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

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.

“Monarch” is a decidedly old-school, broadcast network prime-time sudser.

“Cruel Intentions” a serviceable soap but nothing more.

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.

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.

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.

These [two] episodes feel like an overlong prologue. But credit Davis’ ability to blend teen horror and romance and his photogenic young cast for making me want to learn more about them and the secrets that seem destined to bind them as a pack.

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

Spooky without getting too scary, the show walks a fine line – edgy enough but not too mature as to be off-brand for Disney — as it embraces a serialized storyline by creator Tracey Thomson (“The Young and the Restless”) that will keep young viewers (and their parents) guessing as the characters attempt to unlock the town’s secrets.

Filmmaker Michael Paul Stephenson not only scores points on style but also substance, revealing the character of a state scientist and citizen scientists as well as the impact of greed on scientific research that comes in a last-act twist.

“Delilah” doesn’t break new ground but it’s a decent legal drama.

“Small Town News” does have some heart as Vern chokes up discussing his questionably advisable dream to expand the station’s coverage to Vegas. But by the end the series feels both overly long and unsatisfying, wrapping up without a conclusion for whether Vern’s big Vegas bet pays off.

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.”

Episode four suggests this new threat might be an allegory for Earth’s response to covid-19, but more concerning for fans will be how the show handles a beloved character’s growth.

The show eventually gets to Billy (Tom Blyth) in his outlaw years, but it’s such a predictable and lackadaisical journey, only the heartiest of Western fans will bother to go along for the entire ride.

Unlike plenty of past Netflix shows in this genre (think: “Tiger King”), “Meltdown” is relatively right-sized with only the fourth, 45-minute episode feeling somewhat repetitive.

The title character is a welcome departure, but the plotting is patented CW fare.

Light-hearted procedural that’s better than it should be thanks to the comedic, charismatic personality of its lead performer.

It’s a light-hearted legal drama that is fine but totally unessential.

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

“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.

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.

The first semi-bloated, 90-minute episode of “Barbie Dreamhouse Challenge” still entertains as two teams of two have to make over portions of a home to resemble a Barbie doll dream home.

[Lea] Thompson gets the quickest, cattiest lines in this show that’s fairly entertaining.

A very Hallmark-style light drama.

It’s a fascinating, previously unexplored (as far as I know) premise for a dramatic series (with a great theme song, “I Remember You (Hey, Little Bird)” by Buffy Sainte-Marie). But stretching the story over six overly long episodes does the show no favors as it veers between taut drama and occasional lapses into obvious, stereotypical heroes and villains.

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.

If there’s any downside to this new season it’s that the first half feels stronger than the second half. Returning characters’ personality changes in the first half of the new season are necessary tweaks that help lift the show’s overall mood, which makes “American Rust” more entertaining and less depressing.

“Chicken Sisters” is a sweet, entertaining enough trifle.

It’s a feel-good program that highlights not only the efforts of students from all walks of life (wealthy, impoverished, liberal, conservative) but also the dedicated teachers doing their best to lead them.

A genuinely smart, funny, entertaining and timely comedy.

There are some good twists through the first two episodes that largely focus on Matty and lawyer Olympia (Skye P. Marshall), Matty’s boss.