Television is changing. Fast. You’ve probably noticed that the old "September to May" broadcast cycle feels a bit loose these days, but CBS is still leaning hard into the idea of a massive autumn launch. If you’re looking for new shows on CBS this fall, you aren't just looking at a couple of pilots. You are looking at a calculated expansion of "universes" that already dominate your DVR.
It’s about familiar faces in weirdly specific new places.
Take Donnie Wahlberg. For years, he was the backbone of Blue Bloods as Danny Reagan. Now, he’s leading Boston Blue, a spinoff that effectively transplants that gritty family-cop energy to Massachusetts. It’s a move that feels both safe and risky. Can a character so tied to New York soil actually breathe in Boston? Honestly, the ratings for the October premiere suggest that fans don't care about the zip code as long as the badge is the same.
The Spinoff Strategy: Why Everything Old is New Again
CBS has basically mastered the art of the "backdoor pilot." You saw it with Fire Country and you’re seeing it again now with Sheriff Country. Morena Baccarin—who most people know from Deadpool or Homeland—stepped into the role of Mickey Fox during a guest stint last season. Now, she’s the anchor of her own Friday night slot.
It’s interesting.
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The network is betting that if you like the smoke-jumping drama of Edgewater, you’ll stick around for the local law enforcement side of things. It’s a "shared universe" model that would make Marvel blush.
But it isn't just about sirens and handcuffs.
The comedy side of the house is undergoing a massive shift. With Young Sheldon in the rearview mirror, Georgie & Mandy’s First Marriage has taken over the Thursday night heavy lifting. It’s weird to call a show a "new show" when it features characters we’ve known for years, but the tone is different. It’s more of a traditional multi-cam sitcom than its predecessor. It feels a bit like Roseanne met The Big Bang Theory at a Texas barbecue.
Breaking Down the Fall Lineup
If you're trying to keep track of what actually hit the airwaves this season, the schedule got a bit crowded. Here’s a look at the heavy hitters:
- DMV: This is the big comedy swing. It stars Harriet Dyer and the legendary Tim Meadows. Basically, it’s a workplace comedy set in the one place everyone on Earth hates. It’s dry. It’s cynical. It’s surprisingly funny because it taps into that universal frustration of waiting in line for three hours just to be told you have the wrong form.
- The Road: Taylor Sheridan is everywhere. You can’t escape him. But this isn't a western. It’s a singing competition. He teamed up with Blake Shelton and Keith Urban to create a show where the contestants actually live on a tour bus. It’s less American Idol and more of a documentary-style grind.
- NCIS: Origins: Prequels are a gamble. Asking an audience to accept a new, younger version of Leroy Jethro Gibbs (Austin Stowell) is a tall order, especially when Mark Harmon’s voice is still narrating the thing. Yet, the 1991 setting gives it a "noir" vibe that the flagship show lost years ago.
The Sherlock Holmes Obsession
We have to talk about the doctor. Watson isn't technically a "new" show this exact second—it’s in its second season—but its move to Monday nights this fall changed the entire dynamic of the week. Morris Chestnut playing a medical version of John Watson after Sherlock’s death is a wild premise.
People were skeptical.
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"Another Sherlock show?" was the common refrain. But by focusing on the medicine rather than just the "elementary" deductions, it carved out a niche that actually works. It’s more House than Elementary.
Meanwhile, the CW has its own Sherlock & Daughter thing going on, which honestly just makes the CBS version look more grounded by comparison.
The Daytime Shift: Beyond the Gates
The most "human" move CBS made this year happened in the afternoon. For the first time in 25 years, a major network launched a brand-new soap opera. Beyond the Gates is a big deal. It’s the first-ever hour-long daytime drama centered on a Black family—the Duprees—living in a posh gated community near D.C.
It’s sleek.
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It’s produced by the NAACP and Procter & Gamble. While most people focus on primetime, the success of this show is a huge indicator of whether or not the "soap" genre can actually survive in a streaming world. It’s a legacy play that feels modern.
Why the Ratings Actually Matter This Year
Look, we all know linear TV is struggling. But CBS is still the "most-watched" network for a reason. They don't try to be HBO. They try to be the thing you put on while you're folding laundry or eating dinner.
The strategy with new shows on CBS this fall has been "familiarity with a twist."
Take the Matlock reboot. Kathy Bates is a powerhouse, but the show pulls a massive bait-and-switch in the pilot that I won't spoil here if you haven't seen it. Let's just say it isn't the Andy Griffith show your grandpa watched. It has a layer of deception and vengeance that makes it one of the smartest procedurals in years. It’s currently pulling in nearly 6 million viewers an episode, which, in 2026, is a massive win.
Actionable Steps for the TV Superfan
If you're feeling overwhelmed by the sheer volume of content, don't just channel surf. Here is how to actually manage the CBS fall slate:
- Check the Midseason Moves: Some shows that were supposed to be "fall" hits, like the Tom Ellis drama CIA, got pushed to February. Don't go looking for them now; they’re being held back to anchor the spring.
- Use Paramount+ Wisely: If you miss the live broadcast, the episodes usually hit the app by 3:00 AM the next day. The "Essential" plan is fine, but if you want the local live stream, you need the "Premium" tier.
- Watch the Crossovers: Sheriff Country and Fire Country are going to be swapping characters constantly. If you skip one, you’ll likely be confused by the other. It’s basically one long two-hour show on Friday nights now.
- Keep an Eye on the Cancellations: The network is quick to move things around. If a show like DMV doesn't find its footing by November, expect it to move to a Saturday "burn-off" slot.
The era of "appointment TV" isn't dead; it's just becoming more about franchises than standalone stories. Whether you're here for the gritty streets of Boston or the bureaucratic nightmare of the DMV, the network has clearly decided that if they're going down, they're going down with big names and even bigger budgets.
To get the most out of your viewing, set your DVR for "Season Pass" rather than individual episodes, as CBS frequently shifts start times by 15-30 minutes during NFL doubleheaders on Sundays. This is particularly crucial for Tracker and The Road, which often get pushed late into the evening. Check your local listings every Sunday afternoon to ensure you don't miss the first act of your favorite drama.