This scenario is painfully common. The second series of your top TV show drops on your platform, and your mind is full of hopeful expectation. The debut season ended so perfectly: future plotlines were teased tantalisingly, and a key figure faced a shocking fate – or did they?. During the hiatus, you scoured online forums with other hardcores to find some Easter egg clues illuminating what would happen next.
But the new season opener falls flat. It seems as if the creative team was swapped for algorithms. By the next installment, a key performer makes a choice that you and Reddit user Fishy2345 agree is totally out of character. Halfway through the season, it becomes obvious the creators forgot concerning narrative arcs clearly established previously. As the underwhelming ending arrives, you privately hope it had ended sooner.
Wishing for cancellation can only be retrospective; viewers usually oppose premature cancellations. Look at Kaos, an amusing Greek myth parody with Jeff Goldblum, which Netflix dropped over poor ratings. However, supporters might find comfort knowing their enjoyment of the series won’t have been muddied by a sophomore slump.
Considering the thriller Yellowjackets, I prefer it had remained a self-contained narrative. The debut offered a richly imaginative setup, with ten flawless installments. A 1996 plane crash strands a female soccer team in wilderness. Top-notch cast members (including Juliette Lewis, Lauren Ambrose and Sophie Thatcher) played the characters across timelines. Numerous awards recognition occurred, creators confidently planned five seasons to fully explore the narrative. However, a season four finale was just confirmed. I felt grateful as a viewer.
Gaten Matarazzo, Finn Wolfhard, Caleb McLaughlin and Noah Schnapp in the forthcoming fifth season of Stranger Things.
The show has made narrative choices that have undermined its heart. Instead of focusing on the survivors' reintegration, and their struggle with traumatic memories, the story grew padded and excessive. This involved a wearying pattern of highlighting added personalities (including the flat character Callie) who did nothing for the broader story. It's disappointing, and as a viewer, it is depressing to see your favorite show morph slowly into a hate-watch.
However, Yellowjackets isn't alone. Programs including Emily in Paris, House of the Dragon, Squid Game and Stranger Things no longer surprise audiences, and settled into familiar patterns. Occasionally, series should end on a high note.
The thing is, there are joys to be had in a limited, “one-and-done” series. Looking at Sharp Objects, I May Destroy You, and Adolescence, TV creators know when to stop when the story has naturally reached an endpoint. However, the magic fades with series like Big Little Lies, first conceived as self-contained, return repeatedly with declining quality. Maybe Adolescence's creators hesitated about continuing.
I desired Yellowjackets as a single-season show, living rent-free in our imaginations, mysteries intact. My top series ever followed this pattern. The classic teen series, the quintessential youth program, ran for just one year yet felt epic in scale: the personalities were complex and inconsistent, the cinematography was perfectly autumnal, and the dialogue was untethered from the normal “teen speak written by a 35-year-old” trope. The ending left questions unanswered, but that is perfectly in keeping with the reality of adolescent uncertainties remaining perpetual. After 18 perfect episodes (and one dodgy one), I mourned its end and drafted follow-up stories to answer some of those questions. It might only live on an old hard drive, it shows how series resonate profoundly.
If writers recall the sacred audience-series connection, more series can conclude appropriately.
Elena Vance is a tech strategist with over a decade of experience in digital transformation and business analytics.