With too many characters whose introductions prove too slight to understand their place in this world that viewers get plopped into, “Dune: Prophecy” disappoints.

“First Kill” is a dull, predictable “Buffy the Vampire Slayer” knock-off (if Buffy was a lesbian).

“Ride” is emblematic of the new, more inclusive Hallmark because there’s also a gay, stereotype-defying McMurray brother whose name is — and I am not making this up — Tuff (Jake Foy, “Designated Survivor”). Like much about “Ride,” that name tries a little too hard, but at least Hallmark now reflects the real world more accurately.

Feels derivative and shallow.

A focus on younger, female characters buys “World Beyond” a somewhat fresh take initially but by the end of the first hour sisters Iris (Aliyah Royale) and Hope (Alexa Mansour) take off on a distaff “Stand by Me”-style quest to rescue their scientist father with two nerdy boys in tow.

While there is undoubtedly some “Tiger King”-grade entertainment observing a conspiracy theorist verbally spar with a “Lord of the Rings” cosplayer, so much of the behavior displayed in “Neighbors” is unpleasant to behold.

“Away” tries to build the backstories of its characters through flashbacks but these tend to be as predictable as the outcome of the “dramatic turn” each episode takes.

“Blockbuster” is likeable enough thanks to a game cast, but in early episodes made available for review, it’s not all that funny.

New team, same stories investigating crimes involving military personnel.

Fans who like “NCIS” will surely approve of this brand extension. Viewers who see it as a simplistic procedural will ignore it as they have past versions over the franchise’s 20-year run. Anyone looking to get drunk need only chug every time “NCIS: Sydney” features views of the Sydney Opera House. You’ll be out cold before the first episode ends.

Fans of Hollander’s “Ray Donovan” will recognize Hollander’s style of storytelling.

A generally overlong, unsatisfying program.

While too many first episodes go overboard on exposition, “Rust” is often needlessly opaque.

The low-rent special effects, presumably intentionally cheesy, are fine and even add to the charm that begins with the show’s title, but everything else about the series proves poorly done, from character development to supporting performances.

It’s depressingly pedestrian as it tells the story of recent law school grad Rudy Baylor (Milo Callaghan) who fights for the underdog in court against jerky legal lion Leo Drummond (John Slattery, chewing scenery with wild abandon)

The procedural aspects are typical for a meh broadcast drama, but there’s a “Gabi’s hiding a secret” twist that’s way over the top.

The plotting is similar to “Little Shop of Horrors.” Just sub in a digital assistant for the talking plant (and remove songs). When the concept gets stretched to become a series, it loses steam fast.

The original series showed some restraint, keeping Punky’s mom, who abandoned her, off-screen for the show’s four-season run. Having exhausted all there is to say about 40-something Punky in its premiere, the revival grasps for something new and in so doing suggests restraint may be off the table.

Instead of warding off Sleestaks, they run from CGI wolves. Back in L.A., bureaucrats appear to know more about the sinkhole than they let on to the public.

“The Ark” is poorly written (grating exposition galore!) with mediocre special effects and cardboard characters. Syfy’s latest disappoints on every level.

“Pulse” may appeal to “Grey’s” fans who prefer their medical shows on the soapy side, but anyone who’s given up on “Grey’s” and embraced “The Pitt” would be wise to let “Pulse” flatline on its own.

The sleuthing quartet gives the show some “Scooby-Doo” vibes. “Winchesters” feels like it exists in the same world as “Supernatural.”

Dull crime procedural.

In the premiere episode, a girl is kidnapped by terrorists. Nikki rescues the girl but only after risking her life by shooting the driver of a car the girl is in. It’s this sort of ridiculous storytelling, coupled with the uncredible recurring Keith storyline, that make “Alert” a series to avoid.

Joe Morton devours the scenery with gusto. Storytelling competency improves a little in episode two but not enough to recommend.

Meh traditional multicam sitcom.

“Hunting Party” is a predictable procedural. .... Eminently skippable.

It’s essentially the same type of courtroom show, albeit with more episodes focused on a single case than the two cases per episode as was traditional on “Judge Judy.”

Dialogue hammers home arguments that sound more like something from a middle school textbook than how humans might speak.

For viewers who appreciate so-bad-its-entertaining movies, “Dawn” may hold some promise. But unlike, say, “The Rocky Horror Picture Show,” which knew it was camp, it’s completely unclear if “Dawn” is trying to be campy.

All the gags are telegraphed and obvious. A second episode shows some improvement, but not enough.

Stilted performances and bad dialogue permeate this awful action-adventure pilot.

A lot of “The Terminal List” is pretty standard-issue, macho-man military conspiracy theory fare, just darker, bleaker, duller and more humorless than usual.