Leave well enough alone (6)
A few years back, HBO released a limited series called Big Little Lies. Based on a Liane Moriarty book, the program had 7 episodes, and feature an excellent cast with Reese Witherspoon, Laura Dern, Zoe Kravitz and Nicole Kidman. It was widely watched, with a gratifying ending and won awards, so HBO execs said, “Let’s make another season.” It was a pale imitation of its predecessor, despite the addition of Meryl Streep. Unfortunately, she was an annoying character, and if the writers were hoping to concoct a contrived, manipulative script, then well done. The finale of season two undercut the satisfying ending of the first season. No additional episodes are currently planned.
Similarly, the second season of The Flight Attendant has come and gone. The hyper-produced first season with split screens and the lead character imagining communication with the corpse was clever, and the always charismatic Kaley Cuoco did a good job in a semi-dramatic turn. With its twisty ending, there was a good conclusion — we needed nothing more. However, HBO again decided to add a second season. That hyper-produced, multi-split screen element wasn’t a creative element any longer; it was more of a “we must do this again” situation. When she envisions talking to previous versions of herself, it was clearly forced and tried too hard to be psychoanalytic. The plot points were beyond dreadful (spoiler alert!), most implausibly, she sleeps with her CIA handler?!? And seriously, two discrete characters with completely separate storylines are trying to kill her? What are the odds? I hope there isn’t a continuation. But who am I kidding? I’m sure the wheels are already turning for season three.
Along came Netflix, dabbling in the “Let’s keep going” game, and released a second season of Russian Doll. The first season was like Groundhog Day and Palm Springs with a dramatic twist — a character dies over and over. Like the shows above, this one had a solid conclusion, all loose ends came together, yeay! But no. Season two arrived with a new concept — instead of dying and returning to life, the lead, Nadia, can take the subway into her past and inhabit her mother’s body when she was pregnant with Nadia. Certainly, a weird, imaginative idea. With the exception of a couple of recurring but unmemorable characters, the second season had little to do with the first. Of course, the entire notion of time-travel and being pregnant with yourself is super trippy, but the final episodes got so convoluted and mind-blowing that it you knew the writers really didn’t know how to finish it. There’s no need for another season. What will Nadia be able to do next — inhabit Mars? Become invisible? Don’t do it, Netflix.
Bridgerton is another example of an unnecessary new set of episodes. At the end of Season one, Daphne and Simon finally get together — as we knew they would. The identity of Lady Whistledown is revealed. All is well in the Regency Era. Season two then rewrites the will they-won’t they (of course they will!) script for Anthony and Kate. Yawn. There are mini-plots that no one really cares about, and we are promised additional seasons and love stories for the other Bridgerton siblings. The only relationship that I cared about, actually, was the friendship between Penelope and Eloise (right, BL?) But season three will be here, eventually.
There is a long list of other shows that could have simply been a limited series — one and done. I’m not talking about general series — and as we know, many of them go on for too long. But I guess TV execs must bank on success. They want a continuation of a proven concept — and unfortunately, they run a series into the ground, even when it’s only one more. I’m afraid about the second season, coming out this week, of Only Murders in the Building. The first season, fun and creative and well concluded, until it ended with a new murder. So of course, we need to know more. But really, do we? Couldn’t they just leave well enough alone?
