason why it stands out, since the only real description available is that it’s an an ensemble comedy about a bunch of twentysomethings trying to make their dreams come true despite today’s crappy financial climate. But, damn, after two seasons of “Louie,” the idea of Louis C.K. putting his spin on anything makes it something that’ll surely be worth seeing. With that said, however, I hope Dan Byrd ends up not being available to do the show, as that will mean that “Cougar Town” has been renewed.

3. Animal Kingdom (NBC)

Two words: Tyler Labine. I mean, come on, America, what more does this loveable teddy bear of a comedy actor have to do to get a show to stay on the air for more than a season or two? NBC is, if memory serves, the last of the broadcast networks that has yet to cancel a series out from under Mr. Labine – “Invasion” was on ABC, “Reaper” was on The CW, “Sons of Tucson” was on Fox, and “Mad Love” was on CBS – and, frankly, this could be his last stop before the autograph-show circuit. Doesn’t Tyler Labine deserve a better fate than that? You’re damned right he does.

4. Untitled Kevin Williamson serial killer drama (Fox)

The man behind “The Vampire Diaries” brings Kevin Bacon to the small screen to play Ryan Hardy, a former FBI agent on the hunt for serial killer Joe Carroll (James Purefoy), who’s busy building himself a whole cult full of serial killers. If that isn’t enough to sell you, the cast also features Natalie Zea (“Justified”).

5. Joey Dakota (The CW)

Okay, I don’t know what to make of this show, which is apparently an American adaptation of an Israeli series called “Danny Hollywood,” but they had me at the phrase “romantic time-travel musical,” and they kept me when they revealed that it was about a documentary filmmaker who somehow time-travels to the ’90s, falls in love with the rock star she’s been making a film about, and, upon being thrust back to the present, struggles to find a way to get back to the past and save the rock star’s life. The only person I know in the cast is Amber Stevens (“Greek”), but it’s produced by Mark Harmon, whose nephews have more than a bit of passing familiarity with the ’90s rock scene. (They’re Gunnar and Matthew Nelson, you know). Also, the pilot is directed by Allan Arkush, who always managed to make “Heroes” look good no matter how crappy the material may have been.

6. Elementary (CBS)

I’m the first to admit that the world desperately does not need another incarnation of Sherlock Holmes, especially given that we’ve already got a movie franchise and a perfectly good British TV series inspired by the Holmes mythos. But what can I say? Jonny Lee Miller and Lucy Liu as Holmes and Watson is just ridiculous enough for me to watch to tune in. Not necessarily because I think it’ll be any good, you understand, but the curiosity factor alone is off the charts. Plus, Aidan Quinn is in it, and he usually does good work.

7. Untitled Roland Emmerich Drama (ABC)

Anything with Roland Emmerich’s name on it has got my attention immediately, particularly when it involves a grad student being selected to fight the forces of evil. But knowing that Martin Landau and Linus Roache are in the mix…? Sold. And then some.

8. American Judy (ABC)

Judy Greer isn’t quite the female equivalent of Tyler Labine (although she certainly didn’t help her cause any by co-starring with him on “Mad Love”), but suffice it to say that she’s at least as deserving of a successful series. This one might have a terrible title, but it co-stars the always funny Ken Marino, along with Mimi Kennedy and the ever-hot Elaine Hendrix. With that talent, does it even matter what it’s about? Well, just in case it does, Greer plays a city girl who gets married, moves to the suburbs with her new husband (who’s the sheriff), and learns to deal with her stepkids, mother-in-law, and her husband’s ex-wife.

9. Untitled Ralph Lamb (CBS)

Another period piece, but this one only steps back to the 1960s. Based on the true story of Ralph Lamb, a former rodeo cowboy who became the sheriff of Las Vegas, it comes courtesy of Nicholas Pileggi (“Goodfellas,” “Casino”), and the cast features Dennis Quaid, Michael Chiklis, and Carrie-Anne Moss. I hope to hell it’s good, because if it isn’t, that’s a lot of talent gone to waste.

10. Downwardly Mobile (NBC)

Unless it turns out to be really, really, really unfunny, I cannot conceive of a way that NBC won’t pick up a sitcom that reunites Roseanne Barr and John Goodman, especially when Roseanne is playing the owner of a mobile home park.

11. Like Father (Fox)

I’ve got Bill Lawrence’s back on just about anything that comes down the pike with his name on it, and that includes “Like Father,” which stars Colin Ferguson and is inspired by the relationship between Lawrence and his own father. Here’s hoping he’s buried in work and has to deal with this show being picked up and “Cougar Town” getting renewed. (A guy can dream, can’t he?)

12. Devious Maids (ABC)

I know better than to approach this as anything other than the eventual guilty pleasure that it will prove to be, but putting Marc Cherry (“Desperate Housewives”) at the helm of a show about four maids in Beverly Hills who work for the famous while trying to make their own dreams come true…? That just seems like a match made in heaven. Throw in Susan Lucci, and just step back and watch the fireworks.

13. Susan 313 (NBC)

It stars Sarah Silverman, features Jeff Goldblum playing her dad, and is executive produced by Ron Howard and Brian Glazer. You just know it’s going to end up being too hip for the room, but how can I not be excited about the prospect of seeing such a thing?

14. Last Resort (ABC)

Okay, this just sounds way too crazy for me to not want to see it come to fruition: per The Hollywood Reporter, the show centers on the crew of a U.S. nuclear submarine who, after ignoring an order to fire nuclear missiles, wind up being hunted and escape to a NATO outpost where they declare themselves to be the world’s smallest nuclear nation. It stars Scott Speedman and Andre Braugher and, in recurring roles, Bruce Davison and Robert Patrick. There’s no way it’ll get the green light. It just sounds way too interesting.

15. The Frontier (NBC)

Might as well bookend things with another period piece set in the 1800s, this time focusing on a group of settlers heading west, but this one particularly grabs my attention, as it comes from the mind of Shaun Cassidy, who – at least in my estimation – has yet to attach his name to any TV series that hasn’t at least proven interesting. Clancy Brown is in the cast, which is always a plus in my book, and so is Ethan Embry, who I’ve liked for as long as I can remember.

So…where were we?

Oh, fine, let’s go ahead and deal with the elephant in the room: it’s been nine months since Bullz-Eye doled out its last TV Power Rankings. What can we say? There were a lot of good shows on the air between May 2011 and February 2012, and somewhere around late October, it just kind of reached a point where we said, “You know what? It’s way more fun to watch TV than it is to write about it.” Eventually, though, the powers that be pried us off the couch (there’s still an indentation where we were sitting), set us back in front of the computer, and said, “Look, the readers demand to know Bullz-Eye’s take on the best shows of the past year* and, frankly, they’re starting to get a little belligerent about it.”

(*Rounded up for statistical purposes.)

So here we are, ready to offer up our list of the 25 best shows on television** as well as several shows bubbling just under our list, plus a new section called “Still Too New to Call,” where we praise shows that seem pretty damned good after their first few episodes but simply haven’t been around long enough for us to feel comfortable including them in the other two lists.

(**Okay, technically, it’s the 24 best shows on television plus one show that hasn’t been on since 2010, but we’re so excited about that particular show coming back that we included it, anyway.)

All told, we hope you’ll walk away from this piece either nodding your head in agreement or wondering why you haven’t been watching some of these shows. If not, however, there’s a perfectly good Comments section that’s just waiting for your opinions about what’s good on TV.

Everybody ready? Then let’s get this thing started…

No, it’s not quite the same show it used to be, owing to the fact that the cast now consists of almost as many women as it does men, but with the series now in its fifth season, the trio of Kaley Cuouo, Melissa Rauch, and Mayim Bialik have probably infused “The Big Bang Theory” with more laughs than the it would’ve had at this point if it had stuck strictly to the original four geeks. The only question now is how much longer we’ll have to wait for Raj to come out of the closet…because, seriously, you don’t need to possess gay-dar to see that that’s what they’re leading up to.

When we first picked back up with Nancy Botwin (Mary-Louise Parker) for the seventh season of “Weeds,” she’d spent three years cooling her heels in the clink while the rest of the Botwin clan had been chillin’ in Copenhagen, but with Nancy being shifted to a halfway house in New York City, a family reunion was only inevitable. Big shock: Nancy started selling pot again. Possibly bigger shock: even going into its eighth season, “Weeds” is still reliably entertaining.

When it comes to watching “New Girl,” one’s level of appreciation is directly proportionate to how one feels about the concept of “adorkability,” which Zooey Deschanel brings to the small screen in seemingly limitless quantities as Jess, a too-cute twentysomething who moves in with a trio of guys on the heels of an excruciatingly bad breakup. As with most ensemble comedies, it’s taken time for the chemistry of the cast to find its feet, but it’s coming along nicely.

Some shows are perfect fare for guys and gals to kick back and enjoy together, but, guys, unless you have one of the most awesome girlfriends ever, then “Archer” probably doesn’t quality as one of those shows. Sterling Archer has the libido of James Bond and Austin Powers put together but without any of the charm, and not only is he unfailingly uncouth, but he’s a mama’s boy to boot. Damned if he isn’t funny, though, and Season 3 has started off just as funny as its predecessors…but, then, what would you expect when you’ve got Burt Reynolds playing himself?

As long as the beautiful ménage à trois between stupid people, video cameras, and the internet continues to flourish, Daniel Tosh’s career will stay in full bloom. Now in its fourth season, “Tosh.0″ may not be the most highbrow series on the air, but it’s never at a loss for material and still offers a solid number of laughs per episode.

After seven seasons on the air and surviving a switch between networks (from NBC to CBS), it’s hard to say that “Medium” didn’t live a good, long life. With that said, however, the show had continued to find new ways to keep things interesting, and with the trio of DuBois daughters growing up and getting their own storylines almost as often as their mom. As such, Allison, Joe, and the gang could’ve easily kept going for another few seasons without any complaints from me.

Am I going to try to defend my enjoyment of this show? No, I am not, because there’s no point in wasting your time or mine. You may not have thought it was very funny, and if you didn’t, that would be your right. I, however, did. And I still miss it.

There’s nothing I dislike more than a series that doesn’t know when to leave good enough alone, and for my part, I don’t know why they felt the need to change the formula and kick Skeet Ulrich‘s character to the curb. Sorry, did I say “curb”? I meant “grave,” of course. Not that there’s anything wrong with giving an actor of Alfred Molina’s caliber a more substantial role, but to do so in midseason can’t have pleased the existing viewership very much. Truth be told, I’d rather they’d just kept the original “Law & Order” around, but in its absence, this was a nice substitute, and it sucks that it never had a chance to really spread its wings.

When it comes to casualties in the alien-invasion field, I can accept the cancellation of “V” a bit more than that of “The Event,” if only because it was a minor surprise that it made it to a second season in the first place. And if I’m to be honest, I’m not really surprised that NBC couldn’t be bothered to give “The Event” a shot at a sophomore year, since they probably figured it’d only let them down the way “Heroes” did. But whereas “Heroes” really dropped the ball in its second year, I felt like “The Event” had a better chance of upping the ante. Guess I’ll never know for sure.

My wife’s the one who tipped me to this show, describing it as being more than a little bit “Buffy”-inspired, and I don’t disagree with that assessment, though it’s inevitable that any ABC Family series isn’t going to be as rough and tumble as the adventures of our favorite vampire slayer. Also inevitable, unfortunately, was the fact that it only lasted a single season. Apparently, if a sci-fi series doesn’t feature a hot teenage boy as its lead (stand up, please, “Kyle X-Y”), then it doesn’t have a chance in hell at making it very long on ABC Family.

And what’s the deal with the lack of love for new cop shows? Apparently, America loves crime procedurals to the point where the thought of a little extra character development scares them away. Thankfully, “Blue Bloods” has proven to be at least somewhat of an exception to that rule, but it doesn’t come anywhere near the work that was being done on “The Chicago Code.” Hell, even “Detroit 1-8-7″ didn’t touch “The Chicago Code,” but at least filming in the Motor City gave it a slightly different look than your typical cop show…though, in fairness, having Michael Imperioli and James McDaniel in the cast would’ve made it worth watching no matter where it was set.

If the Germans can learn to love David Hasselhoff, then, dammit, why can’t we as a country see fit to embrace the brilliance that is Norm MacDonald? I don’t even like sports, and I still TiVoed the damned thing every week. America, you’re on notice. Again. (Seriously, I’m about ready to move to Canada. They like me better up there, anyway.)

Yes, I agree that “Happy Endings” has grown substantially as a series since last season, which means that, okay, fine, maybe my previous claims that it should’ve been cancelled instead of “Traffic Light” were said in haste. But I still think “Traffic Light” was a better-than-average comedy about a bunch of friends, and I thought so from the very first episode, so to watch it get even better as it went along and still get denied a second-season pick-up was downright infuriating…though not, I suspect, as infuriating as it was for Tyler Labine to see “Mad Love” lose its battle to stay on the air. The ensemble of Labine, Jason Biggs, Judy Greer, and Sarah Chalke didn’t gel quite as instantly as one might have liked, given the comedic abilities of the foursome, but, again, by the end of season, it was tooling along quite nicely. And what did we get in its place? “2 Broke Girls.” Not that I don’t love Beth Behrs’ impossibly-long legs and the way Kat Dennings always looks like she’s about to bust out of her waitress outfit, but all things being equal, I’d still trade ‘em for another session of “Mad Love.”

I’ll be the first to admit that Season 2 of “Hung” was a less than stellar showing from the series, so much so that I probably wouldn’t have picked it back up in Season 3 if I hadn’t pulled a gig blogging the show for the Onion A.V. Club. That, as it turns out, would’ve been a tremendous mistake, as just about everything that had annoyed me during the show’s second year was discarded (so long, subplots about Ray’s creepy kids!) in favor of ramping up the things that had actually worked…like, say, Lennie James, who worked his acting magic every time he turned up as Tanya’s former-pimp boyfriend. I don’t know that the show has a fanbase substantial enough for us to ever see “Hung: The Movie,” but I’d sure as hell pay to see it.

Just as I was starting to get over FX’s decision to cancel one of 2010′s best new series (“Terriers”), they decided to pull the plug on another great show. I’m sure the reason it never took off was because casual viewers couldn’t get beyond the fact that it sounded like a rehash of “Rocky Balboa,” but it was so much more than that, thanks to Holt McCallany’s performance as Patrick “Lights” Leary, the boxer who, as a result of bad investments over the years, was forced to battle back against pugilistic dementia and get into the ring again in order to support his wife and three daughters. With a supporting cast featuring Stacey Keach as Leary’s dad and an impressively threatening performance by Bill Irwin (between this and “CSI,” I just can’t look at Mr. Noodle the same way ever again), “Lights Out” deserved far better than to hit the canvas after only one season.

Dammit, dammit, dammit. Just typing the title of the show and looking at the shot of Ray Romano, Scott Bakula, and Andre Braugher is making me sad all over again. Some people couldn’t understand all the love that was lavished on the series, but those who saw a bit of themselves in these three men – and, believe me, you didn’t have to be their certain age to be struck by the familiarity – quickly found “Men” to be must-see TV. Joe, Owen and Terry weren’t just characters. They felt like real guys. You don’t get nearly enough of their like on television. I don’t blame TNT for pulling the plug if the ratings weren’t there, but I do blame audiences for not branching out and investigating series that fall slightly outside of their usual viewing patterns. Set aside the predictable once in awhile, wouldja? There’s a lot of great television out there that deserves to thrive, and all it takes is for you to give it a chance.

Just to be contrary, though, let’s kick things off by discussing some shows that aren’t on the small screen anymore…or if they’re still on as of this writing, their death sentence has already been issued.

That’s right: we’re going to talk about the first crop of cancellations for the Fall 2011 TV season.

If we designate September 13 – the date that The CW debuted “Ringer” – as the beginning of the season, then we’re now five weeks into the proceedings. Funnily enough, that’s also how many shows have gotten the axe. Let’s do a bit of a post-mortem on the deceased series, shall we? And just for fun, I’ll also throw in a few previously-unpublished quotes from some of the conversations I had with cast members while they were in the throes of pimping their wares. I mean, criminey, I talked to five freaking people from “How to Be a Gentleman.” What the hell else am I going to do with these interviews?

Cancellation date: Oct. 4, 2011

What we said in our Fall Preview: “Given that this is ‘the guys’ portal to the web,’ it should come as no surprise to find that we here at Bullz-Eye find this series to be imminently watchable, in no small part because of the ever-gorgeous Amber Heard. It must be said, however, that the similarity in feel to ‘Mad Men’ is almost unbearable at times, not just because it’s set in the ’60s, but also because if you close your eyes when Eddie Cibrian is talking, it might as well be Jon Hamm. Plus, not only is there a lot of melodrama on hand with the blend of romance and criminal activity, but the idea of having actors playing real ’60s celebrities – in the pilot episode, Ike and Tina Turner perform at the club – brings back dormant memories of ‘American Dreams.’ By the time the proceedings are over, there’s really only one question to be asked: will beautiful babes in bunny costumes be enough to keep us coming back? Up to a point, sure…which makes sense, since that’s why people kept coming back to the real Playboy Club. As for the show, though, we’ll see where things stand after a few episodes.”

Cancellation surprise level:  20%. The first time I watched the advance screener of the pilot, I kind of liked it. The second time I watched it, I liked it less. Admittedly, that second viewing took place after I’d listened to virtually the entire membership of the Television Critics Association moan about how awful it was, but it wasn’t just peer pressure that had dragged down my opinion. There’s no denying that “The Playboy Club” looked great, but upon screening it a second time, I was able to see past the visual appeal and realize that there was no substance beneath the style. I’d like to believe that America saw the same thing, but in reality, I think it probably had more to do with the combination of two other very viable alternatives (“Hawaii Five-0” and “Castle”) and viewers’ awareness that the “N” in NBC was never going to stand for nudity. Clearly, the idea of a Playboy-related series without naked ladies was about as satisfying as buying an issue of Mr. Hefner’s publication but only being allowed to read the articles.

Saddest quote from a cast member:

“I was interested in the character, I was interested in telling the story surrounding that character, I was interested in being a part of the world that that character lives in. I found a good story. I found a complex, interesting character-driven drama that involved a cast of several strong women. And I was, like, ‘I’m into this!’” – Amber Heard

Cancellation date: Oct. 6, 2011

What we said in our Fall Preview: “As it stands right now, ‘Free Agents’ lives or dies on the performances of the couple at the heart of the series. Fortunately, Azaria and Hahn are sweet, likeable, and very funny. So, for that matter, is Mr. Head, but we’ve come to expect that from the artist formerly known as Rupert Giles. Insofar as the rest of the ensemble goes, however, it’s mostly and miss. The only other person who really stands out is Leggero, but she’s only got a couple of lines. The big question is where the series will go from here. Will it stick to its current strengths and phase out most of Alex and Helen’s coworkers, or will it begin to flesh them out and turn this into a good old fashioned ensemble comedy? Hard to say. At the moment, though, it’s worth sticking around just to see Azaria and Hahn interact with each other. They’re just so darned cute!”

Cancellation surprise level:  60%. Although this was another sitcom that was mostly reviled by my peers, I actually found that I liked the pilot more after a second viewing. If this had been on Fox, I wouldn’t have been surprised that it was yanked so suddenly, but for NBC to pull the plug so quickly on an American adaptation of a British series…? I mean, we’re talking about the home of “The Office.” I’m sure Azaria’s thrilled with his buddy Bob Greenblatt right about now. So much for giving new shows a chance to grow…

Saddest quote from a cast member:

“I had kind of sworn off network TV a while ago. I’ve done two or three other network series that did not go well for me. But ‘Free Agents’… Frankly, it was too good a situation. I tried to say no. I’ve passed over plenty of projects or kept away from circumstances that I didn’t like for whatever reason, but I just found the script and the people to be so delightful that I really thought I’d be an idiot not to jump in.” – Hank Azaria

Cancellation date: Oct. 6, 2011

What we said in our Fall Preview: All we’ve seen thus far is a ‘presentation’ to give us a feel for what the show will be like, but it now appears that the season premiere is going to feature the same material, namely Snooki from ‘Jersey Shore’ and Jake Pavelka from ‘The Bachelor’ each confronting a ‘hater.’ The concept itself isn’t so awful – it’s about time some of these internet trolls were taken to task by the people they’re mouthing off about from the safety of their computers – but based on the sampling of future ‘stars’ who’ll be appearing on the show, it’s clear that the word “celebrity” is going to be pretty relative. Given the competition, it’s hard to imagine that reality-show alumni facing off against their “haters” are going to pull sufficient ratings to make much of a ratings dent against actual reality shows like ‘Survivor’ and ‘The X-Factor.’”

Cancellation surprise level: 40%. As indifferent as I was to the “celebrities” that were being spotlighted on the show, it seemed in theory to be a series that would speak to the CW demo. Once viewed in the context of the network’s other series, however, “H8R” felt surprisingly out of place. Not that I blame them for preferring fake drama to real drama (sadly, the former comes off far more realistically), but, seriously, who knew that the majority of the people watching The CW had discerning taste?

Saddest quote from a cast member: Well, it’s a reality show where the only regular character is the host, so this really only applies to Mario Lopez, but when I looked over the TCA transcript for the “H8R” panel, nothing really leaped out at me as being particularly depressing in retrospect. Lots of talk about possibilities, almost no boasting about awesomeness. Maybe the producers didn’t have very high hopes for the series, either…?

Effectively cancelled Oct. 8, 2011*

What we said in our Fall Preview: “It doesn’t take much to figure out that if you blended Hornsby’s and Dillon’s characters together, you’d get some approximation of Barney Stinson, but this definitely isn’t ‘The Bro Code: The Series.’ Ironically, ‘Gentleman’ is the exact opposite of just about every other new sitcom to hit the airwaves this season, in that the ensemble is much more charming and funny than the leads. Actually, that’s not entirely true: the leads are fine, but Dillon in particular is stuck playing a man-brute while Hornsby has to be perpetually prim and proper, and although the latter’s not so bad, Dillon seriously needs to dial it down a few notches. But Foley’s as hilarious as usual in the role of Hornsby’s boss, who’s feeling his age and is trying desperately to make himself look young and seem relevant, and although Rajskub doesn’t get to do much more than act bitchy, there’s a lot of potential with the casting of Rhys Darby as her husband, who’s laugh-out-loud funny every time he opens his mouth. As it stands, though, we’re still a long, long way from inspiring me to switch my allegiance from ‘Parks & Recreation.’”

Cancellation surprise level: 80%. Y’see that asterisk up there by the words “effectively canceled Oct. 8″? If so, then you probably also noticed the addition of the word “effectively.” That’s because after only two episodes, CBS made the announcement that it was going to be shifting “How to Be a Gentleman” to Saturday nights, switching it out with the earlier-banished “Rules of Engagement.” Okay, fair enough: if it’s good enough for “Rules,” it’s good enough for “Gentleman.” Except it wasn’t. As it was, they’d halted production on the series, anyway, but two days after its Saturday debut, the network said, “Okay, now it’s really canceled.” Given all the talent involved in the series, surely the show deserved at least a little bit of breathing room.

Saddest quote from a cast member:

“Oh, it’s so great to have a parking pass. There have been some lean years where I would’ve been happy to be on a shitty show – you can write that as ‘sh*tty’ if you need to – but to actually luck out and wind up on an actually well-written show with an amazing cast…? The third amazing ensemble of my career. It’s pretty amazing. I loved (‘Death Comes to Town’ with) Kids in the Hall, but I need a career. I’ve got a lot of people to support, and I’m willing to do a lot of crappy work to support those people…and I have done over the last 10 years. The fact that I’ve actually managed to land another network show that actually turns out to be a good one, filled with a great cast of people who I really admire…? It’s amazing.” – Dave Foley

Cancellation date: Oct. 14, 2011

What we said in our Fall Preview: “When it comes to new series and their eventual fate, this is probably the hardest to predict. On one hand, it’s a familiar property remembered fondly by children of the ’70s, which worked out well with ‘Hawaii Five-0.’ On the other hand, when they tried it with ‘The Bionic Woman,’ look what happened there…but, then, ‘The Bionic Woman’ wasn’t turned into a relatively successful film franchise like ‘Charlie’s Angels” was. Cast-wise, you’ve got a recognizable face in Minka Kelly, but her biggest claim to fame is ‘Friday Night Lights,’ a series that was never watched by nearly as many viewers as it should have been. Y’see what I mean? It’s really hard to say how audiences are going to react, especially given that it’s going to be up against the second night of ‘The X Factor’ and the established comedy blocks on CBS and NBC. I will say, however, that the pilot is played straight, with very little of the winking at the audience that seemed to be going on in the feature films, and if you’re a TV geek, that’s actually kind of intriguing. Plus, it’s full of action and, lest we forget, three ladies who are decidedly easy on the eyes. Worth checking out, but whether it succeeds for the long haul is too close to call.”

Cancellation surprise level: 50%. It had rough competition, but it also had name recognition, so it really could’ve gone either way. Given the gentlemen behind the scenes (Alfred Gough and Miles Millar, late of “Smallville”) I’d hoped it might have a chance to take flight (angel pun fully intended), but I guess the lack of any real matinee name made it hard for viewers to switch over and give it a chance. If only they’d used the first episode to tie the new series into either the original series or the movie franchise, I think the novelty value would’ve been enough to secure at least a full season. Oh, well.

Saddest quote from a cast member:

“My biggest fear…well, not fear, but my biggest pressure on myself is that I want people to gravitate to our show with an open mind and expect to see that charm that every ‘Charlie’s Angels’ has had, but be open to the fact that this is a 2011 version. We’re not trying to recreate anything. It’s not, like, “My character has to be like Drew Barrymore,’ or, ‘My character has to be like Kate Jackson.’ We want people to be open. For us, the biggest pressure is just that we want it to be good. With all the critics out there, and with shows dying so fast, I really want ours to have a long lifespan.” – Annie Ilonzeh

Bullz-Eye: So have you just finished a long day of filming?

Annie Ilonzeh: Yes, I have! So I’m sorry that I’m a little late calling.

BE: That’s quite all right. You have a good excuse, so you’re fine.

AI: (Laughs) Literally, it was perfect timing. I’m really surprised that it worked out. But after looking at the schedule, I figured, “Okay, we’re not going to be working ‘til 10 or 11 tonight.”

BE: Well, I’m glad you were able to finish in time to talk. I was at the TCA tour when you did the panel for “Charlie’s Angels,” but you all rushed off immediately afterward, so you weren’t around to chat at the party that night.

AI: Yeah, they had us in and out of there so quick! It was, like, “Get out of here and go back to Miami!” “Okay, okay!” So we were there for the panel that morning, and then we had a 2 PM flight or something crazy like that.

BE: You play Kate Prince on the show, and the one-liner ABC gives you in the press release is that you’re “a Miami cop who fell from grace, losing both her career and her fiancé.” Is that all they gave you to work with when you first got the role? Or did they even tell you which Angel you were going to be playing?

AI: Oh, yeah, I auditioned specifically for her. And, yeah, that was kind of the gist of it. Actually, I don’t think the ex-fiancé thing was in the breakdown as of that time, as in when I first auditioned. But when I auditioned, I kind of felt like things were a bit rougher at that time. They were still figuring things out. (Hesitates) Well, no, because originally I’d heard that they’d tried to attempt this a year ago, so I guess they kind of had an idea of the character. I just didn’t know about the ex-fiancé part very clearly. But slowly, through the four month audition process… (Laughs) …I learned more about her and figured her out more, which was good for me. It was a long process, which sucks for any actor, because you wrack your brain and you’re, like, “Well, they didn’t say this, but they did say this, and she looked at me this way,” and…well, whatever. You just start making things up in your head, and it just gets crazy. But throughout that process, it did help me figure her out more. And I got to see producers more, and they got to see more. So it all worked out.

BE: I’d have to guess that this is one of the longest audition processes you’ve ever had to deal with.

AI: The. Longest. (Laughs) Literally, the longest. It felt like I was in training for a marathon…even though those people train like crazy. But, you know, it was just every day, and I kept trying to do something new and I tried to stay in the energy of it all, as far as watching the shows and really understanding that relationship that the girls have between each other. And with Charlie, who you never see, but they still have that relationship. And also Bosley. So I was just doing little research like that, I guess, and still auditioning, and I always had it in the front of my mind that I was on “General Hospital,” but I couldn’t help but think about Kate, who I was auditioning for, as I was on “General Hospital,” which…I don’t know if that’s a good thing or a bad thing. (Laughs) But you can’t help but think about something like that when you want something that bad. It doesn’t matter what you’re doing or where you are. You’re still, like, “Oh, I hope I get this thing!” So it was constantly on my mind.

BE: Obviously, everybody in town wanted to be a part of this series. What was your history with “Charlie’s Angels”? Had you been a fan of the show, or at least the movie franchise, before auditioning?

AI: For sure. I was even a fan of the series, even though I technically wasn’t old enough when it was first running to really know what “Charlie’s Angels” was. But it’s one of those things that’s never gotten old. Time has passed, but it’s kind of a timeless show, because everyone can relate to the relationship. And you kind of get lost in that fantasy world, I guess, and it’s a little inspiring and fun and it’s this little adventure that they take you on. So the series was definitely something that I grew up with, and also the movies, so it was something that I was super familiar with, and I was, like, “I have to have this!” I saw girls in and out of that casting office that I had seen on TV more than…well, I mean, I remember seeing some of these girls on TV when I was growing up! (Laughs) So that was nerve-wracking, but it was just one of those things where I was not going to give up. I had to have her.

BE: So what more have you learned about Kate since you’ve started shooting the series itself, as opposed to the pilot? Has she started to be fleshed out a bit more?

AI: Yeah, it’s crazy, because I look back…we’ve been shooting since July, and even just from then, the amount I’ve learned about her, she and I have kind of developed together, and I understand her a little bit more. It’s hard, you know, when you get this character, and they’re just, like, “Here she is, this is what we think she is, so go!” It’s a little hard to develop something from scratch when…I’m not a person who invents things. So it was hard for me. But now I see that she is vulnerable and she’s not just this tough stereotypical female cop. She’s got a sense of fashion, but she’s also sensitive and vulnerable and not just this rogue hardcore girl that’s just this huge tomboy and puts up a huge wall and a thick exterior. She’s definitely got feelings. I think in the first audition and even in the pilot, I was a little more aggressive and intense, and now I understand her a bit more. So it’s kind of fun. I’m still exploring getting to know her. And now, with Isaiah Mustafa – who plays Ray, my ex-fiancé – coming in, I see more of her softer side, where…she wants to just be so upset with him, and she’s got a lot of resentment, but there’s also that frustration and that tension between them, and there’s definitely an attraction still there. The sexual chemistry is still there, that soft spot for him. So it’s really fun reading a script every day and seeing what new things kind of pop out.

BE: How’s the chemistry between you and your fellow Angels? Had you known any of them before this?

AI: No, only what I’d seen on TV. I’d seen Rachael (Taylor) in “Transformers” and also on “Grey’s Anatomy,” and…we all were on the same network, ABC. “Parenthood,” with Minka (Kelly), was also on ABC. (Writer’s note: Actually, “Parenthood” is on NBC.) So it was kind of a full-circle moment where we kind of asked ourselves, “Is this meant to be?” But as soon as we all locked eyes and were in the flesh with each other, it was instant. Instant sisterhood. I mean, those girls…40 years from now, they’ll still be my sisters. It’s one of those things where you can’t necessarily fake what we have, and when people ask us, we’re not just fluffing it up for interviews. We really are sisters. And I love that.

BE: I know your producers have made a point of saying that they didn’t want to go campy or retro with this series, but does that rule out cameos from former Angels?

AI: No, I don’t think so. I mean, we’ve certainly expressed our interest, saying, “Let’s bring in some of the women from the originals! Let’s go there! Let’s not just stop at the movies!” Because there’s always talk of Drew (Barrymore, who’s a producer on the show) possibly making a cameo, since she’s our boss and our mentor and our fellow Angel. But we’re, like, “Hey, what if one of them was, like, a veteran Angel that used to work for the agency” – which obviously plays – “and if one of them was one of our moms?” Or something crazy like that. So I definitely think there are going to be some surprises. What’s funny is that, just as much as they’re hush-hush with everyone else, they’re also like that with us. So they leave mysteries between us, too. But it’s fun. Every day is an adventure. Even when we’re reading the script, it’s, like, “What? Oh, my God, that’s so cool!” So we’ll see. But I definitely see, if not toward the end of this season…maybe there’ll be some foreshadowing, at least. But if not, then let’s cross our fingers for second seasons. ‘Cause I feel like we’ve got some veterans coming in. (Laughs)

BE: You’ve done some prime-time work here and there, but as you kind of touched on earlier, your most notable role is probably playing Maya Ward on “General Hospital.”

AI: Yeah, you can say I’ve had my share of stepping onto prime-time sets, so I kind of understood that world, but those were usually cases where it was, like, “Okay, you’re going to be working for a day or two,” so you don’t really have this deep connection with the character. You’re not developing something and going from zero to 60, or having this huge arc moment with a character where all of these emotions pop up. So this has been a huge transition for me. Definitely longer hours. (Laughs) It goes so fast that you blink and you’ve done five episodes. We’ll work on, like, three scenes in a day, and it takes us about eight days to shoot a whole episode, whereas it would take only maybe five hours to shoot two episodes in the soap world. So it’s been a huge transition, but I would say that I’m so appreciate of “General Hospital,” because I was able to go to “GH,” they had a brand new character in mind, someone who hadn’t been played by anyone else before, so I got to develop her. I learned a lot, but I’m still a rookie for sure. By no means am I anything close to being a veteran or experienced at all, especially compared to Minka, Ramon (Rodriguez), and Rachael. So with the experience I had with “General Hospital,” being able to develop Maya for the short amount of time I did, I’m super grateful for that, and I took that along with me. I’m still learning, but I got my feet wet a little bit, anyway.

BE: I’m not a soap opera aficionado, but my understanding of your character’s fate is that, if you were of a mind to do so, you could still come back.

AI: Back to Port Charles? (Laughs) Yeah, I think the invitation is still open. I feel like I have a great relationship with them, and I told them personally, “Look, I have this opportunity, we were fortunate enough to have our show picked up,” but they didn’t kill me off. I personally asked the producers, “Please don’t kill me off, because if the chance were to come about, I’d love to come back. You guys were the first network place where I felt like I had a family!” So if the opportunity were to come up, I’d love to come back if they’d have me. I definitely wouldn’t close that door.

BE: Given how iconic the original Angels have become over the course of time, are you prepared to take on a similar mantle, or is it intimidating?

AI: What we’ve said…well, Rachael’s said it a few times, and I agree with her…is that every “Charlie’s Angels” has been perfect for its time. And now with us creating something for 2011, we’re trying to make it our own for our time with our cast, putting a fresh take on it. So because of that, I don’t feel the pressure of trying to recreate the original show, or to be like the movies, which were kind of camp and really big and out there and a lot of fluff. I feel like we’re trying to create something a little more grounded and level-headed and real. So I don’t feel the pressure with that. What my main thing is, is that we have an underlying message, and…just like Charlie gave the Angels – and we have four Angels now, because we consider Bosley an Angel – a second chance, there’s a moral to the story where anybody out there in society can take something bad, some horrible circumstance, and have a second chance to turn it into something good. So I hope that’s what people get out of it. My biggest fear…well, not fear, but my biggest pressure on myself is that I want people to gravitate to our show with an open mind and expect to see that charm that every “Charlie’s Angels” has had, but be open to the fact that this is a 2011 version. We’re not trying to recreate anything. It’s not, like, “My character has to be like Drew Barrymore,” or, “My character has to be like Kate Jackson.” We want people to be open. For us, the biggest pressure is just that we want it to be good. (Laughs) With all the critics out there, and with shows dying so fast, I really want ours to have a long lifespan.

BE: I’ll keep my fingers crossed for you.

AI: Yes! Please do! (Laughs)