New team, same stories investigating crimes involving military personnel.

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.

This gives the show slightly more depth than many broadcast series today, but it’s nowhere near the entertaining, complex psychological machinations on display in “The White Lotus,” which airs on HBO at the same time.

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.

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

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.

The live-action “Bebop” is at its best in episodes three through eight where the bounty-of-the-week stories build camaraderie among the Bebop crew and their adopted Corgi, Ein.

It’s fine if unremarkable. The series basically takes the plot of the 1987 film and elongates and attempts to deepen it with winks and nods to the movie.

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

Delivers a welcome fairytale with a “Pushing Daisies” vibe, but with such a tight initial focus on just these two characters, one wonders if it can go the distance.

“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.