Undateable airs in times when summer series aren’t always the throwaways they used to be. This may not be a keeper but it may well grow on viewers rather than wear on them.

Night Shift won’t make anyone forget the glories of NBC’s ER at the height of its powers. It shows some signs of being a passable summertime drama series, though.

The Normal Heart grows in poignancy as characters we’ve come to know are affected or afflicted by AIDS.

It would be giving away too much to get into the specifics of an emotional Episode 3 encounter between Javier and son Carlos. But this is where Gang Related really starts to distinguish and establish itself as a series that might grow into something more than a vividly staged run ’n’ gun hour with little else going for it.

Every one of these things needs a she-devil or two. It’s a necessary ingredient along with all the usual, clunkier nonsense.

Some of its mumbo jumbo may hurt your head, but the last words of Episode 2 are precisely on point. They whet the appetite for more, more.

Saldana carries the full load throughout. Her skepticism grows--as does her performance--in tandem with her belly before it all boils over into a full-out escape plan.

The first four episodes of Season 4 are a little weak downstairs while still remaining at or near the top of the TV comedy class.

Fox made the first two episodes available for review. They’re watchable but also sadly a little comical, with Jack again all clenched up while speaking in a gasping-for-air rasp or silently clenching his jaw.

Last Week Tonight probably needs to towel off a bit and present a more relaxed half-hour next Sunday. The premiere outing nonetheless showed considerable ingenuity and a willingness to take on topics that haven’t already been parodied to death.

It’s bright, sharp, without a laugh track and with a very well assembled ensemble cast headed by Ari Graynor in the Diaz role of a gold-digging, dumped divorcee looking to land another big fish.

Black Box at least has moments of unintentional high comedy in Catherine Black’s loopy magic carpet rides. But the series nonetheless takes itself way too seriously to be taken seriously.

Salem is replete with scenes that make little sense. It’s mostly a jumble of decent enough special effects, less-than-decent acting, a script that also should be lashed with “10 hard ones” and lots of blood-curdling screaming.

Maslany shows no signs of running down during the very challenging assignment of playing a wealth of disparate characters. But Orphan Black’s twists, turns and veers are getting increasingly harder to keep down--and impossible to swallow whole.

The new Fargo bobs, weaves and occasionally unravels a bit. Still, it’s never less than entrancing, with the recurring panoramic shots of an unforgiving deep freeze serving as stolid supporting characters.

The pace hasn’t quickened. Nor does the storyline congeal. Instead, Sunday’s re-opener builds to a terrifically poignant finish accompanied by music that likewise cries out in pain.

In these first three episodes, it shows no signs of getting stale.

Judge isn’t quite jury and executioner of this whole crazily infantile, insular scene. But he clearly knows how to probe its soft spots. In that respect, Silicon Valley is its own killer app.

Turn never quite turns the corner in its first three episodes, but perhaps will perk up a bit if the recurring George Washington (Ian Kahn) finally makes his presence felt.

For now it’s pretty much something you wouldn’t wish on your best friends.

Warm--or more accurately, lukewarm--moments intercede before the final bells in both half-hours. And Meloni delivers them like a champ while also dominating during an American Gladiators face-off that jump-starts next week’s episode.

Creature Shop Challenge is inviting enough to merit another look. Not for its pro forma adherence to the “reality competition” handbook but for whatever creative hoops await its very eager group of contestants.

There’s some enjoyment to be had from the lead performances of real-life best friends Emily Mortimer (The Newsroom) and Dolly Wells (Bridget Jones’s Diary). A brisk walk would be better for you, though.

The 100 ends up being sci-fi fun for all ages--with a spine tingle or two also within these realms of possibilities.

The mood music in Crisis can be over-wrought at times--and downright over-bearing when a male vocalist breaks into “Sometimes I Feel Like a Motherless Child.” But the first two hours are nicely paced and eventful, with the ad hoc partnership between Marcus and an initially resistant Susie gaining traction as the stakes increase.

Darkly shot and dimly plotted, the premiere episode never comes close to firming its grip. It instead plods and meanders, inviting viewers to invest elsewhere rather than buy into this poorly put-together jumble of something or other.

The reboot, with only Episode 1 to go by, looks like a noble, educational and decidedly visual effort that can only be enhanced by the HD crystal clarity that Sagan never had a chance to behold.

The first two episodes flex a fair amount of pulling power, even though nothing really jumps off the page. The series could use a more galvanizing, take-charge sleuth than Epps portrays.