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Many viewers know this disappointment. The second series of your top TV show has just begun streaming, and optimism runs high. The debut season ended flawlessly: narrative threads were dangled enticingly, and a main character had – cliffhanger! – been offed (or had they?). After the season wrapped, you delved into fan discussions with other hardcores to find some Easter egg clues pointing toward upcoming twists.

Unfortunately, the return episode disappoints. It feels like the entire writers’ room has been fired and replaced by artificial intelligence. Cut to the second episode, a beloved actor's character acts in a way that viewers recognize as jarringly uncharacteristic. As the story progresses, the writers appear to have memory loss concerning narrative arcs clearly established previously. By the lackluster conclusion, you long for an earlier termination.

The Pitfall of Too Many Seasons

Wanting a series to end early is often late realization; audiences frequently rally against early axings. Consider Kaos, a delightfully satirical take on Greek mythology with Jeff Goldblum, which was binned by Netflix due to low viewing figures. However, supporters might find comfort knowing the program avoided a disappointing second season.

Looking back at the horror-mystery show Yellowjackets, I prefer it had remained a self-contained narrative. Season one had a creatively abundant premise, and every episode hit the right marks. In 1996, a plane carrying an all-girl high school football team crashes in the middle of nowhere. Skilled performers (featuring Juliette Lewis, Lauren Ambrose and Sophie Thatcher) portrayed the team then and now. Numerous awards recognition occurred, and the showrunners proudly announced there would be five seasons to develop the plot thoroughly. Recently, news broke of a season four conclusion. This news brought me relief.

Young actors prepare for Stranger Things' next chapter.

Plot twists have diluted the essence. Rather than leading with the girls’ return home, and their struggle with traumatic memories, we were taken in directions that bloated the original premise. A fatiguing tendency emerged of bringing in and focusing on new characters (such as Shauna’s two-dimensional daughter Callie) with minimal impact on the main narrative. It's aggravating, and watching a beloved program become tedious is sad.

A Growing Trend

But it’s not only Yellowjackets. Shows such as Emily in Paris, House of the Dragon, Squid Game and Stranger Things have lost the shock of the new, and settled into familiar patterns. Occasionally, series should end on a high note.

Indeed, pleasures exist in single-season stories. Looking at Sharp Objects, I May Destroy You, and Adolescence, TV creators know when to stop when the story has naturally reached an endpoint. But the game is over when shows such as Big Little Lies, originally a limited series, return repeatedly with declining quality. Maybe Adolescence's creators hesitated about continuing.

The Ideal Model

I desired Yellowjackets as a single-season show, occupying our minds endlessly, cliffhangers and all. My top series ever followed this pattern. This beloved 90s drama, the ideal adolescent show, lasted for only one season but was cinematic in its scope: its characters were difficult and contradictory, the visuals were beautifully seasonal, and the conversations avoided cliched adolescent writing. The ending left questions unanswered, but that is perfectly in keeping with the reality of adolescent uncertainties remaining perpetual. After 18 great episodes (and one mediocre), I was heartbroken and took to writing season two fan fiction myself 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

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

• The author writes about the arts, music and fashion.