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Many viewers know this disappointment. Season two of your favorite TV show drops on your platform, and your mind is full of hopeful expectation. The debut season ended with such precision: upcoming stories were hinted at provocatively, and a key figure faced a shocking fate – or did they?. During the hiatus, you delved into fan discussions with fellow enthusiasts to find some Easter egg clues illuminating what would happen next.

But the new season opener falls flat. The writing appears robotic and uninspired. In episode two, a key performer makes a choice that you and Reddit user Fishy2345 agree is totally out of character. Halfway through the season, it’s clear that the showrunners have had collective amnesia concerning narrative arcs clearly established previously. As the underwhelming ending arrives, you long for an earlier termination.

The Pitfall of Too Many Seasons

Wishing for cancellation can only be retrospective; viewers usually oppose premature cancellations. Consider 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.

Reflecting on Yellowjackets, I currently desire it was a one-season story. Season one had a creatively abundant premise, with ten flawless installments. Aircraft disaster leaves a teen girls' team isolated in 1996. Top-notch cast members (with Juliette Lewis, Lauren Ambrose and Sophie Thatcher) depicted the survivors in dual eras. Numerous awards recognition occurred, creators confidently planned five seasons to develop the plot thoroughly. But last week, it was announced that it would end with season four. This news brought me relief.

Gaten Matarazzo, Finn Wolfhard, Caleb McLaughlin and Noah Schnapp in the forthcoming fifth season of Stranger Things.

Story decisions have weakened the core. In place of exploring post-rescue life, and their struggle with traumatic memories, we were taken in directions that bloated the original premise. This involved a wearying pattern of highlighting added personalities (including the flat character Callie) who did nothing for the broader story. It’s frustrating, and as a viewer, it is depressing to see your favorite show morph slowly into a hate-watch.

A Growing Trend

But it’s not only Yellowjackets. Programs including Emily in Paris, House of the Dragon, Squid Game and Stranger Things have lost the shock of the new, and fallen headfirst into expected or comfortable cliches. Sometimes shows need to quit when they are ahead.

Indeed, pleasures exist in single-season stories. Considering Sharp Objects, I May Destroy You, and Adolescence, writers understand when narratives find completion. Yet the spell breaks for programs including Big Little Lies, initially a one-season story, return repeatedly with declining quality. Hopefully, Adolescence’s producers have thought twice about that rumoured season two.

The Perfect Example

I preferred Yellowjackets as a limited run, occupying our minds endlessly, mysteries intact. The best program I've seen succeeded this way. The classic teen series, the perfect 90s teen dramedy, concluded after a single run but achieved film-like breadth: the roles were challenging and multifaceted, the filming captured a fall aesthetic, and the scripts transcended typical youth dialogue. The ending left questions unanswered, but that is perfectly in keeping with the reality of adolescent uncertainties remaining perpetual. Following 18 excellent installments (plus one weak one), I mourned its end and drafted follow-up stories to answer some of those questions. Though stored on outdated technology, it demonstrates television's powerful connection.

The Special Relationship

If writers recall the sacred audience-series connection, more shows can end gracefully.

• This writer focuses on cultural topics.