It was a dry year for cinema, with spectacles like “Anora,” Dune: Part Two” and “Wicked” hogging the spotlight while the rest of the industry played catch-up. But in a post-strike world, where studios are desperate for their next big hit, TV was the true hero of this year. With its ability to tell longer, richer stories, attract bigger audiences and rake in massive revenue, television didn’t just rise to occasion, it owned the year.

It’s hard to zone in on three shows from the year that dominated, but if there was a category for best comeback, “Abbott Elementary” would definitely not take it. The earlier half of season three, where we saw Janine take on the board of education, fell flat for me. It felt like Quinta Brunson – who I consider one of the sharpest writers in Hollywood – was having a rare misstep. But once the season found its groove later in the year, Brunson reminded everyone why she’s a genius.

The Bear (Season three)
I’ve been hooked on FX’s “The Bear” since last summer. Anytime someone asks me what they should watch, this show is my default answer. So, you can imagine my excitement for season three was through the roof. Sure, I had some concerns: the season began filming almost immediately after the strikes ended, and the release date seemed dangerously quick. But if there’s anyone I trust to pull it off, it’s Chris Storer (producer of “Ramy”) and Joanna Calo (a writer for “BoJack Horseman” and “Beef.”)

And pull it off they did. Season three exceeded my expectations in every way. Critics called out its slower pacing and deeper focus on supporting characters, but for me, that’s exactly what helped it stand out. Jeremy Allen White’s portrayal of Carmy was as close to perfection as it could get, and the symbolism of Carmy trapped in the freezer made this season 10 times more gripping.

Nobody Wants This (Season one)
Kristen Bell is TV royalty. For three decades, she’s dominated the small screen with “Veronica Mars,” “Gossip Girl” and “The Good Place.” So, when the news dropped about her latest project, my expectations were high — and she didn’t disappoint.

That said, I was cautiously optimistic about Adam Brody joining the cast. I love him as much as anyone binging “The O.C.” and “Gilmore Girls,” or catching his sharp humor in the Radio Silence film “Ready or Not,” but pairing him with Bell felt risky. Was this a genuine match or just stunt casting?

I think the stunt casting, however, was avoided in the best way possible. The show delivers because the writing lies in the heart of the story. A rabbi and a podcaster falling in love could have easily been played for laughs because of how random of a pairing it is, but here, it feels raw and real, and I think the randomness of the pairing is the reason the show works so well: you can’t help but root for the two.

One Day (2024)
Turning the 2009 book, “One Day” into a 100-minute flick always felt like a missed opportunity. The depth of the book needed more room to breathe, so when I heard it was being reimagined as a 14-episode limited series, I was ecstatic.

The show lived up to my expectations and more. The format of the show brought out every emotion that the story deserved, proving it was always meant to be told this way. The performances were also mesmerizing, pushing the stunning writing to new heights. Leo Woodall’s portrayal stood out as one of the year’s most memorable, and the silence around this award-worthy performance was a crime.