Like “New Amsterdam,” “Transplant” is a high-gloss, middle-of-the-road broadcast drama. It’s “ER” with an immigration story overlay, but it doesn’t redefine the medical drama the way “ER” did in 1994.

“Kingstown,” written by Sheridan, is another muscular soap that’s long on characters talking in indecipherable lingo and short on clarity.

It’s a cynical and often predictable look at the seamy side of the entertainment industry.

Ted” offers intermittent but not consistent laughs, and, at those one-hour drama episode lengths, it’s not worth viewers’ time.

“Joe vs. Carole” is competently made and entertaining enough but having already sat through the first season of Netflix’s bloated “Tiger King,” “Joe vs. Carole” can’t help but feel like a rerun of something I already saw.

“1883” but make it sexy! And ridiculous!

None of the acting shines the way Maslany did the first time around. “Echoes” offers fan service at best but too often it’s just a degraded copy of the original “Orphan Black” series.

“Dexter: Resurrection” proves most interesting when Dexter meets an elite collective of serial killers who convene at the home of a wealthy admirer (Peter Dinklage, “Game of Thrones”) and his henchwoman/enforcer (Uma Thurman). It’s the only element of this season that feels like new, semi-unexplored terrain.

With so many characters, there’s not as much time for busting up bad guys — and when Walker goes too far in one beat-down he gets a mild reprimand from his boss — so this isn’t your grandfather’s “Walker.” It’s clearly The CW’s cookie cutter iteration.

The breaking-the-fourth-wall shtick grows old fast in the pilot — only one in four of the comments proves charming/funny — so it’s no surprise there’s less of it in the second episode.

A very Hallmark-style light drama.

Basically, “Happy Face” jumps off from the real story then moves into fiction immediately, a disappointment for anyone expecting this “true crime” story to be, well, true.

There’s some humor to be mined in flashbacks illustrating how Kenan and his wife met on the set of a sitcom – she was only three years older than him but played his character’s mother on the TV show – but the present-day stuff is pretty unfunny, marking this series as a dud on arrival.

Kline excels at pomposity, Linney nails exasperation and Tenney holds his own as a warm balm fighting the lunacy around him, but “American Classic” offers little to recommend beyond a generally comfy vibe.

Sure, there are tangents for “Kevin Can…” to explore, including a clean-cut guy (Raymond Lee) Allison knew in high school who’s returned to town. There are also hints of her attraction to a bad boy mechanic. But the main story feels limited and quickly stretched beyond a point where the concept ceases to be novel.

Rauch and Larroquette evince great chemistry and the new characters show promise, but much of the writing seems stuck in the ’90s.

Machado is excellent as the ferocious Dolores but the show is aimless and predictable with no big twist at the end.

After the first episode, the cynical “Your Honor” becomes a little less painful to watch but also more predictable. ... The arrival of the always-welcome Margo Martindale in episode four immediately improves “Your Honor” but it’s not enough to overturn the initial verdict: “Your Honor” is guilty of being a major downer.

This NBC comedy has potential thanks largely to the presence of Echo Kellum (“You’re the Worst”) and Nicole Byer (“Nailed It!”). Even so, the writing for Byer needs to be as sharp as she is – which in the two episodes made available for review, it’s not.

It is meat-and-potatoes storytelling served as a tiny portion on an oversized platter. As in real life, the story peters out with an unsatisfying conclusion.

Fans of Fox’s existing male-­skewing animated comedy lineup will likely welcome “UBG,” which offers a similar comedic point of view: dumb dudes doing dumb things designed to make viewers laugh.

[Her boss] strangely does not immediately kill her when she gives him guff.

It’s dumbfounding how much the show elides fertile territory for dramatic story in favor of the usual, predictable CW-patented relationship drama.

It’s a pretty light-hearted action-drama, the kind of show where Syd and Nancy banter their way through a bullet-riddled convenience store hold-up/hostage crisis.

Much less wild (and less entertaining) than “9-1-1.”

Since “Criminal Minds” was always a show about brutal crimes, the move to Paramount+ doesn’t result in that much more violence on screen, but it does allow star Joe Mantegna to drop the occasional f-bomb.

“Moonbase 8” has its absurdist comedic moments but they’re too hit-and-miss.

The “B Positive” pilot is decent enough as CBS sitcoms go. It doesn’t show the promise of “The Big Bang Theory” pilot but it’s not as bad as plenty of other CBS’s past sitcoms, like last season’s “Carol’s Second Act.”