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It's an all-too-familiar feeling. The second series of your beloved TV show premieres online, and optimism runs high. The initial run ended so perfectly: narrative threads were dangled enticingly, and a main character had – cliffhanger! – been offed (or had they?). In the months since the finale, you delved into fan discussions with fellow enthusiasts to uncover hidden hints pointing toward upcoming twists.

But the new season opener falls flat. The writing appears robotic and uninspired. In episode two, a beloved actor's character acts in a way that you and Reddit user Fishy2345 agree is totally out of character. Halfway through the season, it becomes obvious the creators forgot regarding plot points heavily emphasized earlier. And by the disappointing finale, you silently wish that the show had just been cancelled.

The Pitfall of Too Many Seasons

Wanting a series to end early is often late realization; most fans protest when their favorite shows are canned before they can get off the ground. Take Kaos, a clever mythological satire 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, and its 10 episodes were note-perfect. A 1996 plane crash strands a female soccer team in wilderness. Skilled performers (featuring 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. Recently, news broke of a season four conclusion. And as a fan, I let out a sigh of relief.

Young actors prepare for Stranger Things' next chapter.

Plot twists have diluted the essence. Rather than leading with the girls’ return home, and watching how they deal with their horrific new secrets, we were taken in directions that bloated the original premise. This involved a wearying pattern of introducing peripheral figures (including the flat character Callie) who added little to the overarching plot. It’s frustrating, and witnessing a great series decline into annoyance is disheartening.

An Increasing Pattern

Yet this issue extends beyond Yellowjackets. Shows such as Emily in Paris, House of the Dragon, Squid Game and Stranger Things no longer surprise audiences, and settled into familiar patterns. Sometimes shows need to quit when they are ahead.

Actually, benefits come from self-contained series. Considering Sharp Objects, I May Destroy You, and Adolescence, producers recognize appropriate conclusion points. However, the magic fades with series like Big Little Lies, first conceived as self-contained, extend endlessly with reduced impact. Maybe Adolescence's creators hesitated about continuing.

The Ideal Model

I wish Yellowjackets could have been a one-and-done series, living rent-free in our imaginations, cliffhangers and all. The best program I've seen succeeded this way. The classic teen series, the perfect 90s teen dramedy, lasted for only one season but achieved film-like breadth: its characters were difficult and contradictory, the visuals were beautifully seasonal, and the scripts transcended typical youth dialogue. The ending left questions unanswered, but that is perfectly in keeping with the reality of youth queries staying forever open. After 18 great episodes (and one mediocre), I was heartbroken and took to writing season two fan fiction myself to answer some of those questions. Despite existing on obsolete equipment, it demonstrates television's powerful connection.

The Sacred Bond

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

• The author focuses on cultural topics.