Luckily, the tides have turned due to writers using experts as reference points to ensure characters diagnosed with cancer have genuine storylines with correct medical details in the fictional cancer narrative.

Not only is it dangerous to spread false narratives, but disseminating valuable information and raising awareness is vital.

Not all specialists agree that TV portrayals of cancer are as accurate as they need to be in terms of actually living with it instead of using it as a tragic plot.

However, seeing characters diagnosed with cancer who aren’t solely defined by it can be good.

That was almost nonexistent a couple of decades ago, and we want to share those stories of strength!

Firefly Lane — Kate Mularkey

In Firefly Lane, Kate Mularkey (Sarah Chalke) is diagnosed with a rare and aggressive form of Stage 3 breast cancer, which I did not see coming, while amid a horrible fight with her childhood best friend, Tully (Katherine Heigl).

The two are not even on speaking terms, but of course, Tully is one of the first people she wants to tell and would be the person by her side.

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Naturally, Kate’s whole perspective on life changes, along with her mindset, when it comes to Tully and their argument. Her outlook has shifted, and she follows her instinct to reach out to Tully, who is actually in Antarctica and cannot be reached.

It is one of the most powerful depictions of cancer with a feuding friend’s angle. It shows that when all is said and done, we will always want “our person” when things get tough.

Also, it shows the instinct some may have to downplay what was happening and put on a brave face, knowing her loved ones were worried.

The Summer I Turned Pretty — Susannah Fisher

Susannah Fisher, a mom and best friend, is diagnosed with breast cancer in The Summer I Turned Pretty.

It is a fictional cancer narrative that also shows the crushing hope that comes with being in remission and then having it come back, and, this time, it is unquestionably terminal.

The second time around, we see how someone not only diagnosed with cancer copes but how two teenage sons, an ex-husband, and a best friend cope as well.

She tells everyone that she will continue to fight as best she can but refuses to put any more poison into her body or spend any more time in the hospital. She wants to be with the people she cares about most.

As someone who lost their mom at the age of 23 to cancer, she was done with treatment and hospitals after one visit. And I couldn’t blame her. The side effects, environment, and everything else are just miserable.

It depicts how we can only fight for our lives in the name of our loved ones for so long until something has to give, and we spend our last moments exactly how we want.

Izzie Stevens — Grey’s Anatomy

Izzie Stevens’ fictional cancer narrative on Grey’s Anatomy gave her extremely slim chances of survival. Diagnosed with Stage 4 metastatic melanoma, she had to have two tumors removed by the one and only Dr. Derek Shepard.

When she thinks she is dying, Izzie decides to marry Alex. It is one of the depictions of cancer on television that highlights a young person struggling with everything that comes along with the disease.

She has to face hair loss, chemo, preserving her fertility, accepting not all of life’s “important milestones” have been hit, and the harsh reality of explaining to her mother how serious her type of skin cancer is.

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She also had the interns diagnose her cancer, and that was one of the hardest-hitting moments from all the TV characters with cancer. It also highlights how much of a toll cancer can take on a relationship.

She leaves Seattle after being fired, writing Alex a letter explaining her departure. Her exit and how she lives her life from then on depicts the renewal that comes with remission. Izzie then becomes a surgical oncologist, which is also an interesting angle.

William Hill — This Is Us

William Hill’s Stage 4 stomach cancer was one of the most emotional storylines on This Is Us. William’s fictional cancer narrative details how life is short and how it needs to be appreciated while it can be because we don’t have all the time in the world.

Unfortunately, after the show ended, Ron Cephas Jones, who played William Hill, died at age 66 from a long-standing pulmonary issue. The series is known for taking big swings, but this may have been the biggest.

However, it adds a depth that makes what he said on the show about his feelings surrounding the fact he was dying even more cogent.

It is one of those TV portrayals of cancer that reveals a hard truth: there is no cure, and treatment is difficult. Sometimes, ending treatments and spending your final moments recounting and sharing the best parts of your life can be the best medicine.

Lynette Scavo — Desperate Housewives

Lynette Scavo finds out she has Hodgkin’s lymphoma after going in for a CAT scan due to a bad fall in Desperate Housewives, which is a surprising and scary moment. It is also how some people end up finding out about their cancer.

She decides to hide her diagnosis because she doesn’t want pity. My mom made the same choice for the same reason, making that decision by Lynette pretty understandable.

Her diagnosis was also one of the first depictions of cancer on television involving lymphoma by a significant character on network TV since Murphy Brown.

It is one of the TV portrayals of cancer that acknowledges how costly treatment can be, especially Hodgkin’s lymphoma, which requires extensive medicare care.

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It also means patients cannot work, creating even more financial strain.

The Scavos end up asking a couple of family members for a loan, which can be considered uncomfortable and challenging but realistic.

Lynette also lives with the fear of her cancer returning even after being cleared, as we see at the beginning of her pregnancy with her twins.

Samantha Jones — Sex in the City

Samantha Jones’ cancer diagnosis is one of the most tragic moments in Sex and the City. She is known for being career-focused, independent, and risqué. However, this means that she has to face this journey alone.

Of course, her friends are there for support, but it’s not the same.

We see her do some self-reflection and analysis of what matters in life, something many characters diagnosed with cancer do because I think it is instinctive.

One unique angle shown by Samantha is that she builds a platform centered around speaking about breast cancer in a humorous manner, which also brings humor and solidarity to the topic.

In one moment, she takes off her wig, revealing her baldness, while making a speech, and the other women are inspired to follow suit. This was big for Samantha because her hair is a distinctive attribute of the character.

Although characteristics like hair don’t mean much at the end of the day when one is facing the battle of cancer, and typically that is quickly realized, it doesn’t make losing something you cherish any easier in those first moments.

Celia Hodes — Weeds

Celia Hodes constantly tries to undermine Nancy and the other characters on Weeds. She is easy to hate for many reasons.

She shipped off her older daughter and is extremely harsh to her younger daughter about her weight. She’s controlling, abrasive, judgemental, and unsympathetic.

However, she brought an element to the show that was sorely missed when Elizabeth Perkins decided to leave the series.

Although she was a character meant for fans to dislike, she did grow on many. Or at least have a love-hate relationship. And for all the horrible things she did, karma gave it back to her way worse.

Some storylines humanized her, one of them being her diagnosis of breast cancer.

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Forced to be one of the TV characters with cancer who had to deeply reexamine her life and attitude, we see Celia go from evil to fun and loving. She wants to relax and change, but that’s a tall glass.

During this time, we saw some of her better parts, like when she tells Shane to let his freak flag fly, that things like having a dead parent [Shane] and having cancer make other people uncomfortable, but why pretend to be normal when you can be your strange self, even if the scenarios are a b**** to deal with.

She embraces having a double mastectomy, saying she is thinking of going freakshow big, 47-triple-Fs, so large that other smaller breasts will want to orbit them.

While her more accepting side doesn’t last, she is one of the few TV portrayals of cancer that shows how even someone as hateful as her can put things into perspective when necessary.

Dr. Mark Greene — ER

Dr. Greene is one of the characters diagnosed with cancer whose journey is full of ups and downs. While stitching a patient on ER, he loses control of his mental and physical capabilities.

A CT scan and biopsy reveal he has an aggressive form of brain cancer called glioblastoma multiforme. Aside from pancreatic cancer, malignant brain tumors have a worse survival rate than all other cancers and have lasting and life-changing cognitive, physical, and psychological impacts.

Dr. Greene’s tumor is deemed inoperable. However, a second opinion gives hope when he is told that it is near a critical part of the brain, but it hasn’t invaded it yet, and the doctor can operate.

He has one of the most vital TV portrayals of cancer because it brings some hope to a very grim diagnosis, highlights how getting a second opinion can be worth it, and just how severe and robust the effects of brain cancer are.

After the successful surgery, it takes a while for him to return to his old self.

Although the tumor regrows and is inoperable this time, he got married and saw the birth of his daughter when he was initially supposed to die a year ago.

Cathy Jamison — The Big C

The Showtime cancer-centered comedy series The Big C is revolutionary in many ways and has been deemed one of the best depictions of cancer on television, even if pairing humor and cancer isn’t everyone’s cup of tea.

It brings cancer to the mainstream, raising awareness and conversation. It is one of the best depictions of cancer on television, illustrating the emotional rollercoaster of the diagnosis. Also, part of the series’ soundtrack album proceeds were donated to Stand Up to Cancer.

It begins with Cathy making the understandable decision not to receive treatment for her advanced melanoma because she doesn’t want to get sicker while trying to get better rather than end up dying anyway.

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She spends her time pushing her boundaries despite how uncomfortable the situation is. She is one of the most powerful TV portrayals of cancer in terms of re-evaluating one’s own life.

The relatability comes from how she uses her illness to remind herself how she wants to live. It is spot on with how multifaceted cancer is and how every individual case is, even with the same stage and kind of cancer.

April Carver — Chasing Life

April Carver fights leukemia in Chasing Life, and as the title suggests, it tells the story of how April starts chasing life after her transformative diagnosis.

Italia Ricci takes her role exceptionally seriously as one of the characters diagnosed with cancer in the public eye.

April is a young adult whose life has just begun to improve when she finds out she has leukemia, which she rejects at first, not telling her family.

The show doesn’t boast to be a cancer drama, but it does bring conversation and insight and examines the grimmer side effects of cancer, emotionally and physically.

It has some mixed reviews regarding its representation of cancer, but that also depends on one’s experience.

It does a great job at hammering its message as one of the more powerful depictions of cancer that just because someone is diagnosed with cancer doesn’t mean that is all they are and that life can, and does, go on still.

Gary Mendez & Margaret “Maggie” Bloom — A Million Little Things

In A Million Little Things, Gary Mendez is a breast cancer survivor who is later diagnosed with terminal lung cancer.

AMLT does an incredible job of storytelling in its TV portrayals of cancer.

As much as the show is about cancer, it also discusses suicide just as much.

One of its unique angles is the fact that a man is seen battling breast cancer, and it does a good job of showcasing that and how he constantly feared the return of it throughout the entire series.

Unfortunately, it does return, and the side effects of his treatment are not sugar-coated.

His journey is a devastating one, and it is easy to instantly connect to his character and become invested and feel the worry and concern for his health that he does.

It also extends to Maggie, who Gary meets at a cancer survivor group. Her cancer also returns, but she does go back into remission. With the help of Gary and their friends, we see her journey as she battles it.

Through these characters diagnosed with cancer, we get a very realistic, and at times very bleak, look at what it’s like for cancer survivors and their loved ones.

Hunter Cole — Red Band Society

In Red Band Society, we see a different perspective than most depictions of cancer on television since Hunter Cole doesn’t currently have cancer. Still, his liver is failing due to his past leukemia treatments.

Hunter needs a liver transplant and is currently in the pediatric ward of Ocean Park Hospital. The show’s concept is extraordinary, as its focus is on sick teenagers living together as patients dealing with their illnesses and being a teenager.

With Hunter, fans also see how his sister wants to give him part of her liver but is afraid because the surgery has the potential to kill her.

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This is a struggle most can only imagine having to face, but it is a real situation that is hard to understand unless one is actually living it.

Regardless of his health, he still makes trouble and lives life to the fullest, even falling in love.

Its positive message of making the best of your circumstances inspires, and it doesn’t matter how short someone’s time in your life is; their impact can last forever.

Katherine Anne “Kitty” McCallister — Brothers & Sisters

In Brothers & Sisters, powerful depictions of cancer, Kitty McCallister is diagnosed with Non-Hyodgkin’s Lymphoma. One compelling angle portrayed is that while this happens, she and her husband are at odds because of her emotional affair.

However, this makes her husband, Robert, realize how precious life is and forgive her and promise they will fight it together.

It is also one of the TV portrayals of cancer that reveals the harsh physical and psychological tolls treatment takes on a person. She loses her hair and is in a weakened state, but the grim news seems to bring her and Robert closer.

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When she learns that the treatment isn’t working, she doesn’t want to tell her family since she thinks it would ruin her brother’s wedding.

Unfortunately, she passes out, resulting in her being brought to the hospital where they are told her cancer has not only advanced but has spread, and she is now in need of a risky bone marrow transplant.

The only match is her half-brother, who doesn’t want to donate because he blames their family for his mother’s suicide. This complicated family dynamic brings an interesting viewpoint that we do not often see in depictions of cancer on television.

Raj Kher — 90210

It’s not too often that teenagers are diagnosed with cancer, but in 90210 Raj Kher is one of the characters diagnosed with cancer at a very young age.

Raj’s storyline hits numerous beats, from treating the chronic pain with medical marijuana to marrying his current girlfriend Ivy to then the two not being able to afford experimental treatments.

It also shows how hard it is to deal with the fact that death looms when Ivy’s school’s prom theme is The Future is Ours. He starts to drink and pushes Ivy away because he doesn’t want her to have to deal with what he is going through.

In a moment of true solidarity, their friends host a talent show to raise money for the treatments, which is met, and after treatment, he is cancer-free. Still, a whole new set of drama between the couple ensues until he finds out that his cancer didn’t go away.

Instead of telling Ivy, he breaks up with her and leaves until his friends find him sick in a hospital, at which point the two reunite.

His frustration with his illness is understandable, and even though his toxic behavior rubs some fans the wrong way, who’s to say how anybody should act when facing what Raj is?

Kristina Braverman — Parenthood

Kristina Braverman’s fictional cancer narrative on Parenthood is one centered on family. She finds out she has breast cancer after sending her oldest child to college and shortly after having her youngest.

The series’ family-centric dynamic is truly emotional. They all rally around her. Her oldest daughter, Hattie, leaves school and takes a semester off to help where she can.

She surprises her parents with her arrival in a very tear-jerking scene.

While she’s sick, Christina records videos for her kids to watch in case she does die, and regardless of how many times the show is rewatched, it gets viewers every time.

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I, too, was in college when I found out about my mother, and I dropped everything to take care of her, so this is one of the powerful depictions of cancer on television that is emotional and touching, especially if there is a connection.

Sonya Rebecchi — Neighbours

In the Australian soap opera Neighbours, Sonya Rebecchi is diagnosed with ovarian cancer. Compared to Days of Our Lives, the TV portrayals of cancer and medical storylines are much more realistically handled.

The most heartbreaking one they’ve ever had was Sonya’s fictional cancer narrative. Its harrowing nature stems from how realistic it is, starting with her stomach pains she isn’t taking seriously until she can’t ignore them anymore.

By this point, she is in Stage 4, and she doesn’t have much time left. Everyone blows off stomach pains, and they are easy to ignore, which is why it hits she is one of the characters diagnosed with cancer that hits home so well.

From her diagnosis to the decisions she has to make to her death, the show’s commitment to being true to life doesn’t stop.

Even after her death, the storyline isn’t dropped like many soaps tend to do. Her husband has maintained a foundation named after her, which educates people about cancer.

We even see how important raising awareness about cancer is when a younger character learns he has testicular cancer, which was another of its characters diagnosed with cancer that was depicted matter-of-factly.

The period from Sonya’s diagnosis to death is so real and powerful that it is almost hard to watch.

Maggie Lockwood — Chicago Med

In an interesting twist by Chicago Med, Maggie Lockwood is diagnosed with breast cancer after an old friend who she donated a kidney to comes back to the hospital and is diagnosed with cancer herself.

As in many TV portrayals of cancer, Maggie doesn’t want to worry the people around her, so she receives chemotherapy at a nearby hospital and even wears a very convincing wig to keep it a secret until she decides to reveal her diagnosis to the nursing staff.

Thankfully, the treatment works, which brings an even more interesting twist: She meets someone while receiving chemo.

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We see how, even during these nerve-racking times and difficult treatments, one can still flirt and bond over a distressful shared experience.

There is also so much hope as the two eventually get married and share a healthy and loving life.

Depictions of cancer on television can go so many different ways, and regardless of the outcome, the ability to bring conversation and awareness is vital.

Everyone’s experience is different, and we hope the TV industry only continues to show characters diagnosed with cancer in an educational, accurate, and compelling manner.

Over to you, TV fanatics. Can you recall a particularly moving cancer storyline that we may have missed?

If so, please share it with us in the comments.

The post Stories of Strength: Powerful Depictions of Cancer on Television appeared first on TV Fanatic.

As an avid reader and TV fan, I love them.

Almost all networks or streaming services have featured some.

Netflix even aired a companion series, The Netflix Book Club, in which some authors discussed how their novels were adapted to the screen.

There is a fine line between staying true to the source material, pleasing the fans, and developing the characters and stories as your own.

Deciding Which Format Works Best

The network or studio will decide which format works best based on whether it adapts one book or a series of books.

Developing a two-hour film worked best if the book had a clear plot with a beginning, middle, and end, such as Red, White, & Royal Blue.

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While the film had to cut some aspects of Henry and Alex’s relationship for time, the key aspects of their relationship and issues were showcased on screen.

It may have seemed bloated if they tried to stretch it into an eight-episode limited series.

So many limited series often feel like an eight-hour movie and need to stand on their own.

Some limited series, such as Peacock’s Apples Never Fall, worked because they introduced the storyline in the series premiere and devoted episodes to each character’s perspective before concluding within seven episodes.

However, limited series have their complications, too.

Sometimes, the story should remain a limited series, but because of its success, the show gets renewed, as was the case with Nine Perfect Strangers or Big Little Lies.

There is no more source material. The showrunner must either wait for more to be written or create new storylines.

The other issue is when a series should have been a limited series instead of an ongoing series like The Time Traveler’s Wife.

EP Steven Moffat strived to make it several seasons and extend Henry and Clare’s love story, but by doing so, they covered less than half the book before the series was canceled.

If they had chosen to keep the episodes tighter, they might have finished the source material in the allotted six episodes.

The easiest task is to adapt popular book series, such as Bridgerton, Sweet Magnolias, or Will Trent, into long-running series.

Showrunners can’t include every plot, but they can feature the heart of the series and keep key aspects the same.

Keeping Key Aspects is a Necessity

Netflix has adapted many novels. Some have worked, and some haven’t.

Many fans of Kristen Hannah’s Firefly Lane were disappointed with how it differed from the book including myself.

It was one of my favorites and a modern-day Beaches, highlighting a 30-year female friendship.

Firefly Lane showcased Kate (Sarah Chalke) and Tully Hart’s (Katherine Heigl) friendship in non-linear storytelling.

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While that was interesting, most of the story arcs in the 1980s and 2000s were inaccurate and only showed how talented Ali Skovbye was at portraying Teen Tully’s sexual assault arc in the first season.

While the ladies’ friendship was still highlighted, much of the series was changed, from the reasons they fought and became estranged to Kate and Johnny’s divorce.

Only Firefly Lane Season 2 Part 2 remained unchanged as Kate struggled with cancer.

On the other hand, Netflix did somewhat better with Sweet Magnolias, at least the first two seasons.

The first two seasons highlighted storyline arcs from the initial three books in the series, including Cal and Maddie’s courtship, Ronnie’s return, Dana Sue’s diabetes, and Helen’s desire to be a mother and relationship with Erik.

However, Season 3 didn’t include any storylines from the novels, but the heart of the relationships remained.

Out of the Netflix adaptations, Bridgerton follows the source material the closest, likely because they adapt a novel a season.

While many aspects of the novels and the series are the same, the series added several supporting characters, including Queen Charlotte, who got her own spinoff.

In addition, certain scenes, such as Daphne and Simon’s controversial sex scene or Anthony and Kate’s infamous bee scene, were adapted to look more romantic on screen.

However, the intensity between the characters remained.

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When Altering Character Traits or Plots Works Better for the Adaptation

While keeping some aspects the same is imperative, changing some can also improve the TV series.

Will Trent has become one of ABC’s most popular procedurals, partly because they gave the show a lighter tone than the books.

It still shows some horrific crimes, but it also shows some humorous ones.

They are not as violent or gruesome as the murders, assaults, or abuse cases in the novels.

Will Trent altered the appearances and backstories of some of the characters.

Will isn’t Latino, and Amanda and Faith aren’t African-American, but with the backstory of female cops in the 1980s, the casting worked well.

The series also altered Det. Ormewood and Angie’s characteristics.

In the books, Det. Ormewood was an angry jerk who was mean to his wife and kids. While he has his issues in the TV series, he’s proven he’s a stand-up dad.

The abuse Angie suffered in the foster home hardened her, so she was mean to everyone, even Will.

Will had severe trust issues in the books.

Many fans of the books hated that Angie was nicer in the series, but it’s refreshing to see her more layered.

The fanbase is torn about whether they want Sara Linton to appear or Will and Angie to reunite, and the stance of each viewer seems to depend very much on whether they’re an avid book fan or not.

Hulu’s Nine Perfect Strangers was another ideal example.

Liane Moriarty’s novels make wonderful limited series, and this was one time I thought the adaptation was better than the book.

The series fleshed out the characters more.

In the book, the characters endure a four-day vow of silence at the spa, while in the series, we see them interact instantly.

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The series delved deeper into Carmel’s emotional issues and explored the workings of Jessica and Ben’s marriage.

It was a trippy drama as it examined how drugs made you face your worst fears, and it combined the source material with more humor and characterization.

I can’t talk enough about The Idea of You.

While it was a romance, it was about women’s empowerment, and the changes made it even better.

Screenwriter Jennifer Westfeltd and director Michael Showalter altered Hayes’s age from 20 to 24, so the forbidden romance didn’t seem as awful.

They also upped Izzy’s age from a preteen to an older teen, so it didn’t imply that Solene was missing pivotal moments in her daughter’s life.

In the film, Solene and Izzy are much closer than in the book, so Solene sacrifices so much for motherhood that it is difficult for her to think of herself first.

The main change is the book’s ending to the film’s.

The book and the film include the angsty break-up scene when Solene lets Hayes go because the media circus is too much for her and Izzy.

In the book, she lies and says she doesn’t love him but only loves the “idea of him,” hoping he’ll leave.

After repeatedly texting her, Hayes gives up on her.

However, Showalter altered the ending to a more hopeful one because audiences want a happily ever after when they see romantic comedies.

It’s more than that, though. Women deserve a happy ending.

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How Important is Fan Reaction?

Showrunners and actors have a nearly impossible task when adapting beloved novels because fans are difficult to please.

They have an image in their head of which actors should play certain characters and how certain scenes should play out.

That puts pressure on the showrunners, writers, and actors as they envision their new series.

The cast and crew strive for fans to appreciate the screen adaptation and recognize that the TV or film adaption and the book are separate entities.

Sometimes, the screen adaptation is better than the book, sometimes the book is superior, and a few times, they’re equally good and appreciated for different reasons.

What are some of your favorite book-to-screen adaptations?

Do you think the showrunners adapted the material faithfully?

We would love to hear your opinion, so please share your thoughts below.

The post How Faithful Do Book-To-Screen-Adaptations Need to Be? appeared first on TV Fanatic.

One would certainly be, "How is that still on the air?"

It's certainly understandable that a viewer might be confused, what with the TV and streaming landscapes awash with revivals and reboots.

It's equally understandable why TV executives would opt for the fading ratings of shows that are shadows of their former selves rather than take a chance on an unknown new series that may not strike a spark for viewers.

Everybody is aggrieved by one such show. Here are those shows considered the worst that somehow gained renewals by TV Fanatic staffers:

The Lord of the Rings: Rings of Power (Amazon Prime)

The show had a two-season order before it premiered, but that was a bad idea. Despite starting off strong with beautiful scenery and a great premiere, somewhere in there, the show became a convoluted mess.

It featured nothing interesting except for the scene where the orks make a bomb out of a volcano.

It under-delivered on a captivating narrative for an expensive show, opting for a grand display of scenery. It featured too many storylines, which served little development to the story.

It was supposed to be as massive as Game of Thrones but pitted against House of the Dragon; it has nothing against it. It offered zero cultural impact despite being available in more countries than House of the Dragon.

If it were not for the legacy of The Lord of the Rings, this show didn't deserve a second season.

NCIS: Los Angeles (CBS)

In its 14th season, this procedural is comfort viewing. To put it another way, there are few surprises anymore.

With the same four agents at its core for most of its run, it has certainly been consistent, unlike its mothership.

There's a case of the week, broken up by the agents' current personal roles: Sam becoming a caretaker, Callen marrying Anna, Deeks and Kensi turning into foster parents.

But it lost its heart several seasons ago, and it's time to admit that Hetty isn't returning any time soon. Linda Hunt was irreplaceable, and the show hasn't been the same since her unofficial departure.

It's time for the West Coast sun to set on the OSP.

And Just Like That (HBO  Max)

After the second movie, HBO Max thought it would be a good idea to reunite some of the women to show them at a different stage of life.

In many respects, the series captured some of the magic that made the original series a success, but it was saddled with terrible writing and even worse supporting actors.

Many figured the show would be a distant memory quickly, but nope, we're being treated to another season.

Maybe they'll make things right. Perhaps they won't, but somehow, it will probably get a third season.

The Rookie (ABC)

The Rookie was an interesting and entertaining look at rookie police work.

The cast continues to do great work, but what they've got to work with is downright embarrassing.

Whether it's another case involving the force itself or the insipid love lives of the officers, this one-time guilty pleasure just leaves viewers guilty for watching without the promised pleasure it first offered.

Please free the cast so they can find material that lives up to their talents.

Emily in Paris (Netflix)

What probably makes Emily in Paris pirouetting into multiple seasons so irritating is how frequently Netflix cancels literally anything else, certainly series of better quality.

Emily is an insufferable and obnoxious protagonist in a series filled to the brim with barely tolerable caricatures.

And it's such a trope-filled mishmash of genuinely awful and off-putting stereotypes of both Americans and the French that it'll give you a headache faster than the wine you usually have to down to make it through a season.

And yet, we're three seasons into shallow writing with equally as vapid characters, questionable fashion, and pretty people. Thank goodness for the pretty people.

C'est la vie or whatever.

The Flash (The CW)

The Flash was an excellent show for maybe the first four years, but since then, it has become unrecognizable.

Most of the cast has left, the storylines are repetitive, and the villains are meh, which is sad because, traditionally, The Flash has quite the rogues gallery.

Yet somehow, it was still renewed.

It is time for this horse to die.

Firefly Lane (Netflix)

What makes Firefly Lane so irritating is they took everything wrong in the first season and made it even worse in the second season.

The wigs look more atrocious, and they need to learn to tell storylines well over three timelines.

Just as viewers were pulled into the central conflict between Kate and Tully and began to feel something, it switched back to their younger selves.

It barely followed the source material until the cliffhanger. Maybe, the third time is the charm when the series completes in June 2023.

Reacher (Amazon)

One can only hope that when Reacher returns with its sophomore season, it'll make some adjustments and maybe come close to living up to the puzzling hype and reception.

Reacher wasn't bad per se, but it wasn't particularly interesting. Unfortunately, Alan Ritchson had the size and physique, well sort of more gym rat frat bro than massive force, but he had none of the charisma.

The season was dense and laborious to get through, and the thrills and satisfying payoffs were few and far between. It had a pacing issue.

Reacher rested its laurels on the primary victories, casting a tall lead and sticking close to the source material with little else going for it.

It's Always Sunny in Philadelphia (FXX)

There aren't many shows that warrant more than ten seasons, and how It's Always Sunny in Philadelphia managed a three-season renewal is beyond imagining.

One would think Frank Reynolds came up with some nefarious scheme to keep them going.

While the scope of nastiness and ignorance exhibited by the core characters is somewhat impressive, their lack of actual humanity is incredibly off-putting these days, where a little kindness is necessary in our escapist narrative.

There's a lot of television out there to choose from. Who the gang from Paddy's Pub appeals to is a riddle wrapped in an enigma as served in a questionable beer.

The Goldbergs (ABC)

In the words of the late, great Kenny Rogers, "You gotta know when to hold 'em, know when to fold 'em." This hoary sitcom hasn't had a winning hand in recent years.

First, George Segal, who played Beverly's father, Pops, died in 2021. Then Jeff Garlin had a messy exit in 2021, and his patriarch Murray suffered an offscreen death between seasons.

Instead of accepting these as a sign, producers just plugged in Judd Hirsch as Murray's dad Pop-Pop, and the repetitious show has kept sputtering along.

Wendi McLendon-Covey is a TV goddess, and her Beverly has been the heart of the series for ten seasons, but she needs to bound off some adults. It's time to let the young Goldbergs all start their own offscreen lives and for ABC to try something new at the head of a comedy lineup.

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What shows do you think have lived long past their expiration date?

The post 2022’s Worst Shows That Scored Renewals appeared first on TV Fanatic.