"Paradise" is what TV executives used to call "high concept," except that any Fogelman show (or movie, like "Crazy, Stupid, Love") usually gets around to what he's really interested in — human relationships, romantic entanglements, tragic loss. There's a lot going on in "Paradise," but if this big swing of a series connects — a medium-size if — it'll be for that reason.

Setting aside a glib and emotionally manipulative launch, of all the "This Is Us" wannabes ("Manifest," "A Million Little Things," "New Amsterdam") in the 2018 fall lineup, "God Friended Me" may stand the best chance of success.

Parents looking to share their "Star Wars" love with their children should add this to the list. It's not essential viewing for anyone else.

It’s not fully baked, not by a mile, because Baldwin has launched with friends, or at least show biz friends, who admire him as much as he admires them. ... Nobody’s neutral about him, and their neutrality will be tested as much as his. The show’s potential will rise or fall in those edgy encounters when they come, and they certainly should. That passion could ultimately be Sunday’s chief asset.

Funny, vulgar, for Burd fans only.

The comedy here can be broad, and is usually far from subtle, but there’s a buried message that promises better episodes ahead.

Aside from a nagging sense that Sam and "Things" are standing in place. Inertia is part of the joke except that we think we already know the punchline. TV shows are about journeys too but through the early episodes, this one seems like it may be stuck in neutral.

No teeth, no energy, no fun, this Vanity Fair can occasionally feel like a homework assignment.

The second season is a beauty, and Diana Rigg is in the house, but Victoria still feels like sanitized history.

Just let the romance flow because true love conquers all, or at least it conquers plot holes, continuity errors, pacing issues and funky time travel stones that buzz like angry bumblebees. That's all part of the charm of "Outlander," and potentially "Blood of My Blood," too.

Good performances, strong start, but the pulp and cliches eventually take over.

Thwarted by same-old sitcom scripting, full of adults’ childish bickering and laden with “irony” setups. ... The saving grace for the show, as for Alex, becomes his family. Through the first three episodes, they’re a nicely knit group with real chemistry and real concerns vs. the podcasts-for-dummies approach to his workplace.

Stalter's fun — no surprise there — but we've seen this show before (a few times).

That "The Red Line" often does as well as it does is a tribute to the cast and the overall production. But apple polish is still apple polish. ... There's a real world out there with real-world shootings of unarmed black men by the police, with horrific consequences, and a vast gulf of mistrust that separates whole communities from law enforcement. No CBS miniseries, however worthy the intentions, could probably get its head around that reality. "The Red Line" certainly tries, but falls short.

A mostly promising start, with some unpromising distractions.

The three judges are amiable, upbeat and gentle. They’re also incapable of criticism, either constructive or harsh. ... It’s a soft down pillow, a gentle bromide for turbulent times. Ageless, old-fashioned, congenial, reassuring.

Good performances, thoughtful series, but saddled with a grim inevitability.

Hardly quaint or entirely redundant, these three are at least good, and the third — written and directed by Oz Perkins — easily the best. But something's still missing and that was the bane of the first season too: Neither sharp-edged nor jagged, they don't stay with you, or haunt you, or vex you in some hard-to-define way.

Last Man Standing is that unusual red fish in a sea crowded with blue ones, and it never lets you forget that. As always and as expected, Mike gets the best lines, the easiest put-downs and literally the last word.

No, this isn't your father's (or mother's) "Watchmen," but something new, occasionally thrilling too. Just not consistently so.

Will this be your next "Downton Abbey?" Probably not, but it could be your next "Poldark." Nothing wrong with that.

A thin story spread over a lot of hours, but Ali is excellent and so is his support.

Nicely crafted, but still Hillerman-lite.

Fake news, real soap — and still watchable.

Well-done, but then TWD is always well-done. What’s missing is the thrill of surprise, or the shock of surprise. “Mercy” at least offers a hint that one may be coming.

What’s funny in Sheldon/adult is grating in Sheldon/child.

This "100" is indeed dazzling to look at and to listen to (in English, this "100 Years" would be — well — strange) while the cast is excellent. But what's missing is what possibly matters even more — those ideas, that magic. Without them, this is just another intelligent TV series with a lot of money on the screen. Márquez was right. His masterpiece is impossible to adapt.

Get beyond the talk, inertia and emotional overload, and there's still some truth and beauty here.