Gone, but don't forget – these are the shows that got the ax in 2020 but will (hopefully!) Live on in the streaming services' libraries.
It's Peak TV's time! There's TV everywhere! You can't shake a stick without watching another TV show on another streamer! TV! TV! TV!
All of this is true – until it is no longer true.
The sheer volume of television doesn't always translate into winning quality television, and each year there are a number of worthy shows that fail to hit the mystical threshold that television managers have found to keep a project in production. This is even more so this year as the business pressures caused by the pandemic have often been cited – and some cynics would conveniently argue – as the reason for the cancellation.
Here, IndieWire lists in alphabetical order the shows of the year that were canceled too early. They're gone – but not forgotten, thanks to the afterlife that they could get in the same streaming branches that didn't want to fund new episodes. As it turns out, Peak TV shows don't die, they just get buried.
Leonardo Adrian Garcia, Steve Greene and Ben Travers also contributed to this list.
"Astronomy Club: The Sketch Show”
It's hard to forgive Netflix for canceling Astronomy Club: The Sketch Show when the cast has proven themselves worthy for no other reason than multiple seasons on the streamer. The UCB House team sketch comedy troop's latest project was a critical favorite (it has a 100% Fresh rating for rotten tomatoes) and featured sketches that tackled the race with aplomb. The repeal is mind-boggling, but to make matters worse, sketch comedy, by and large, isn't an expensive endeavor, as individual sketches have the constant potential to go viral. "Magical negro rehabA pilot's sketch is exactly the kind of sketch that can help entice potential subscribers. When the cast spoke to IndieWire in JuneHowever, they expressed frustration at how difficult it was to find the show on the platform and noted their own anecdotal evidence that the show was not being promoted on a large scale by the Netflix algorithm.
Netflix's sketch strategy has always been a bit scattered ("The Iliza Shlesinger Sketch Show" and "Aunt Donna's Big Old House of Fun" are their big 2020 projects) with the streamer never really giving the comedy time to grow. You only have to watch the one-off experiment “Netflix Presents: The Characters” to see how quickly the streaming giant gives up a concept. If there was a positive result it led to "I think you should go with Tim Robinson". And that is actually the most hopeful aspect of the downfall of Astronomy Club: The Sketch Show: the potential for more sketches from the creative at its center in various projects. Remember, Astronomy Club: The Sketch Show was executive produced by Kenya Barris under his $ 100 million development deal. So there is still hope that a combination of Shawtane Bowen, Jonathan Braylock, Ray Cordova, James III and Caroline Martin Jerah Milligan, Monique Moses and Keisha Zollar could reappear on Netflix. In the meantime, you can watch all six episodes on Netflix and then catch up the digital short films they made for Comedy Central in 2018. -DELAY
Dana Starbard / Hulu
Dustin Thomason's and Sam Shaw's anthology series, which was inspired by the works of Stephen King, was canceled a year after the season two debut. And both seasons were great! The first, with Andre Holland, Melanie Lynskey and Sissy Spacek (in an unforgettable twist) introduced the fictional Maine setting used in several King novels with nuance, grace and a character-first take. Season 2 brought us another compelling twist from Lizzy Caplan wrapped in a heart-pounding thriller. Rather than relying solely on nostalgia and Easter eggs (which still existed), Castle Rock invested in its citizens and found rich new text for the screen. There is no reason this couldn't have made a few more seasons of the year unless its creators suddenly parted. I think I'm blaming Disney's rebranding / re-shuffle. – BT
Rafy / USA network
Fortunately, viewers who may have missed this show during its original run in the US will have the option to give it a second life when it hits Netflix later this month. Without giving too much away, it's safe to say that the fifth episode of the season has proven that it is more than a literary adaptation. Co-creators Megan Abbott (the writer of the original novel the show was taken from) and Gina Fattore found a way to open up the source material first-person and really examine an entire city's perspective on a meticulously unfolding mystery. What begins as a controversial season on a high school cheer team becomes even more abstract and unrecognizable. It's a wild ride that ended much earlier than it should have been. – SG
It's difficult to grapple with the fate of a show that's canceled too soon. On one hand, I should be grateful that Netflix's "GLOW" had three amazing seasons to highlight the brilliance of creators Liz Flahive and Carly Mensch, the acting and athletic skills of the cast including Alison Brie and Betty Gilpin, and one of The Best Stunt -Teams in the industry, led by the Emmy Award-winning Shauna Duggins. And I am grateful. But I am also devastated. Not just that "GLOW" is gone, but that we were promised a fourth and final season, an opportunity to clear up open questions and the emotional investment we made in the characters to find a sense of finality. There are already too few series out there that delve into the complicated ways women build relationships with one another, and losing one of the best shows on television doesn't exactly soften the blow. If there is only one ray of hope in this terrible loss, our streaming age lets almost anything live on it. "GLOW" will still be on Netflix, waiting for you to discover and appreciate it years later. "GLOW" will still warm your heart and make you laugh, even if you get to it in 10 years. And when you finally sit down and appreciate the series that gave the Gorgeous Ladies of Wrestling their heart and humor, I'll be right behind you too, screaming, "I told you!" -LH
Phillip Caruso / Hulu
It went too early and then there isn't even an opportunity to unfold. The latter happened with Hulu's "High Fidelity," a gender update of the Nick Hornby novel and the subsequent film of the same name. The series with a dynamite Zoë Kravitz as Rob, a record store owner who was incredibly cool and deeply chilly at the same time, was infinitely more interesting than the source material, with a strange protagonist whose previous relationships and behaviors take on a completely different tenor than As Rob in his mid-30s was a white man who pouted at women he had loved and lost. This was the rumination about love and relationships that took 2020 as opposed to AMC's "Soulmates" or HBO Max's "Love Life," which both got season two. It is a miscarriage of justice that the world should be denied more of Kravitz in such a rich role and crime that there will no longer be Da & # 39; Vine Joy Randolph stealing every scene she is in. The top five ways Hulu broke my heart in 2020: One to four: Canceling "High Fidelity". Fifth: "Ordinary People". -LH
"I am not feeling well With These”
This show seemed like Netflix was finding out something. It was an adaptation of a Charlie Forsman comic book that wasn't weighed down by the caustic navel gaze of "The End of the F *** ing World". There was the story of a young protagonist who grappled with his powers, which, in contrast to "Stranger Things", did not feel obliged to his spiritual predecessors. Syd (Sophia Lillis, in another performance suggesting even more great work) discovers that she has the power to move things with her mind. But like “Daybreak” – another high school Netflix show that was paused before it could reach its full potential – there was no attempt to avoid, which made similar stories great. While addressing some of these tropes directly, the show also let Lillis play out her strengths, building on a character with an inwardness commensurate with the extent of her burgeoning ability. The season's bookending sequences gave this story some originality, but it would have been fascinating to see where Syd's story led next. -SG
"I am sorry”
Scott Everett / Tru TV
This show, written and created by Andrea Savage, will end up being the biggest scripted show truTV has ever broadcast. It's honest, it's funny, and it's not afraid to mix these together for its own kind of stupidity. (Any parents who caught up with the series on Netflix likely found that some of the storylines sounded a little truer this year as well.) After learning that truTV wouldn't continue the show, Savages became various posts detailing the situation was explained, both an honest message to fans and some much-needed insight into how networks are using this year's events to reshape their programming and financial decisions. Savage stated that all season three episodes are written and finished, including those that weren't filmed before March. Any network looking for a comedy that has peaked should have snapped this up months ago. – SG
Andrew Eccles / Showtime
Too good for this world, but almost certainly too pathological, “Kidding” really opened up in its second magical season. Dave Holstein's Showtime comedy, in which Jim Carrey starred as the grieving children's show host, was faced with a challenging hurdle from the start. She convinced audiences to spend time in a whimsical world of dolls with a family still trying to come to terms with the death of a son. But those who were able to handle the open discussions about losses could also appreciate the outstanding craftsmanship, ambitious direction (led by Michel Gondry) and Carrey's turnaround. "Scherz" invented more than just a lot of spectacular moments. We hope people go back and find this gem. – BT
"About Becoming a God in Central Florida"
I claim the world wasn't ready for "Becoming a God in Central Florida" because it was so open about what this year would be. Kirsten Dunst's Emmy Award-winning performance of Krystal, a clothed single mother trying to infiltrate a pyramid scheme while surviving financially, represented us all. Haze was a game for everything, whether it was jazz practice in a swimming pool or a series of speeches that would make Elmer Gantry proud. Additionally, it gave us an overly confident Alexander Skarsgard in a mullet that was being eaten by an alligator. Krystall's anger, perfectly hidden by gritted teeth, spoke to everyone. It is all the more ironic that Showtime canceled it after extending the second season. In a year when everything was taken away, why not take away the show that was cool enough to tell us what life really was like? – KL
Bob Mahoney / HBO
As the old song says, you don't know what you've got until it's gone. "The Outsider" was a stunning, curious adaptation. A bunch of great actors. Jason Bateman Director. Richard Price runs the show. But they were all working on a Stephen King story that wasn't exactly a hot commodity or anything that was advertised. Even so, the first and final seasons (on HBO) managed to ask interesting questions about what it means to believe the incredible while producing some of the best audible creature effects in television history. (Pro tip: watching "El Cuco" scenes with subtitles is a game changer.) "The Outsider" is not a thriller. It's not even a horror show. It's a character drama, and we're going to miss those characters – El Cuco included. – BT
"Patriot Act with Hasan Minhaj”
Cara Howe / Netflix
The latest in a long line of canceled late night esque shows, "Patriot Act with Hasan Minhaj" combines Netflix's "The Break with Michelle Wolf", Hulu's "I Love You, America with Sarah Silverman" and HBO's "Wyatt Cenac & #" 39; s Problem Areas "" As shows that everyone deserves a longer lifespan. Obviously, Netflix probably made that decision based on the plethora of data at their disposal, but getting rid of a show that seemed to be generating an organic following ("Patriot Act" clips regularly have millions of views on Netflix & # 39; Comedy Collected YouTube channel Netflix Is A Joke only falls behind clips from Dave Chappelle, Adam Sandler and Kevin Hart's comedy specials. Yes, there are other shows that nominally serve the same purpose in the entertainment landscape, in particular “The Daily Show With Trevor Noah” on Comedy Central, TBS's “Full Frontal with Samantha Bee” and HBO's “Last Week Tonight with John Oliver”, “But“ Patriot Act ”felt different and at the risk of fans of this one alienating other shows – it felt fresh. Much of it was due to Minhaj's presence as host, who was at the same time appalled by the hideous grievances that that its authors and researchers had uncovered, and beyond that was thrilled to deliver this monologue that elaborates on it.
One could argue that the "sixth" season of "Patriot Act" filmed during the quarantine may have been the strongest. Episodes that focus on citizens' ability (or inability) to pay rent during the coronavirus pandemic or how we as a country are fundamentally wrongly voting (resulting in terrible "less than two evils" in the ballot box) felt to mandatory ad for all Netflix subscribers. Speaking of Netflix, it's a little bit crazy to watch the streamer looking for another lazy David Spade show (“Netflix Afterparty”) and an unoriginal Edge Lord comedy series for “Patriot Act's” ( "Schulz Saves America") starts. Cancellation. "Schulz saves America" is a particularly formidable addition to their comedy list, if not because of the misleading manner in which self-made YouTube comedian Tosh.O is neatly delivered, like he has a team of staff doing research for him (he doesn't) & # 39; t) but the angle "joke on both sides" comes across as over virulent anti-asian. In the end, the legacy of the Patriot Act will likely be the fact that most of the issues it addressed, such as the final "Why Taxes Are So Heavy?" are evergreen and will be relevant for years to come. -DELAY
One of the strongest entries in this year's new collection from HBO Max Originals, this show features Marnie's (Charly Clive) impulsive move to London when her own imagination becomes her enemy. Starting with a catastrophic anniversary toast, Marnie grapples with everyday conversations with friends, family, and strangers who have broken down from intrusive sexual thoughts. Hopefully, if this show doesn't continue (as it stands) it will lead to more opportunities for Clive, who has proven here that she is more than capable of anchoring a story. It could have been a fundamental building block for a show to see her continue to fully embrace Marnie, with all of her infectious enthusiasm and decisions with varying expediency, a far larger building block for a show that should have been much longer. -SG
"single parent” /. "Bless this mess”
ABC / Richard Cartwright
Both ABC sitcoms made it two seasons before they got the ax, and both only got better. Led by lead actor Leighton Meester's underrated comic book talents, Single Parents had found its groove as a sweet, ensemble-driven family comedy with enough romance to keep you coming back, but not so much that it betrayed the ethos of him Title. Lake Bell's first TV creation, "Bless This Mess," was the rare rural network comedy that didn't speak to small town residents or promise that everything would be better if they just moved to a town. Plus, the animal work was exquisite. Watch them both on Hulu. – BT
ABC / David Bukach
Dex, we barely knew you. Cobie Smulders & # 39; hard-drinking, die-hard private investigator made a good living by the end of season one, not to mention the ideal "office" hangout at her best friend's bar (played by the perfectly cast Jake Johnson). . But she had only just begun to open up emotionally, and there were many more cases in the Portland area to crack. With a cheeky sense of humor and a team of actors with high quality chemistry, "Stumptown" had all the makings of a beloved, seasonal process. The renewal cancellation only hurt his disappearance even more. – BT
"Teenage bounty hunters”
Most of the time, when a show ends after a single season, the disappointment comes from the fact that it just figured out what it wanted to be. While this Netflix gem's under-the-radar season finale was certainly a bridge to another phase of the series, there was already a lot to love. Maddie Phillips and Anjelica Bette Fellini had some of the best on-screen sibling energy you will ever find as two sisters stumble backwards helping newly-found coworker Bowser (an adorable Kadeem Hardison) guide a collection of suspicious people throughout Chasing Georgia. The show had such a sense of kinetic movement, especially in the sequences where Blair and Sterling used their fisheye sibling telepathy to get out of difficult situations. We always have the ice cream parlor. -SG