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Awards Radar Community: What is the Most Heartbreaking Example of a Once-Good Show Going Bad?

On Bluesky (aka the “woke” X.com) yesterday, writer Nev Fountain posed a question that went relatively viral:

What TV show got so bad it effectively destroyed your appreciation for the show when it was was good?

— Nev Fountain (@nevfountain.bsky.social) 2026-10-05T15:14:25.493Z

This generated a number of interesting answers:

The first season of Heroes is incredible TV and then they opened season two in “Ireland” and the less we say about that the better.

— Michael Fry (@bigdirtyfry.bsky.social) 2026-10-06T09:49:56.664Z

I've said it before but around season 3, The Good Place simply decided to stop featuring jokes to focus on TV's most chemistry free coupling.

— Cethan Leahy (@cethanleahy.com) 2026-10-06T09:59:11.683Z

Fringe. The last season was so utterly bad it basically retconned my experience and I actually really enjoyed it previously.

— The Haunting of Moose Malloy (@spooksmalloy.bsky.social) 2026-10-06T09:08:14.201Z

When a show gets really awful those later series don’t exist in my head. For instance Arrested Development. A stone cold classic American sitcom that stopped after season 3 and definitely didn’t come back years later as a complete disaster.

— Graeme Swanson (@swansonian.bsky.social) 2026-10-06T08:13:17.301Z

Doctor Who.The moment the head in the box just starting shouting plot points at Matt Smith, I realised this shit was irreparable. I started feeling the music swells at the 15 minute marks for US ad breaks, seeing the plot spiral into this slop of tricking the audience for the sake of tricking.

— red_ (@redreddington.bsky.social) 2026-10-06T10:23:45.413Z

Killing Eve. I enjoyed the first series a lot but the second series made me wonder whether it wasn’t all, from the start, a load of old toss with a superficial layer of style. That first scene in the cafe is still really funny though.

— Lewis Baston (@lewisbaston.bsky.social) 2026-10-06T11:01:41.041Z

What Mr. Fountain is asking about is a more extreme version of what used to be called “Jumping the Shark,” named after an infamous episode of the once-beloved sitcom Happy Days that aired in September 1977 when the Fonz accepts a challenge to jump over a tiger shark on water skis:

For decades, that scene was the go-to reference to describe the moment when good TV shows go bad. It was usually a single moment, either introducing a new gimmick or a plot turn that betrayed the core of the show. Or, in the case of Happy Days, an episode that was so embarrassing that it turned off fans from continuing to tune in regularly.

An example I prefer to cite from my own living memory was the unfortunate downturn in the quality of Mad Men. The first two seasons were, no kidding, among the most revelatory achievements of television drama, explaining with painfully honest clarity how the advertising executives in the early years of the postwar era methodically went about replacing the tradition and religion and community that gave previous generations their sense of meaning with the products and services they were selling via the then-recent invention of mass broadcast media. Within its first twenty-six episodes, Mad Men masterfully portrayed how those Madison Avenue advertisers crafted the still-ongoing mythology that, in order to achieve a fulfilling life, you need to buy a certain car, own a certain house, and wear certain clothes to attract a certain kind of spouse and project a certain kind of social status. All while the show pulls back the curtain to reveal how these men who shaped these assumptions utterly failed, across the board, to achieve any kind of gratification in their own lives. Then the third season introduced a slew of contrived plot points and new characters that transformed it into a shallow soap opera.

AMC

But that doesn’t necessarily mean the decline in quality invalidates the ingeniousness of those first two seasons. You could just stop watching after the finale of the second season and still get a perfectly satisfying narrative. For a show to become so bad that it retroactively ruins the good early parts is a different question. In my personal experience, the #1 show I can think of fitting this description is one I have briefly mentioned my antipathy towards in past articles: South Park. I am an elder Millennial, so it kinda goes without saying that a huge part of my adolescent sense of humor and cultural frames of reference were defined by this show. The movie is still one of the best animated musicals of the 1990s (and an example of good political satire, Mr. Iñárritu) in my eyes.

But sometime around the mid-aughts, it transformed from an iconoclastic animated firebrand into the pop culture leader in disaffected, smarmy, insincere cynicism that became the default ideology for an entire generation. For a hit comedy show in the 1990s to come out unambiguously in favor of gay acceptance was genuinely bold. For that same show, only a few years later, to indulge in the laziest strawmanning and stereotyping was heartbreaking. Their ultimate ire, however, was always reserved for anyone committing the sin of caring about anything too much. If you were an advocate for changing the status quo in a way that personally annoyed them, that was when the knives came out. That was who they saved their deepest contempt for. When I realized how often Trey Parker and Matt Stone increasingly tilted toward a tacit endorsement of whichever Equally Bad Side of a political debate rocked the boat the least, it made me view the entire series with newfound suspicion. Nowadays, they are desperately trying to hop on the hashtag resistance bandwagon far too late for it to carry any cultural cachet, which is just pathetic and further taints my memories of those early seasons.

Comedy Central

What about you, readers? Which television or streaming series started off great, and then declined so dramatically in quality that it ruined the earlier good seasons in your eyes? Should we replace the term “Jumping the Shark” with a more contemporary reference? If so, what?

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Written by Robert Hamer

Formerly an associate writer for the now-retired Awards Circuit, Robert Hamer has returned to obsessively writing about movies and crusading against category fraud instead of going to therapy. Join him, won't you, in this unorthodox attempt at mental alleviation?

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