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.

Creators Ryan Murphy and Brad Falchuk were in attendance to introduce the pilot, along with cast member Connie Britton, and, as is par for the course for series creators when they’re standing in front of an audience of TV critics, Murphy and Falchuk seemed as excited for us to see the episode as they were nervous to learn what we thought of it. Indeed, unless they were skulking in the back of the auditorium, they didn’t stick around to witness our reactions to the events unfolding onscreen, let alone to hear any of our discussions after the closing credits had rolled.

It should come as no surprise to learn that critical reaction was mixed – I mean, that’s pretty much a given for any new series, right? – but if there was one recurring theme to the many conversations going on about “American Horror Story” during our post-screening dinner, it was that a great number of the people who wouldn’t necessarily commit to actually liking what they’d seen were at least willing to concede that it was going to stay near the forefront of their thoughts for quite some time to come…which, as it happens, is where I was with the show, too.

If you’ve seen the pilot, you can probably appreciate my position: it’s creepy, disconcerting, and, yes, there are a few legitimate scares amidst the cheap but effective made-ya-jump moments, but it’s also full of a multitude of horror tropes and plot devices, including (but not limited to) a haunted house, gory murders, ghostly apparitions, eccentric neighbors, a sinister stranger delivering a warning of impending tragedy, and a pregnancy possibly brought about by evil forces.

Was it memorable? Absolutely. Did it make an impact? I dare say it did: even though I didn’t know if I liked it, I already couldn’t wait to watch it again. Was it sufficiently intriguing for me to want to seek out a second episode? You better believe it. But even with these things said, in addition to getting the feeling that Murphy and Falchuk were throwing things against the wall to see what stuck, I was also left with nagging uncertainty about where the hell they were going with this thing.

Now that I’m six episodes into the proceedings, I’m far more confident about the situation, but I won’t lie to you: it was a little bit touch-and-go for a bit.

Not that there hasn’t consistently been plenty of horror in “American Horror Story,” and the back story of the house that was bought by the Harmon family – husband Ben (Dylan McDermott), wife Vivien (Connie Britton), and daughter Violet (Taissa Farmiga) – has continued to grow almost as quickly as the number of problems the Harmons are having to deal with, but what of the Harmons themselves? They aren’t exactly the deepest characters on TV. Ben’s a cheating louse of a husband, Vivien scores our sympathy because she had a miscarriage, and Violet is your typical sullen teenager. It was entertaining to see the strange and unexplained events going on in their house, but without seeing more sides of the characters, I kept wondering how much sympathy I was going to be able to muster for the Harmons.

For me, the turning point came with last week’s episode, the second part of the show’s Halloween saga. Not only did we finally start to get the true story of Tate Langdon (Evan Peters), thereby giving both Peters and Farmiga a chance to shine, but we also saw the further disintegration of the Harmons’ marriage, and, perhaps most surprisingly, the character of Constance (Jessica Lange) is actually becoming a sympathetic figure. There’s no doubt in my mind that Lange was already in position to score an Emmy nod for her work on this show, but given the way they’re fleshing out Constance in a big way, I’m now betting on her taking the trophy home with her.

It might seem easy enough to lump “American Horror Story” in with the other “scary” shows on the air at the moment – I’m looking at you, “True Blood” and “The Walking Dead” – but whether you love or hate the work that Murphy and Falchuk are doing here, you have to admit that it’s definitely in a category of its own.

In closing, I thought I’d throw out a couple of “American Horror Story”-related moments from the TCA tour, starting with my brief encounter with Dylan McDermott during Fox’s all-star party. Not entirely unsurprisingly, he couldn’t stop expressing his excitement about the series.

“As an actor, you pray for those great directors to come along, and Ryan Murphy is one of those directors,” he said. “He really got me. We just had this simpatico with this project. But, you know, I love that world of horror, too – ‘Rosemary’s Baby’ and all that – and the whole ‘what’s real, what’s unreal’ thing is just fascinating to me. But in a funny way, I don’t want to know what’s going to happen. I want to go script by script. I trust Ryan’s vision. A lot of actors were afraid of the nudity and the sexuality, but it didn’t scare me.”

* Denis O’Hare, who, given his makeup, you may or may not recognize from his work on “True Blood,” was also giddy about what he’d done on the series thus far, although he admitted that he didn’t really even know much of what his future on the show would hold when he first got there.

“Ryan called and asked if I wanted to read the script, and I said, ‘Absolutely!’” he said. “And then I read it and loved, and he said, ‘Would you be interested in doing it?’ And I said, ‘Yeah, bring me on!’ He didn’t really know what he was going to with my character at the time, though. He was still kind of figuring it out. So when I came on board, I was just Larry the Burn Guy. That’s what they called him. He didn’t even have a last name. They basically just gave me his plot: he’s a figure who’s hanging around the house because he was involved in a tragedy, he has this kind of symbiotic relationship with the house and the inhabitants within it, and he desperately wants to save them from going down the same path he did. The make-up’s pretty crazy, isn’t it? I think it’s one of the more shocking things I’ve seen in a long time…and I love it!”

Lastly, during the “American Horror Story” panel, Murphy offered up a few words that, fingers crossed, will put you a bit more at ease when it comes to concerns about how the season will play out:

“To me, the pilot of a show is a blueprint, and I always love when pilots have a lot of characters and a lot of story. That being said, I think when you have actors like this, you have an obligation to write them really good, emotional, grounded stories, which we are doing. I think people will come to this, hopefully, for two things: for really good emotional stories that are zeitgeist based, and because there really will be some scary stuff in there. But we do know where it’s going, we do know what that great last episode is, and I think it’s very unexpected and exciting.”

Bullz-Eye: We met very briefly in person when you were at the TCA tour for the “Californication” panel.

Carla Gugino: Yes! Very good…and a totally different project! [Laughs.]

BE: To say the least. So how did you find your way into “The Mighty Macs”? Was the script pitched directly to you?

CG: Yeah, you know, my wonderful agent – his name’s Mike Nilon – he’s actually from Philly, so he kind of knew the story and said, “There’s this filmmaker, Tim Chambers, who wrote and is gonna direct this, and he’s really interested in meeting with you for the role of Cathy Rush.” And I was doing a play…I was doing “Suddenly Last Summer” off Broadway with Blythe Danner at that time, so Tim came to see the play and took me out to dinner afterwards, and he basically told me the story. And, of course, then I read the script, and we went on from there. But he was so passionate about this story and had done such extensive research and was just really galvanized to tell it. And I think that’s the thing for me: it’s always about looking for a person with a vision at the helm, and a character that I have not gotten to play yet. That sort of scares me in a great way. [Laughs.] And in this particular case, you know, Cathy’s a pretty phenomenal woman – she’s still alive and thriving – so to do justice to her story felt daunting in the most fantastic way.

BE: I know that she had been on the set while you were filming. I know that not everyone necessarily likes to meet the person they’re going to be playing, but did you relish the opportunity to be around her and kind of get a feel for her as a person?

CG: Yeah, you know, I have to say that I…I felt really  blessed to have her there. I think the thing is…it’s probably difficult if you have a real person around you if they’re really holding on to a particular way that they want you to play them or think you’re going to play them. But in terms of research, I think it’s a such a gift to have the real person around. And for me…I mean, it was never going to be about me imitating Cathy very much, just because I feel like when you do an imitation of a real person, that ends up being what people are looking at: how good or not is that imitation? In this particular case, what I really wanted to portray was her essence and the way that she was able to lead these girls into really unknown terrain at that time. So that was sort of the most important thing that I focused on, and I think that was the most important thing to her, too. So we really had a nice place to meet on that.

BE: So what was your background in basketball going into the film?

CG: You know what? Very little. [Laughs.] Just as an enjoyable experience. Like, I love watching it, and I got to sit on the floor of a Lakers game when I shot my first scene in “Entourage.” And that was basically about it for me. And that was also what was really daunting and really exciting. I came out of the movie certainly much more knowledgeable about basketball, because for me, I wanted to understand every play I was drawing out, I wanted to understand the game in a way that I would as a coach. So that was definitely challenging, and also very exciting. But it’s interesting, you know, because I guess in a way – and I don’t even know that I’ve said this before, but I’m realizing it as I’m speaking to you right now – it’s kind of a metaphor for this movie. This movie, bizarrely but in a great way, kind of has something for everybody…but not in that general way of [In a sing-song voice] “Oh, there’s something for everybody!” But, truly, if you love basketball, it’s a really cool and amazing story about how this tiny little Catholic girls college and its coach made it to the nationals and changed the face of women’s sports forever. If you are a religious person, it’s also amazing to see the support of and the state that these nuns at this school ultimately had in championing this team, and the fact that the team always felt that there was a sixth player. Sister Sunday sort of personifies that in this movie. And if you’re just a person who wants to see a really inspiring story right now about the fact that in the midst of…I mean, we live in a tough world, and it’s hard times right now, and I think it’s also important to have a story that’s not only incredibly entertaining but also makes you walk out of the theater making you feel better about your life, yourself, and humanity.

BE: You made a comment a minute ago about how “The Mighty Macs” is a decidedly different sort of project from “Californication.” This definitely wouldn’t be defined as one of your sexiest roles, per se. Do you relish the opportunity to mix it up and show different sides of yourself?

CG: For sure. I mean, for me, it’s always been about that. It’s really about…you know, I’m so thrilled that this is a G-rated family movie that everybody can go to, because that story is so appropriate for that. And I love that “Californication” is made for adults. It’s a totally different kind of humor and a different kind of…yeah, it’s a much sexier show and all those things. And then I’m about to go do an Athol Fugard play on Broadway with Rosemary Harris and Jim Dale, which is a decidedly different thing. So to me, aside from the people that I love, acting really is the love of my wife. I want to be able to play everything and be able to disappear into roles and have people accept and believe me in those. I’m much more interested in that than my image as an actor. So it is thrilling to be able to mix it up, and I’m appreciative that I get to do that.

BE: On the topic of “Californication,” how did you find your way into the series? Did David Duchovny approach you and ask you to be involved?

CG: No, actually, you know, David and I had a lot of mutual friends, but we’d hadn’t met before that. The creator of the show, Tom Kapinos…I just got a call from my agent, saying, “there’s a role that they would really love you to play in that season. Would you sit down and talk to him?” And he kind of pitched me what the character was like, and I…was only able to read the first episode was in, maybe the first two, but I really liked where they were going with it. And he said, “I really want someone really formidable, because he’s going to have kind of a different relationship with her than he has with any other woman besides Natascha McElhone’s character.” And she’s obviously such a strong and beautiful woman that they really needed a great kind of full woman to embody that role. Basically, everything I said that was important to me for the role, he absolutely incorporated it into the part. So it was an amazing experience. I really loved working with all of those guys.

BE: Talking about various projects you’ve done over the years, you actually started in sitcom work, which “Californication” is, at least to a certain extent, an extension of that. Do you have any particular anecdotes from those days that still stick with you that were particularly educational?

CG: Well, it was amazing, you know, to work with Michael J. Fox (on “Spin City”), who’s so brilliant in that medium. So that was, in and of itself, fantastic. You know, I think it’s interesting, because I think sitcoms are such a cool kind of hybrid of television or film meets theater, because you do have a live audience, and you really are working with that comic timing in a very specific way because of that. So I don’t even know that I have any anecdotes, other than that doing “Spin City” was just such an amazing kind of thing, because I met my best friend, Connie Britton, on that show. So that was a huge thing. And then also I was able to, as a very young person, live in New York and film an amazing sitcom there. I never really saw myself in a sitcom, and then I really had such a great time doing it. I find myself in a lot of dramatic fare, which I love, but I also do love doing comedy. So that’s always a great opportunity when I’m able to do that.

BE: Would you say there’s a favorite project over the years that you’ve done that didn’t get the love you thought it deserved?

CG: Oh, gosh, a lot of them. [Laughs.] Let’s see… I mean, honestly, it happens so often, because so often you make movies that sort of go under the radar. I did a movie called “Judas Kiss” quite a number of years back, with Emma Thompson, Alan Rickman, Hal Holbrook, and Simon Baker. That movie did really well around the world, but it just didn’t really get a lot of play in this country. “Miami Rhapsody,” which was David Frankel’s first movie, that’s another one. It was with Sarah Jessica Parker and Antonio Banderas – that’s where Antonio and I met – and Mia Farrow, Paul Mazursky, and Jeremy Piven. That’s also where Jeremy and I first met. That movie could’ve been a huge runaway comedy hit, and it has a real cult following. People who have seen it love that movie, but not that many people have seen it, relatively speaking. So throughout time there’s a lot of that. I think that as an actor you just kind of get used to it. You kind of give your gift, you give whatever you give, and you move forward, because the rest of it’s out of your control.

BE: As far as your TV work that’s kind of underrated, I’m a huge fan of “Threshold,” but I really wish they’d release “Karen Sisco” on DVD.

CG: I know! You know, it’s so funny, “Karen Sisco,” I have to say…well, first of all, thank you for “Threshold,” too, but with “Karen Sisco,” what’s really fun is that, right now, I’m working on “Justified,” and that’s our old “Karen Sisco” team, and it’s also Elmore Leonard, so that’s a really fun world to revisit. I have a really soft spot for “Karen Sisco” as well, and…interestingly enough, if you’re an Elmore Leonard fan, you can get this on iTunes,  but Joseph Gordon Levitt directed a short film which I produced with him that Elmore is also in support of. It’s with Eric Stoltz and myself, it’s called “Sparks,” and it’s based on a short story Elmore wrote called “Sparks.” You can get it on iTunes, and it’s only about 15 or 20 minutes long, but it’s a really cool short film. But, yeah, “Karen Sisco,” we only did 10 episodes, but people still always come up to be about that show. Because of the timing and because of all sorts of networks and studios behind the scenes, it just didn’t have as long a life as it should have. But it was certainly a special show.

12. Life As We Know It (ABC, 2004 – 2005): Lasting only 11 episodes before ABC unceremoniously yanked it from the air, “Life As We Know It” premiered during perhaps the most cancel-happy era in television. Developed by two of the producers of “Freaks and Geeks” (maybe the writing was already on the wall), the series may have ultimately been undone by poor ratings, but the Parents Television Council’s campaign against the show’s sexual themes certainly didn’t help. Then again, when you green light a series based on a controversial young-adult novel called “Doing It” that follows the exploits of a trio of best friends (Sean Faris, Jon Foster and Chris Lowell) navigating the highs and lows of adolescence, you can hardly pretend to be surprised when its characters discuss sex on a fairly regular basis.

Featuring a great cast of young up-and-comers that also included Missy Peregrym and Kelly Osbourne (yes, that Kelly Osbourne, who’s never been cuter than she was here), “Life As We Know It” certainly wasn’t perfect by any means, but it easily outshined similar shows like “Dawson’s Creek” and “The O.C.,” particularly in its handling of its adult characters. The series wasn’t without the usual high school clichés, but the writers never shied away from edgier material, either – like a student having a secret affair with his teacher or a star jock dealing with performance issues – resulting in a smart, sweet and incredibly honest look at how sex changes everything. – Jason Zingale

11. Welcome Back, Kotter (ABC, 1975 – 1979): Despite suffering through remedial classes and acting far more rebellious than was deemed socially acceptable, Gabe Kotter (played by the suspiciously similarly-named Gabe Kaplan) still somehow managed to graduate from James Buchanan High School, but who would have thought that the dreams that were his ticket out would lead him back there? (John Sebastian did, of course, but that’s not really relevant to this discussion.) With his teacher certification tucked into his back pocket, Kotter returns to his alma mater and takes on the challenge of trying to educate the new generation of remedial students. Oh, sure, their names have all changed since he hung around – now they’re called Vinnie Barbarino (John Travolta), Arnold Horshack (Ron Palillo), Freddie “Boom-Boom” Washington (Lawrence Hilton-Jacobs), and Juan Epstein (Robert Hegyes) – but they’re still “sweathogs” all the way.

Most would likely agree that “Welcome Back, Kotter” was at its best when it was still the original four Sweathogs, i.e. before Travolta slipped away from television, put on a white suit, and found big-screen success on the dance floor, but even at its funniest, few would probably describe it as the most realistic look into high school life.

“I don’t think anyone was trying to replicate the high school experience so much as they were trying to service those particular characters and write stories about them,” said Mark Evanier, who served as a story editor for the show. “If you could get a good joke out of it, great…though there were times I think we settled for a decent catch-phrase.”

While the words “up your nose with a rubber hose” lend credence to Evanier’s theory, the Marx-Brothers-inspired chemistry between the Sweathogs helps their slapstick shenanigans hold up nonetheless. And, besides, who needs realism when you’ve got Gabe Kaplan doing Groucho? – Will Harris

10. Glee (Fox, 2009 – present): Is it telling that one of the most popular current shows on TV came it at only the #10 spot? If nothing else, maybe it proves we here at Bullz-Eye aren’t prone to fads. Except that maybe we are, as “Glee” has made it onto our TV Power Rankings lists time and again since its debut. But this list isn’t about what entertains us in the broader sense; it’s about great high school shows. As entertaining as “Glee” can be, it has almost nothing real to say about the high school experience, and in fact most of the high school kids I know find it to be pretty nonsensical.

The one area that it seems to excel in as far as capturing the high school experience is in its ability to play romantic musical chairs with its cast of teenage characters. These kids are fickle, and the only guarantee that seems to come with a relationship on “Glee” is that sooner or later it’s going to end. Some props should probably also be given for their attempt to zero in on the bullying issue that so seems to afflict kids today, but “Glee” chose to unfortunately treat the topic with kid gloves rather than say something truly meaningful. None of this is to say that “Glee” isn’t one hell of an entertaining series, because it is, but anyone looking for something a little deeper would do best to dust off their old DVD of “The Breakfast Club.” – Ross Ruediger

9. Square Pegs (CBS, 1982 – 1983): We hate to recycle the opening line of our DVD review for this classic ’80s sitcom, but since the statement still holds true, we’re going to do it, anyway: “Although there’s absolutely nothing inaccurate about labeling ‘Square Pegs’ as an artifact of its time, it’s far too lazy a phrase to use as the sole descriptor of a series that was not only one of the funniest sitcoms of the ‘80s, but the most accurate representation of ostracized high school kids this side of ‘Freaks and Geeks.’” Hyperbole, ahoy…? Not if you grew up in the ’80s, my friend.

Kids today may only see the novelty value in “Square Pegs” (“Hey, look, Sarah Jessica Parker before ‘Sex and the City’!”), but back when dweebs and spazzes were still busy battling preppies and valley girls, it was – you’ll pardon the expression – totally awesome to see new wave kids represented in a halfway-accurate fashion in prime time. Admittedly, characters like Johnny Slash (Merritt Butrick), Jennifer DeNuccio (Tracy Nelson), and Muffy Tepperman (Jami Gertz) were painted with some pretty broad strokes, but those of us who suffered through the lower circles of the hell that is high school saw kindred spirits in Patty Greene (the aforementioned Ms. Parker), Lauren Hutchinson (Amy Linker), or, in my case, Marshall Blechtman (John Femia). That I was forever mystified while Marshall wasn’t considered the most hilarious kid at Weemawee High School says, I fear, rather a lot about my social standing. – Will Harris

8. Skins (2007 – present): Even though the preceding parenthetical run dates should already make it evident, let’s go ahead and clarify this point right up front: we’re talking about the UK version of “Skins,” not MTV’s attempt at Americanization. Not that we blame the network formerly known for providing Music Television for trying to put their own stamp on the property, but if all they were going to do was water it down for Stateside sensibilities, then they really needn’t have bothered. There’s a reason why creators Bryan Elsley and Jamie Brittain have been recognized by the British Academy of Film and Television Arts and Rose d’Or festival, precious little of which can be seen on “our” version.

“If parents were freaking out over the incredibly unrealistic scenarios presented in ‘Gossip Girl,’” we mused in our review of “Skins: Volume One,” “then one can only imagine the series of heart attacks and strokes that could occur from viewing the disconcertingly real circumstances within this show.” That’s not to say that the level of teenage sex, drugs, and general mischief seen on “Skins” are the norm, but what will make them so disconcerting to moms and dads is that they’re presented in a manner which, unlike in your typical CW series, will make you fear that your child could be doing the same thing at the very moment! Another impressive element of “Skins” is the creators’ decision to phase out characters after a season or two, which keeps the show fresh. Shame about the MTV version, but don’t let that stop you from embracing the brilliance of the original.

7. The White Shadow (CBS, 1978 – 1981): Ken Howard starred as Ken Reeves, a former NBA player whose career is cut short by injury. An old friend reaches out to him and Reeves gives up the pros, moves to L.A. and becomes the unlikely coach of an inner city basketball team. The set up is very high concept, but the execution of “The White Shadow” was much more down to earth. Created by Bruce Paltrow, the series explored the lives of the young men, an eclectic cast of blacks and whites, as much as it dealt with Reeves adapting to his new lifestyle. With Reeves taking on the role of father figure, he did his best to help each kid reach his potential.

An early example of a dramedy, the series introduced us to memorable characters like Morris Thorpe, Go-Go Gomez, Reese, Salami (and his car, the Motel California) and of course, Coolidge. Each kid had spark and charm and made coming back each week a joy, even though the roads they travelled were often full of roadblocks like racism, drugs and violence. That rare show aimed at men of all ages that didn’t involve cops or lawyers, “The White Shadow” holds up today because it treated the high school kids like real people and not just caricatures drawn up in an executives office. – Scott Malchus

6. Parker Lewis Can’t Lose (Fox, 1990 – 1993): What “30 Rock” is to actual television production, and what “Arrested Development” was to the real real estate business, “Parker Lewis Can’t Lose” was to high school life. Wrongly tagged as a knock-off of “Ferris Bueller’s Day Off” but with an admitted debt to Phil Joanou’s little seen “Three O’Clock High,” this early 1990s sitcom was years ahead of its time in breaking the static mold of the single-camera sitcom and foreshadowing the camera tricks of more recent live-action cartoons like “Malcolm in the Middle” and “My Name is Earl.” Created by Clyde Phillips and Lon Diamond, the comedy portrayed high school not as the setting for emotional ordeals, but a place where, if valuable life-lessons were to be learned, they were going to be learned in the context of an absurdist comic wonderland of spoofery that recalled both “Rock and Roll High School” and “Airplane!”

Week after week, Corin Nemec‘s preternaturally resourceful and resilient title character, soulful pompadoured rebel Mikey Randall (Billy Jayne), and insanely accomplished neurotic super-nerd and high-tech jacket wearer Jerry Steiner (Troy Slaten) thwarted the fun-killing evil plans of Principal Grace Musso (Melanie Chartoff) and Parker’s diabolical kid sister, Shelly (Maia Brewton), with cartoonish aplomb on a show that was mostly about silly spoofs, Bugs Bunny-eseque slapstick, and wish fulfillment. Dealing with the realities of adolescence was fine for other shows, but when it came to good-natured pokes at teen drama cliches, current events, and television itself, “Parker Lewis Can’t Lose” was a consistent winner. – Bob Westal

5. Buffy the Vampire Slayer (The WB, 1997 – 2001 / UPN, 2001 – 2003): Joss Whedon‘s most popular and analyzed creation is never oversubtle in the metaphor department. Was your high school a living hell? Sunnydale High sits over a “hellmouth” which attracts all forms of evil. Is teen sex fraught with peril in your experience? When Buffy Summers (Sarah Michelle Gellar), finally sleeps with her heroic vampire boyfriend, Angel (David Boreanaz), he literally loses his soul and commences eating her friends. A combination of epic fantasy a la Marvel Comics, action, not-too-scary monster horror, and soap opera with generous portions of the kind of fast-paced verbal comedy that supposedly died in 1964, “Buffy” became a television classic because it was as honest as it was fun.

Many complained when Whedon killed off sympathetic and popular characters, but a truly excellent show based on the very idea of death had to occasionally deal with death. For seven frequently brilliant, hugely inventive seasons starting in 1997, “Buffy” was equally honest, and often hilariously satiric, on topics ranging from bad relationships, to bigotry, conformism, religion, and the fact that life cam be so complicated that even the smartest among us have no clue how to deal with it. High school might be a kind of hell for some, but when Buffy and her friends graduated, the struggles only became more complex. The good news was that, with loyal friends and family members, life could be survived and enjoyed, as well as suffered. If several of those friends have super powers, even better.

4. Friday Night Lights (NBC, 2006 – 2011): Pure. That’s the only way to describe this honest, sincere portrayal of life in a small Texas city, where the ebb and flow of life revolved around the success of the high school football teams. Through five seasons, we saw a parade of characters that rang true to the real high school experience. Unfortunately, the show only attracted a loyal, cult like audience. People didn’t want realism; they wanted to escape and forget about their problems. Yet, through the wonderfully drawn characters, especially the core of the series, football coach, Eric Taylor (Kyle Chandler), and his wife, high school counselor, Tami (Connie Britton), “Friday Night Lights” offered something sorely lacking in American television: hope.

We saw teenagers face devastating injuries, get abandoned by their parents, deal with drug issues, unwanted pregnancies and the threat of jail and death. Yet, through the example set by the Taylors, at the end of every day there was an optimism that permeated from the dusty streets of Dillon. For its depiction of small town America and its truthfulness in portraying the high school experience, “Friday Night Lights” will go down as one of the premiere television dramas of the past decade, if not in the history of television. Like I said, pure. – Scott Malchus

3. Veronica Mars (UPN, 2004 – 2006 / The CW, 2006 – 2007): Juggling school work, extra-curricular activities, and dealing with the negative effects that doing the right thing can have on your social status are not new grounds for a show set in high school. Ah, but what if the high school student was also a private investigator, and not just a private investigator but a smoking hot private investigator? Then they would be Veronica Mars, who’s thrown to the dogs by her rich friends (her sheriff father suspected one of their fathers of murder) and forced to recruit a new band of Scoobies to help her solve crime and survive the hallways of Neptune High.

Kristen Bell has to know that this was a once-in-a-lifetime part for her – hell, she pretty much acknowledges and makes fun of that in “Forgetting Sarah Marshall” – and she made the most of it, making the guarded but vulnerable Veronica one of the most desirable women on television, even though her personal life was a shambles. She didn’t solve cupcake cases involving missing puppies, either. Veronica solved murders (including that of her best friend, which sent her boyfriend’s father to jail), caught rapists (including her own), and hung out with Latino bikers. To use characters from fellow high school show “Freaks and Geeks,” Veronica Mars is like Lindsay Weir and Kim Kelly rolled into one, street smart and tough but kind-hearted, and her supporting cast, particularly Jason Dohring and Enrico Colantoni as Veronica’s boyfriend and father, respectively, was exceptional. One of the rare shows where the high school drama has its rightful place in the grand scheme of things: at the bottom. – David Medsker

2. My So-Called Life (ABC, 1994 – 1995): It stands to reason that “My So-Called Life” and – spoiler alert! – “Freaks and Geeks” should take the top two spots on our list. They are, after all, not only great shows about high school, but truthful shows about life, full of poignancy, heartbreak and humor. This series is more feminine in its approach, whereas “Freaks and Geeks” has more of a masculine take. Claire Danes was all but a nobody when this series hit the airwaves, but that didn’t stop her from deftly imbuing Angela Chase with all the angst, hope and desire that goes along with being a teenager.

One of the most famous episodes of the series revolved around Angela being tormented by a zit, and that, more than anything else, is what being a teenager is really all about. It’s that time in your life when the smallest things carry the biggest weight. Teens change, but certain aspects of that period of years remain constant no matter what the decade. “My So-Called Life” life is just as tight and smart today as it was when ABC unveiled it 17 years ago. Many have bemoaned its early cancellation (it only lasted 19 episodes) and rightly so, as there were obviously many, many more stories to tell. But the positive side is that it got created at all, and you’ve still not seen it, by all means pick up the complete-series set from Shout! Factory. – Ross Ruediger

1. Freaks and Geeks (NBC, 1999 – 2000): Judd Apatow may have turned into a household name with the college crowd as a result of his film work, but he earned a special place in the hearts of TV critics and discerning viewers when he served as the executive producer of the single season wonder known as “Freaks and Geeks,” created by Paul Feig. The latter gentleman doesn’t get nearly enough credit for what he brought to the table for the series, but anyone who’s taken the time to read both volumes of his memoirs – Kick Me: Adventures in Adolescence and Superstud: Or How I Became A 24-Year-Old Virgin – knows of Feig’s firsthand familiarity with freakdom.

It only takes a single glance at the above photo to see that the show had a cast to die for: the freaks were James Franco, Jason Segel, Seth Rogen, and Busy Philipps, who’s now on “Cougar Town,” the geeks were Samm Levine (“Inglorious Basterds”) and Martin Starr (“Party Down”), and somewhere in between were Lindsay Weir (Linda Cardellini, late of “ER”) and her little brother, Sam (John Francis Daley, currently of “Bones”). It’s no surprise that this crew could make with the funny whenever it was required of them, but much of the humor was the sort that made you laugh both because it was funny and because you’d lived through something similar yourself, a feeling aided in no small way by having the show set in the early 1980s. Unfortunately, between the retro setting and the odd title, “Freaks and Geeks” failed to pull a large audience, a fact which seems inconceivable when you consider how many people have subsequently fallen in love with it on DVD, thanks to Shout Factory. Indeed, after watching the complete-series set, one is hard pressed to comprehend how viewers didn’t riot in the streets when the series got its walking papers. “Freaks and Geeks” isn’t just a great high school show. It’s one of the best TV series of all time. – Will Harris

Extra Credit: What, like you really thought we’d be able to narrow it down to just 12 series? Get real. Here are some of our other favorites. We still left some out, of course, but you’ve got to stop somewhere, haven’t you? (Besides, this gives you plenty of room to complain in the comments section about what we’ve forgotten.)

21 Jump Street (Fox, 1987 – 1991): God only knows what the hell we should expect from the forthcoming film adaptation of this early offering from the Fox network, but it’s a fair bet that Jonah Hill won’t walk out with the same sex-symbol status that Johnny Depp earned while playing Officer Tom Hanson. The concept of “21 Jump Street” involved a quartet of fresh-faced cops – played by Depp, Holly Robinson, Peter Deluise, and Dustin Ngyuen, with Richard Grieco joining the cast in ’88 and then spinning off into his own short-lived series, “Booker” – working undercover as high school students, regularly reporting back to their supervisor, Captain Fuller (Steven Williams). Lots of hot teen topics were tackled, most of which were resolved within an hour, just like in real life. – Will Harris

Beverly Hills, 90210 (Fox, 1990 – 2000): Although the current incarnation of this classic series (The CW’s “90210″) may have finally found its own identity now that it’s in its third season, trying to dismiss the classic classroom drama of Brandon, Brenda, Dylan, and Kelly is basically asking to get your ass kicked. (Those original-series fans are a tenacious bunch.) Few will deny that the show went on a couple of seasons longer than it probably should have, and the jokes about twentysomethings trying to get away with playing high schoolers were absolutely on the mark, but neither of those observations change the fact that “Beverly Hills 90210″ defined the nighttime teen soap genre. Will Harris

Clone High (MTV, 2002 – 2003): Was this the greatest concept for a high school show ever…? You be the judge: it’s a high school entirely populated by clones of famous historical figures, created as an experiment by the U.S. military in order to harness their mental and physical abilities for the good of the nation. Abe Lincoln, JFK, Genghis Khan, Cleopatra, George Washington Carver, Helen of Troy…even Mahatma Gandhi.

“I loved that show, man,” Bill Lawrence, the co-creator of the series, told Premium Hollywood in 2009. “Once you’ve been doing this long enough, you have a couple of things in your past, you have failures that you feel failed rightfully so, and you have some failures that you’re, like, ‘That was wrong.’ TV has so many elements out of your control, be it marketing, timeslots, promotion, luck of the draw…or the Indian government, like “Clone High.’”

Yeah, that whole thing about including Gandhi as one of the students? Not such a hit in India. Nearly 150 Indian MPs and political activists pledged to fast in protest of the series…or, as E! Online put it, “(MTV) came under fire from Indian officials offended by ‘Clone High”s ‘toon version of Gandhi, a high schooler purportedly cloned from the assassinated Mohandas Gandhi, who goes by the nicknames G-Man, and DNA Dan, (and) has an affinity for dangly earrings, rap music, junk food and ‘being the ultimate party animal.’”

I am shocked…shocked!…that Indians would be unamused by such a depiction of the father of satyagraha. Me, though, I thought the show was hilarious. – Will Harris

Daria (MTV, 1997 – 2001): It’s easy to forget that “Daria,” the whip-smart animated series about a wise-beyond-her-years high school misanthrope who never met a line she couldn’t underdeliver, was a spin-off of the pinnacle of dumbness, “Beavis & Butt-Head.” Fortunately, the similarities end there. Daria is a rare beast of teenager, one who clearly isn’t like the other kids, but rather than having a complex or an attitude about it, she instead observes her peers – and pretty much everyone else – with detached amusement, never getting involved and never getting hurt.

Where she inherited this personality trait is anyone’s guess, as everyone in her family is a high-strung head case, but it leads to some incredible verbal volleying with her vain but secretly smart sister Quinn, who’s one of the greatest animated characters in TV history. Even better is Trent, the slacker older brother of Daria’s best friend Jane and, temperament-wise, a perfect match for Daria. In all other aspects of life, though, they couldn’t be less alike (he’s seven years older and still lives at home). Ultimately, the true genius of “Daria” is how they provided so many shallow characters with so much depth; frankly, it’s amazing that MTV allowed something so unassumingly witty to run as long as they did. – David Medsker

Degrassi: The Next Generation (CTV, 2001 – 2009 / MuchMusic, 2010 – present): No list of high school series would be complete without a mention of this Canadian phenomenon that has lasted a staggering ten seasons on the air. Seen in the U.S. on TeenNick, “Degrassi: The Next Generation” has had a multitude of cast members (as students have grown and moved away) and introduced the world to the talents of Shenae Grimes (“Beverly Hills: 90210), Nina Dobrev (“The Vampire Diaries) and recording artist, Drake (who acted under his birth name, Aubrey Graham).

While characters have come and gone, one thing that has not changed is “Degrassi’s” dedication to tackling sensitive issues such as drugs, rape, abortion and mental illness in a realistic and thoughtful manner. Some of the plotlines may border on the soapy (this is a teen series after all), but the producers have always written with a purity that is lacking in pretty much every crass sitcom or adventure show marketed to teenagers. Obviously, the Bullz-Eye readership is not the intended audience of “Degrassi: The Next Generation,” (unless you’re a teenage boy who got sidetracked from the models pages) but if you are a fan of YA literature or high school shows in general, this Canadian import is worth checking out. – Scott Malchus

Everwood (The WB, 2002 – 2006): New York City piano protégé, Ephram Brown (Gregory Smith) is uprooted by his grieving father and moved with his younger sister to a small Colorado town. Full of himself and angry over the death of his mother, Ephram has no desire to integrate into the rural community of Everwood. But he has no choice, and viewers were thankful that his father, Dr. Andy Brown, refused to return the family back to New York. With a stellar cast, led by Treat Williams as Andy, “Everwood” was the rare family show being broadcast on any major network during the early 2000’s.

Although Williams was billed as the star, it wasn’t Andy’s story that was so compelling. It was Ephram’s and his coming of age. “Everwood” had many of the hallmarks of a teen series – the outcast trying to fit in, the girl of his dreams (Emily VanCamp) that he would eventually win, the high school bully (Chris Pratt) who would become his best friend – but it succeeded because of the sensitivity it used in approaching these universal themes, and by its execution. Often praised as one of the best written and well acted shows of its time, the series only lasted four seasons, a victim of the WB/UPN merger. However, the first three seasons of “Everwood” are available on DVD and well worth your time. – Scott Malchus

Fame (NBC, 1982 – 1983 / Syndication, 1983 – 1987): It’s appropriate, I suppose, that the only part about “Fame” that’s lived forever in my memory is its name…and I probably wouldn’t even remember that if Irene Cara’s theme song wasn’t so damned catchy. Still, the cinematic story of the New York City High School for the Performing Arts (which, though fictional, is directly inspired by the Fiorello H. LaGuardia High School of Music & Art and Performing Arts, also in New York) spawned a series that survived network cancellation to run for an additional four seasons in syndication, which is nothing to sneeze at. I’m not sure it’s a good thing that it inspired a generation of insufficiently-talented kids to say, “I am totally talented enough to go to one of those schools,” but I guess it’s no worse than the similar delusions inspired by “American Idol.” – Will Harris

Head of the Class (ABC, 1986 – 1991): Who knew that Johnny Fever’s doctorate was an EdD? (We’d always presumed it was something to do with pharmaceuticals.)

After seeing the three dispensable seasons of “WKRP in Cincinnati” episodes rerun over and over and over again, it was somewhat jarring to see a ‘stache-less Howard Hesseman not only standing in front of a classroom, wearing a coat and/or tie (but rarely both) and shaping young minds, but – gasp! – wearing a suit. Charlie Moore (Hesseman) came into a Manhattan high school as a substitute history teacher, but he soon finds himself as the full-time instructor to the school’s academically-gifted students, including nerdy Arvid (Dan Frischman), chubby Dennis (Dan Schneider), super-spoiled Darlene (Robin Givens), and Janice (Tannis Vallely), otherwise known as the little girl with pigtails and glasses. By the time the series wrapped, however, Hesseman was long gone, having been replaced by Billy Connolly, a very funny man who, alas, was never really in a position to play to his comedic strengths.

“Head of the Class” wasn’t what you’d call edgy, but it’s worthy of mention because of its noble efforts to take away some of the stigma of being a smart kid. Unfortunately, it’s also pretty dated, which is why you don’t see it in syndication very much anymore. (Those Reagan jokes just don’t play the way they used to.) – Will Harris

James at 15 / James at 16 (NBC, 1977 – 1978): It’s almost quaint to think that this series, which changed its title with the age of its lead character, erupted in controversy over the network’s decision to make James – played by Lance Kerwin – feel bad about losing his virginity. Indeed, the show’s creator, Dan Wakefield, quit the show as a result.

According to People at the time…

Wakefield submitted a script calling for James to yield his virtue to a Swedish exchange student on his 16th birthday. (The title will simultaneously age to James at 16.) But squeamish NBC censors balked at Wakefield’s treatment of sex and contraception and had the show rewritten to “punish” the young lovers with guilt. “The network didn’t mind that James was going to have sex,” claims Wakefield, who is working in television for the first time, “but they said even a vague mention of birth control [James' euphemism: "Are you responsible?"] made the episode too controversial. I felt it would have been totally irresponsible not to include that reference.” NBC answers that the script’s problem was not birth control but the “dangerous ground” of “promiscuity.”

History, thankfully, has allowed Wakefield to have the last laugh: when people look back at this storyline now, the only thing they’re thinking is, “Man, I wish I’d lost my virginity to a Swedish exchange student. That’d only be, like, the best first-time story ever!”

Room 222 (ABC, 1969 – 1974): You didn’t need to be a media theorist to figure out that this witty, well-acted comedy-drama, created by a young James L. Brooks, operated on a formula.

It would start with comedic repartee between wry, befuddled principal Seymour Kaufman (Michael Constantine) — yes, there probably is a “Simpsons” connection there — adorably zany student teacher Alice Johnson (Karen Valentine), smart school-counselor Liz McIntyre (Denise Nicolas), and history teacher Pete Dixon (Lloyd Haynes). Since Mr. Dixon and Miss McIntyre were both thirtyish and African-American, it followed that they were dating.

After the first commercial break, a troubled student would emerge, often with a problem ripped from the headlines of the day. After the second break, the troubled student would have a heart-to-heart chat with the extremely wise, compassionate and Poitier-esque Mr. Haynes. By the epilogue, the student would be on the road to a productive adult life.

To be fair, the formula did get broken at times, and the show was a trailblazer in its relatively realistic depiction of the kinds of multi-ethnic schools that were then emerging in racial-strife-torn Los Angeles. It also remains a frightening depiction of early 1970s male hairstyles. Wacky comedy relief student Bernie (David Jolliffe) sported television’s most massive Jewfro, which easily dwarfed the staid Afros of black characters like his buddy, Jason (Heshimu). Bernie’s hair didn’t win any awards, but, by God, it deserved its own show. – Bob Westal

Saved by the Bell (NBC, 1989 – 1993): All things being equal, if we’re going to watch Elizabeth Berkeley in something, we’d just as soon make it “Showgirls” (the acting’s just as bad, but as least we get nudity), but we can’t deny the staying power of this kitschy Saturday morning sitcom. That doesn’t mean we have to write much about it, though. – Will Harris

The Wonder Years (ABC, 1988 – 1993): Given that every single member of the Bullz-Eye staff swears by this coming-of-age comedy…or dramedy, really, once you consider how many times it made us tear up over the years…it’s a little surprising that Kevin Arnold and company didn’t actually rank in the list proper. Or is it?

I don’t know about you, but when I think of “The Wonder Years,” I think most specifically of the early episodes, when Kevin and Winnie weren’t even in their teens yet (Fred Savage was 12 when the show started). Plus, so many of the key storylines involved the Arnold family that, even with all of those appearances by Robert Picardo as Coach Cutlip and that gut-wrenching episode when Kevin’s algebra teacher dies unexpectedly from a heart attack, I just don’t think of “The Wonder Years” first and foremost as a high school show…not that that makes it any less awesome. – Will Harris