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This scenario is painfully common. The second series of your favorite TV show has just begun streaming, and you're brimming with anticipation. The debut season ended so perfectly: future plotlines were teased tantalisingly, and a protagonist met a mysterious end – or so it seemed. In the months since the finale, you were perusing Reddit threads with other hardcores to uncover hidden hints illuminating what would happen next.

Unfortunately, the return episode disappoints. It seems as if the creative team was swapped for algorithms. Cut to the second episode, a key performer makes a choice that viewers recognize as jarringly uncharacteristic. Halfway through the season, the writers appear to have memory loss regarding plot points heavily emphasized earlier. And by the disappointing finale, you privately hope it had ended sooner.

The Curse of Prolonged Runs

Regretting a show's continuation is hindsight; audiences frequently rally against early axings. Look at Kaos, a clever mythological satire starring Jeff Goldblum, which Netflix dropped over poor ratings. But perhaps these fans will rest better with the knowledge 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, and every episode hit the right marks. A 1996 plane crash strands a female soccer team in wilderness. Excellent actors (with Juliette Lewis, Lauren Ambrose and Sophie Thatcher) depicted the survivors in dual eras. There were multiple award nominations, creators confidently planned five seasons to develop the plot thoroughly. However, a season four finale was just confirmed. And as a fan, I let out a sigh of relief.

Young actors prepare for Stranger Things' next chapter.

The show has made narrative choices that have undermined its heart. Instead of focusing on the survivors' reintegration, and watching how they deal with their horrific new secrets, the narrative expanded unnecessarily. This involved a wearying pattern of bringing in and focusing on new characters (including the flat character Callie) with minimal impact on the main narrative. It's aggravating, and watching a beloved program become tedious is sad.

A Common Phenomenon

But it’s not only Yellowjackets. Series like Emily in Paris, House of the Dragon, Squid Game and Stranger Things lack original impact, and settled into familiar patterns. 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. But the game is over when shows such as Big Little Lies, initially a one-season story, return repeatedly with declining quality. Maybe Adolescence's creators hesitated about continuing.

The Perfect Example

I preferred Yellowjackets as a limited run, occupying our minds endlessly, unresolved threads included. My favorite TV show of all time has played out like that. The classic teen series, the perfect 90s teen dramedy, 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. The conclusion provided no neat resolution, yet this mirrors real life accurately of youth queries staying forever open. After 18 great episodes (and one mediocre), I mourned its end and drafted follow-up stories to address unfinished business. Despite existing on obsolete equipment, it demonstrates television's powerful connection.

The Unique Connection

If TV creators can remember the sacrosanct relationship between viewers and shows, more programmes can bow out when the time is right.

• This writer writes about the arts, music and fashion.