A few years ago, the buzz about television centered on the new TV renaissance and how shows like Breaking Bad, Louie, and Mad Men were completely redefining the artistic spectrum of American programming.

The Bad News Bears repeats itself on Back in the Game, which stars Maggie Lawson and James Caan.

Marvel’s Agents of S.H.I.E.L.D. may not have sustained a feature film, but as an ongoing comic book equivalent of CSI, it has enormous potential.

A gang of gas station employees in Queens strikes it big in the state lottery, and they discover, of course, that with the promise of exponential wealth comes a deluge of moral ambiguity. Even with such a foreseeable conflict, Lucky 7 feels fresh and engaging, despite being based on the U.K.‘s The Syndicate.

You marry a guy whose nose you broke when you fell on him in a karaoke bar and now you’re the third in his string of wives and stepmother to his three kids. That’s the premise of Trophy Wife.

In the spirit of Happy Days, The Wonder Years, and That ‘70s Show, The Goldbergs takes the audience back a couple of decades to 1985, a simpler time when the wacky hijinks of a loving dysfunctional family can be filtered through pop-culture references and dated hairstyles.

Raymond “Red” Reddington (James Spader) is a rogue ex-government agent turned mercenary, assisting criminals across the globe and becoming one of the FBI’s most wanted fugitives in the process.

Creator, writer, and executive producer Chuck Lorre has run out of jokes on Mom.

The CBS thriller-drama Hostages starts off with an engaging and clever premise—an FBI agent (Dylan McDermott) takes the family of a surgeon (Toni Collette) hostage while he entices her to kill the President in a routine operation—but frankly it is hard to imagine how the series can carry on after the initial conflicts are fully explored and resolved.