Series Such As The Duffer Brothers' Hit and Yellowjackets Have Become Overstretched. I Advocate For the One-and-Done Show
This scenario is painfully common. Season two of your favorite TV show has just begun streaming, and optimism runs high. The initial run ended with such precision: upcoming stories were hinted at provocatively, and a main character had – cliffhanger! – been offed (or had they?). During the hiatus, you delved into fan discussions with dedicated fans to decode subtle references shedding light on future developments.
And then season two’s premiere is a damp squib. The writing appears robotic and uninspired. In episode two, a key performer makes a choice that viewers recognize as jarringly uncharacteristic. Halfway through the season, the writers appear to have memory loss concerning narrative arcs clearly established previously. And by the disappointing finale, you long for an earlier termination.
The Curse of Too Many Seasons
Wishing for cancellation can only be retrospective; viewers usually oppose premature cancellations. Consider Kaos, a clever mythological satire with Jeff Goldblum, axed by Netflix because of weak audience numbers. However, supporters might find comfort knowing the show's quality wasn't tarnished by a weak follow-up.
Reflecting on Yellowjackets, I now wish it had been a limited series. Season one had a creatively abundant premise, and its 10 episodes were note-perfect. In 1996, a plane carrying an all-girl high school football team crashes in the middle of nowhere. Skilled performers (including Juliette Lewis, Lauren Ambrose and Sophie Thatcher) played the characters across timelines. Several prize nominations followed, and the showrunners proudly announced there would be five seasons to develop the plot thoroughly. 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.
Story decisions have weakened the core. In place of exploring post-rescue life, and their struggle with traumatic memories, the narrative expanded unnecessarily. A fatiguing tendency emerged of bringing in and focusing on new characters (like the underdeveloped daughter Callie) with minimal impact on the main narrative. It's disappointing, and watching a beloved program become tedious is sad.
A Growing Trend
Yet this issue extends beyond Yellowjackets. Series like Emily in Paris, House of the Dragon, Squid Game and Stranger Things lack original impact, and embraced predictable tropes. At times, programs must stop while successful.
The thing is, there are joys to be had in a limited, “one-and-done” series. Considering Sharp Objects, I May Destroy You, and Adolescence, writers understand when narratives find completion. However, the magic fades with series like Big Little Lies, originally a limited series, return repeatedly with declining quality. Perhaps Adolescence's team reconsidered a second season.
The Supreme Instance
I preferred Yellowjackets as a limited run, occupying our minds endlessly, unresolved threads included. My top series ever followed this pattern. The classic teen series, the quintessential youth program, lasted for only one season but was cinematic in its scope: its characters were difficult and contradictory, 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 never having real, definitive answers to the open-ended questions from your teenage years. Following 18 excellent installments (plus one weak one), I felt devastated and created my own continuation to address unfinished business. It might only live on an old hard drive, but it speaks to how deeply TV shows can chime with us.
The Unique Connection
If writers recall the sacred audience-series connection, more series can conclude appropriately.
- The author covers entertainment and style.
