The Series That Didn’t Last – Look back at Cult productions that didn’t make it past the first year

Loaded with expectations, they didn’t avenge

The entertainment world can be cruel, even for those productions that have received the most resources. At a time when streaming and cable TV services are investing heavily in strengthening their programming schedules, those projects that are conceived as bets with a great prospect of working inevitably end up appearing.

These productions generally take advantage of a larger budget, which consequently allows for the hiring of a better-known cast; a convincing production design and the virtually guaranteed certainty that, at least, this project already has a second season. However, things don’t always go as planned.

Sometimes these bets end up not winning the public’s attention, either because of the quality with which the story is told or simply because it doesn’t gather a large enough viewer base. Regardless of the reason, it’s always a little shocking when a show that was much hyped before release is prematurely discontinued.

The live action adaptation of Cowboy Bebop it may be the most recent case, mainly involving Netflix, but it is always good to remember other examples that promised the world but had time to conquer it.

The case for this particular series dragged on for quite some time after the first season premiered; the series was intended to deliver a fresh take on various elements of the Arthurian legends, such as the Lady of the Lake and Excalibur, following much of the success of the first year of The Witcher (since Netflix aimed to lead the fantasy genre after the end of Game of Thrones).

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The reinterpretation of the Arthurian legend will definitely be open

The production also used the name of Katherine Langfor, evidenced by 13 Reasons Why, to attract more attention. However, reception for the series was lukewarm in its first weekend, and for a long time the service kept the viewership numbers of Cursed, leaving in the air if there would be a continuation attempt. It wasn’t until the following year that the gavel was hit and the series was buried for good.

It wasn’t just in the fantasy genre that Netflix tried to install itself, but even so, it didn’t go to the comic book adaptations totally alien. The company has had a relatively productive partnership with Marvel properties in the past, spawning the demolisher, as well as with the series Umbrella Academy.

However, she lacked a shared universe to call her own. It was then that his attention turned to the properties signed by the cartoonist Mark Millar, signing an exclusivity agreement with the properties. Among them was the comic book series Jupiter’s legacy which aims to show how superheroes behave in society, being celebrities and pop icons, at the same time needing to keep the line of honesty.

Netflix’s bet on an alternative that escapes the MarvelDC umbrella didn’t work out

Since before the launch, the series has already been criticized in advance regarding the proposed look, in which a good part of the public noticed that they did not convey the level of quality that the budget (of supposedly US$ 130 million) implies. After the release came the perception that the visual effects were of much lower quality, as well as the cast in general did not engage with the viewer. Moral of the story: what was once ambition is now dead and buried.

Moving away from the Netflix core and going back in time, it can be said that the early 2000s was a golden period for productions that portray the daily lives of teenagers. The O.C, Gilmore Girls, That 70s Show and others shared the tendency to dialogue with the young audience through everyday situations present in each episode (of course varying the level of realism from production to production).

It was in this whirlpool that Freaks and Geeks was released towards the end of 1999, presenting the daily life of a group of high school students in the 80’s. The great advantage of the series was knowing how to parody the stereotypes of each of the characters in that environment and, allied to a young and promising cast with the still unknown James Franco e Seth Rogen, the series has become a classic.

Despite its short life, the teen sitcom has become a classic

Still, not even the classics are free from the specter of cancellation and the production never got to see a second year. The main reason is usually attributed to the time each episode was released, at eight o’clock on Saturday night. The target audience, young people, would hardly be available to contribute to the audience.

Around 2009 the series Lost it was the big thing about American television. It was the most discussed, most followed and most thought-provoking production that inevitably ended up producing several “children” who had the intention of repeating the success of the then giant. Among them, there were Flashforward that perhaps had more connection to the inspiring series than was intended.

In the plot, a paranormal event causes the population to faint at the same time, each having a vision of the future. It is from there that the plot works the investigation of a group of FBI agents to understand what happened. Interestingly, or not, in 2009 Lost was already in its fifth season tackling time travel, while Flashforward addressed the vision of the future.

Both series were produced by ABC and the second has an easter egg from the airline that took the protagonists to the famous island. Interconnected or not, this possible kinship did not save fiction from failure.

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