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Many viewers know this disappointment. The second series of your favorite TV show has just begun streaming, and optimism runs high. The debut season ended so perfectly: narrative threads were dangled enticingly, and a protagonist met a mysterious end – or so it seemed. During the hiatus, you were perusing Reddit threads with dedicated fans to decode subtle references pointing toward upcoming twists.

Unfortunately, the return episode disappoints. It seems as if the creative team was swapped for algorithms. In episode two, a key performer makes a choice that fans unanimously declare inconsistent. Halfway through the season, it becomes obvious the creators forgot concerning narrative arcs clearly established previously. As the underwhelming ending arrives, you silently wish that the show had just been cancelled.

The Curse of Overextension

Regretting a show's continuation is hindsight; viewers usually oppose premature cancellations. Look at Kaos, a clever mythological satire with Jeff Goldblum, axed by Netflix because of weak audience numbers. But perhaps these fans will rest better with the knowledge the show's quality wasn't tarnished by a weak follow-up.

Reflecting on Yellowjackets, I now wish it had been a limited series. The debut offered a richly imaginative setup, and its 10 episodes were note-perfect. A 1996 plane crash strands a female soccer team in wilderness. Excellent actors (with Juliette Lewis, Lauren Ambrose and Sophie Thatcher) portrayed the team then and now. There were multiple award nominations, and the showrunners proudly announced there would be five seasons to fully explore the narrative. But last week, it was announced that it would end with season four. I felt grateful as a viewer.

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

The show has made narrative choices that have undermined its heart. In place of exploring post-rescue life, and their coping with awful experiences, we were taken in directions that bloated the original premise. This involved a wearying pattern of highlighting added personalities (such as Shauna’s two-dimensional daughter Callie) who added little to the overarching plot. It's disappointing, and watching a beloved program become tedious is sad.

A Growing Trend

However, Yellowjackets isn't alone. Programs including Emily in Paris, House of the Dragon, Squid Game and Stranger Things no longer surprise audiences, 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, first conceived as self-contained, come back for more and more with diminishing returns. Perhaps Adolescence's team reconsidered a second season.

The Perfect Example

I desired Yellowjackets as a single-season show, occupying our minds endlessly, unresolved threads included. The best program I've seen succeeded this way. The classic teen series, the quintessential youth program, lasted for only one season 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 that is perfectly in keeping with the reality of youth queries staying forever open. After 18 great episodes (and one mediocre), I mourned its end and drafted follow-up stories to resolve lingering mysteries. Despite existing on obsolete equipment, it shows how series resonate profoundly.

The Special Relationship

If TV creators can remember the sacrosanct relationship between viewers and shows, more shows can end gracefully.

• The author covers entertainment and style.