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Many viewers know this disappointment. The second series of your top TV show premieres online, and you're brimming with anticipation. The initial run ended so perfectly: upcoming stories were hinted at provocatively, and a key figure faced a shocking fate – or did they?. In the months since the finale, you delved into fan discussions with dedicated fans to uncover hidden hints shedding light on future developments.

But the new season opener falls flat. The writing appears robotic and uninspired. By the next installment, a beloved actor's character acts in a way that you and Reddit user Fishy2345 agree is totally out of character. By episode five, the writers appear to have memory loss concerning narrative arcs clearly established previously. As the underwhelming ending arrives, you silently wish that the show had just been cancelled.

The Pitfall of Overextension

Regretting a show's continuation is hindsight; viewers usually oppose premature cancellations. Consider Kaos, an amusing Greek myth parody featuring Jeff Goldblum, which was binned by Netflix due to low viewing figures. Yet audiences can console themselves that the show's quality wasn't tarnished by a weak follow-up.

Considering the thriller Yellowjackets, I now wish it had been a limited series. The debut offered a richly imaginative setup, and its 10 episodes were note-perfect. A 1996 plane crash strands a female soccer team in wilderness. Skilled performers (featuring Juliette Lewis, Lauren Ambrose and Sophie Thatcher) played the characters across timelines. Several prize nominations followed, producers originally mapped out a five-season arc to fully explore the narrative. But last week, it was announced that it would end with season four. And as a fan, I let out a sigh of relief.

The Stranger Things cast returns for season five.

Plot twists have diluted the essence. In place of exploring post-rescue life, and their struggle with traumatic memories, the story grew padded and excessive. This involved a wearying pattern of introducing peripheral figures (such as Shauna’s two-dimensional daughter Callie) who added little to the overarching plot. It's disappointing, and as a viewer, it is depressing to see your favorite show morph slowly into a hate-watch.

A Growing Trend

However, Yellowjackets isn't alone. Series like Emily in Paris, House of the Dragon, Squid Game and Stranger Things lack original impact, and embraced predictable tropes. Occasionally, series should end on a high note.

Actually, benefits come from self-contained series. From Sharp Objects to I May Destroy You to Adolescence, producers recognize appropriate conclusion points. However, the magic fades with series like Big Little Lies, originally a limited series, come back for more and more with diminishing returns. Hopefully, Adolescence’s producers have thought twice about that rumoured season two.

The Ideal Model

I preferred Yellowjackets as a limited run, residing permanently in our thoughts, cliffhangers and all. My top series ever followed this pattern. My So-Called Life, the ideal adolescent show, lasted for only one season but achieved film-like breadth: the roles were challenging and multifaceted, the filming captured a fall aesthetic, and the scripts transcended typical youth dialogue. Its final episode was bitterly unresolved, but this reflects truth appropriately of youth queries staying forever open. After 18 perfect episodes (and one dodgy one), I felt devastated and created my own continuation to answer some of those questions. Though stored on outdated technology, it shows how series resonate profoundly.

The Unique Connection

When producers honor the special viewer-program bond, more shows can end gracefully.

• This writer covers entertainment and style.