Overall, the whole endeavor feels overly familiar. McCallany owns the screen anytime he appears, but the story wasn’t original enough to inspire viewing beyond the first two episodes.

The writing and plotting by series creator Mark Gross (“Man with a Plan”) is as pedestrian as one would fear going into this bland multi-cam sitcom.

It’s a high-quality cast of actors but they have little to do beyond dole out exposition that pushes the plot forward while supporting Robyn’s efforts to aid the helpless.

“Wheel of Time” is very self-serious, which makes it easy to mock, particularly if you’re apt to make comparisons to other fantasy franchises: One screechy villain has Voldemort’s nose; an Army of horned beasts are this show’s version of Orcs. It’s all slathered on thick with an over-reliance on special effects-heavy battle scenes.

Viewers who can suspend their disbelief about that setup may be able to enjoy this conspiracy thriller that feels, frustratingly, like a wild goose chase.

“Reginald” lacks much dramatic or comedic bite.

Light legal drama that’s neither funny enough nor dramatic enough to make much of an impression.

Despite game efforts by Jon Cryer (“Two and a Half Men”) and Donald Faison (“Scrubs”) “Extended Family” is the kind of sitcom that gives multi-cam comedies a bad name.

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

It’s as pedestrian a procedural as NBC’s “Found” but with a less heightened twist.

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.