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This scenario is painfully common. Season two of your favorite TV show premieres online, and optimism runs high. The initial run ended with such precision: narrative threads were dangled enticingly, and a main character had – cliffhanger! – been offed (or had 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. 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, the writers appear to have memory loss regarding plot points heavily emphasized earlier. And by the disappointing finale, you silently wish that the show had just been cancelled.

The Pitfall of Prolonged Runs

Wishing for cancellation can only be retrospective; audiences frequently rally against early axings. Consider Kaos, a delightfully satirical take on Greek mythology 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.

Considering the thriller Yellowjackets, I prefer it had remained a self-contained narrative. The debut offered a richly imaginative setup, with ten flawless installments. Aircraft disaster leaves a teen girls' team isolated in 1996. Skilled performers (featuring Juliette Lewis, Lauren Ambrose and Sophie Thatcher) played the characters across timelines. There were multiple award nominations, and the showrunners proudly announced there would be five seasons to fully explore the narrative. However, a season four finale was just confirmed. This news brought me relief.

Young actors prepare for Stranger Things' next chapter.

Story decisions have weakened the core. Rather than leading with the girls’ return home, and watching how they deal with their horrific new secrets, the narrative expanded unnecessarily. This involved a wearying pattern of highlighting added personalities (like the underdeveloped daughter Callie) who added little to the overarching plot. It’s frustrating, and watching a beloved program become tedious is sad.

A Growing Trend

However, Yellowjackets isn't alone. Shows such as Emily in Paris, House of the Dragon, Squid Game and Stranger Things have lost the shock of the new, 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. Looking at Sharp Objects, I May Destroy You, and Adolescence, writers understand when narratives find completion. However, the magic fades with series like Big Little Lies, initially a one-season story, come back for more and more with diminishing returns. Perhaps Adolescence's team reconsidered a second season.

The Supreme Instance

I desired Yellowjackets as a single-season show, occupying our minds endlessly, cliffhangers and all. 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 roles were challenging and multifaceted, the cinematography was perfectly autumnal, and the conversations avoided cliched adolescent writing. The conclusion provided no neat resolution, but this reflects truth appropriately of adolescent uncertainties remaining perpetual. After 18 perfect episodes (and one dodgy one), I felt devastated and created my own continuation to resolve lingering mysteries. Though stored on outdated technology, but it speaks to how deeply TV shows can chime with us.

The Sacred Bond

If TV creators can remember the sacrosanct relationship between viewers and shows, more series can conclude appropriately.

• Priya Elan writes about the arts, music and fashion.