Because it’s so great at reclaiming an era we almost forgot, The Assassination of Gianni Versace easily stands as first must-see offering of 2018. It checks all the boxes needed for the perfect winter miniseries and there’s not an inch of it that isn’t stylish.

Thanks to some inspired choreography by Christopher Gattelli, “Schmigadoon!” is as excitable as its exclamation point and just as worthy.

“The Boys” is a refreshing look at the ever-expanding world of men and women in tights. It gives Urban one of his best roles in years and keeps our interest much longer than we ever thought possible.

The Netflix documentary is so horrifically addicting you’ll be like a cat at feeding time. Never mind some of the seven-part series’ editing or focus. The production pulls you in because the characters are so unabashedly brazen. They don’t just talk about their hatred. They openly demonstrate it, helping you understand a layer of society you never knew existed.

When it achieves its loftier goals, it’s usually quiet. Hunnam, in fact, is best when he doesn’t speak. He can convey plenty with looks, simple gestures. Katey Sagal is potent, too, as Jax’s mom and the queen of the SOA.

In Hollywood, it may be business as usual. But in Episodes, it’s fodder for great comedy.

Linney and company are masterful (Basso is a revelation); the final episode's writing is solid.

Because it looks at the selling of a superhero (come on, there’s even a class in branding), “Gen V” is pulling out a different rug than “The Boys.” Both are fairly subversive (and violent) but this one has an easier way in.

In addition to some of the stars of the original “High School Musical,” this year’s farewell brings back characters from three previous seasons. Much of the show’s fun is seeing how they work their way in.

While the season takes time (and some close listening) to take off, it’s in play by episode two and ripe with possibilities for spin-off series, should “Ted Lasso” end its run after this season.

The costumes, sets, choreography and makeup were incredible. And newcomer Shanice Williams as Dorothy? Outstanding. The only problem? The show was so packed with commercials the actors barely sang a song and it was time to cut to five or six ads. As a result, the story (what little there was) was impossible to track.

Smulders would have been a great lead in one of Steven Bochco’s series. Here, she has to provide that vibe with lesser scripts.

Based on Gene Luen Yang’s award-winning graphic novel, “ABC” expands his concept and uses its panels as storyboards for something much greater. It works.

In a sea of formulaic comedies, this stands out as a lifeboat worth clinging to.

It's probably one of the most original ideas television has produced in years. The reason? It's so quirky, it zags where others would zig. It also has that loopy sensibility that comes from a vivid imagination.

Go into "The Bear" with the right mindset and you'll discover it's the best drama on television.

Masters of Sex is highly watchable, not fact. If you understand that, you’re going to enjoy it much more.

While newcomers may wonder why so much is made of so little, they can’t deny the delicious one-liners Fellowes has written. Coupled with a driving score, Downton Abbey moves--in ways you never thought possible. It's good to see it back.

Rather than produce a compelling documentary, they felt the need to insert themselves in a story that didn't require it.

Directed by Brian Volk-Weiss, the often irreverent documentary moves as quickly as a roller coaster and excites twice as much.

“SNL50: Beyond Saturday Night” is a fascinating dissection of the series’ later years. .... “More Cowbell” makes a little too much out of the sketch (particularly when there are others that deserve the micro-surgery) but it shows how that defining moment can be the difference between success and failure.

Smart, funny and utterly intriguing, it sucks us in better than any procedural with an four-letter acronym.

Ominous, creepy and utterly engaging, The Strain is like the perfect drive-in movie.

The key to making this work (even though 10 episodes are more than plenty) is Josh Rivera as Hernandez.

The two [Applegate and Cardellini] are great together even when “Dead to Me” doesn’t give them the scenes they deserve. Because they’re so linked, the second season episodes should be binged. Alone, they lack context; together, they’re like a tray of appetizers – easy to slide down.

Eager to please, Colbert did a few comic bits at the outset (two product placement pieces fell flat) and got plenty of mileage out of Donald Trump. But his best moments were planned ones.... Too often, though, Colbert seemed like a dad trying to be hip with his kids’ friends.

“Will Trent” borrows plenty from the past (the Carpenters, for example) and dabbles in the present (the pronoun debate) before settling in a world so remote from Cabot Cove you couldn’t classify the series as similar. ... The series could erupt.

Andy Samberg may not be in Christopher Guest’s league--yet--but his latest mockumentary, Tour De Pharmacy, has plenty of moments that will make you snicker.