by Sam H.
This past year, tons of shows have been canceled or officially ended, and while it’s been challenging to cope with the loss of incredible shows, it has also been interesting to say goodbye to subpar ones. In this following article, I will be ranking the finales of every show that has ended in roughly the past year (January 2022 to June 2023) that I have watched. These are all shows that I had been watching before they ended or started watching right around the time they got canceled. I cannot promise these rankings will be objective, but I hope they are entertaining. Spoilers ahead!
1. Ted Lasso, “So Long, Farewell”
Every time an average viewer of this show asks me about my opinion of the finale, it takes so much effort to keep myself composed because I have very strong opinions about it. Several co-workers have told me they cried while watching it because they loved it so much. In contrast, I almost cried because it was so confusing and messed up that I couldn’t believe that it was the finale of the show that won the Best Comedy of the Year Emmy for two years in a row. Whenever I learn that someone loves the Ted Lasso finale, I feel the same way whenever someone tells me that Euphoria is unironically the best show they’ve ever watched.
The Ted Lasso finale was so bad that it deserves its own rankings of the top 10 worst moments of the finale:
The Beard & Jane wedding → The fact that Jane’s controlling behavior and manipulative tendencies are played for laughs when they often involve severe physical and mental distress to Coach Beard is already a little strange in the first place, considering the “be kind” narrative of the show. Thus, Beard abandoning his best friend, Ted, to marry Jane and remain in London was confusing and didn’t add to the show's narrative value.
Jamie and Roy fighting over Keeley → I want to punch a wall every time I remember. This one moment undid any semblance of character development that Jamie and Roy have gone through during all three seasons of the show, especially for Jamie. They both make disgusting misogynistic remarks (Roy dismissing Keeley’s behavior as just “woman” behavior and Jamie using the fact that Keeley made an explicit video of him to get back at Roy). The writers tried to subvert the traditional love triangle trope by having Keeley reject both men. Still, it felt like a massive fumble that ended in enormous disappointment about how the past three seasons of growth were for nothing.
Rebecca marrying the Amsterdam boat guy → While watching “Sunflowers,” I skipped over Rebecca’s plotline because I did not care about watching her befriend a boat guy with a foot fetish. So, you can imagine how pissed I was when I saw him show up again to end up with Rebecca ultimately. We don’t even know his name! I have never been a huge TedBecca shipper, but I would have preferred her to end up with Ted over the boat guy.
Jamie forgiving his piece of shit abusive father → I understand that relationships with abusive parents can be complicated and that healing from trauma can come in different forms. Still, Jamie forgiving his father makes no sense. We have seen James Tartt physically and verbally abuse Jamie, and this season, we even learned that he coerced Jamie into having underage sex with a prostitute. And while it’s great that James is in rehab and trying to improve, that doesn’t mean he’s absolved of all the trauma he caused Jamie, nor does it mean that Jamie has to reach out to him and rebuild their relationship. Jamie forgiving and reconnecting with his father feeds into the popular narrative in media that children owe their abusive parents empathy regardless of whether it’s good for the child.
Nate becoming assistant coach again → I knew it was futile to hope that Nate wouldn’t return to Richmond again, but I still was disappointed that Nate returned just to remain assistant coach. He’s proven that he’s an incredible coach — I would even argue that Nate is a better coach than Roy, as he’s proven that he knows each player’s strengths and how exactly to employ effective strategy. So, seeing him remain assistant coach even after Ted left was disappointing.
RoyKeeley not being canon despite its agenda being pushed for literally 3 seasons → Keeley can be an independent woman and still be in a relationship. I despise that they had Keeley be in a relationship with Jack just to have her hook up with Roy and not end up with him. Having a character end up in a toxic sapphic relationship to further the agenda of an F/M relationship that doesn’t even go anywhere is frustrating and proves that this show doesn’t understand what empowering women truly looks like.
Nate apologizing to Ted, but Ted not apologizing to him: Sure, it makes sense that Nate apologizes to Ted for how he acted, but I’m still confused as to why Ted didn’t apologize for making Nate feel invisible and unloved. For a show that claims to be about forgiveness and growth, this would’ve been a great moment to show Ted’s development, but instead, it didn’t have as great of an emotional effect as it should’ve. Thank god Nick’s acting salvaged it, though.
Not getting closure on Sam’s storyline: It was great that we saw Sam’s restaurant appear multiple times this season, but having a scene of the team celebrating their win at his restaurant while tying up the loose ends of his implied relationship with Simi would have been a much better way to end the show rather than the cheesy fast-forward sequence they ended with.
Dani Rojas not making a goal during the last game: To clarify, I’m not upset that Dani gave the penalty kick to Isaac; I’m upset that the writers sidelined Dani this season and that the finale solidified that fact. His previous narrative was that he’s a talented star player that faces challenges (whether physical or emotional) but continuously extends his joy to others. He should’ve made at least one goal during the last game, but honestly, with how he was treated this entire season, it seems like the finale forgot two seasons' worth of his character’s narrative.
Jamie’s stupid I, Cog hat → An unfunny visual gag that made no sense.
2. Killing Eve, “Hello, Losers”
As someone who didn’t watch the show, I found the Supernatural ending hilarious because they took bury your gays to another level. But when Killing Eve did this tired and shitty trope, my entire world shattered. I love the show because it’s a women-centric show starring a sapphic Asian diaspora character (played by Sandra Oh!), and the first two seasons were wonderful and engaging. The relationship between Eve and Villanelle was so interesting, complex, and nuanced, and the only way I could describe the show before Phoebe Waller-Bridge stopped working on it is delicious.
Killing Villanelle made no sense because even though it could’ve been to show that no matter how much she tries to grow, she doesn’t have a chance of becoming wholly good, having her die was the least meaningful execution of this flimsy intention. Part of the appeal of Villanelle’s character throughout the show is that she has to deal with the consequences of her actions and live with her bloodstained background. Killing her off is a get-out-of-jail card that the writers decided to use on the last episode of the show, and I cannot think of a worse ending for the show.
I’m also extremely disappointed in the fact that this show used the bury your gays trope because, as a sapphic Asian American, I don’t see myself represented in shows often, and Eve has been one of the most well-rounded sapphic Asian diaspora characters I have seen in a show. So, to have her ultimately lose the love of her life after she has sacrificed everything in pursuit of filling the desire for destruction that only Villanelle can satiate and have a tragic ending is heartbreaking in a way that’s unpleasant and unmeaningful reinforces the notion that nuanced sapphic characters cannot get nuanced conclusions.
3. Space Force, “The Hack”
This show holds a special place in my mind that I’ve nicknamed my mental illness corner. When this show got canceled, I rejoiced with my friends because the show was subpar, and season 2 did not deliver. Ending on a cliffhanger proved that the writers were confident that Netflix would renew them for another season, and while it was a brave decision, it was a reckless and uncalculated one. Of course, since we never get to know the ending of the show, the assumption is that the asteroid crashes into Earth and everyone dies, which sounds like the plot of a low-budget DC movie but makes sense for a Netflix TV show.
On a more analytical note, it’s upsetting that Angela never seems to get closure about her moon trauma fully. Sure, Chan helps calm her down and is there for her, but it seems like a quick way to resolve a season’s worth of Angela struggling with her trauma. Additionally, Chan’s character growth should’ve been that he could find security without needing to be in a relationship to feel okay. Still, the writers defaulted to the sitcom relationship trope of having two characters end up together to fulfill the niche of having a canonical relationship at the center of the series.
I’ll admit that I enjoyed that the Space Force characters felt more like a team by the end of the finale than at the beginning of the series. Still, again, it seems like all that hard work of connecting the characters went to waste because they all died from a fucking asteroid crash anyway.
4. Reboot, “Who’s the Boss”
Reboot’s biggest flaw was being a little boring. I suspected Hulu would cancel it when I watched it, and it was confirmed a few weeks later. The entire season was forgettable, but the finale was even more so, even though it ended on a cliffhanger. Yet, the cliffhanger didn’t feel like a cliffhanger but rather just another failed attempt at fulfilling one of many sitcom tropes the show desperately grasped during its run.
I wish I had more to say about the finale, but again the show was just forgettable overall, so I don’t feel compelled to outline its failures or strengths.
5. Blockbuster, “Sh*t Storm”
Blockbuster is similar to Reboot. Both of these shows aren’t actively good nor actively bad, which makes it hard to analyze their finales. However, I had more of a connection with Blockbuster, mainly because it was more of a prototypical sitcom than Reboot, which attempted to get metatextual. This show’s most significant fault was that it failed to utilize its stacked cast, but expectations for the show were also high since Melissa Fumero and Randall Park were the stars. Additionally, tons of people assumed that this show was a way for Netflix to “get back” at Blockbuster.
Since I didn’t watch the show holding either of those expectations (I still love Randall Park and think he’s fantastic in any role, but that’s beside the point), I didn’t mind the show too much. While it’s largely forgettable, the characters had distinct personalities and the potential to become memorable. Still, the finale left me wanting more, and I wished Netflix had given the show a second season and a second chance.
6. Titans, “Titans Forever”
This might be the nicest a ranking list has ever been to Titans. Like the show itself, the finale had many faults, one of the largest being bringing Conner back to life. When I saw that he died, I knew he would be revived because, ironically, Titans cannot have a meaningful death to save its life. However, I guess it made sense that he still was part of the team, though it made zero sense to kill him off. I also felt that most of the characters didn’t fully have an arc, but I also didn’t mind that the show banked on the team dynamic and character interactions to carry it through its end.
I must admit that a large part of Titans’ ranking on this list is that they finally recognized Kory’s importance as a character in the finale and allowed DickKory to become canon, which was sweet. They also managed to scrape together some found family scenes that allowed viewers to feel satisfied with saying goodbye to the characters, so at least they didn’t end on a cliffhanger, even though they didn’t know whether HBO would cancel the show after this season. The fight scenes were also decent, and I liked that the whole team was working more cohesively together. So, all-in-all, not too bad of an ending, and it provided enough closure.
7. Rutherford Falls, “Election”
Although this finale left a few questions unanswered, the finale had some points that satisfied me. I was happy that Bobby, the nonbinary Asian American character, became the mayor (I’m biased, but hey, can you blame me?) and Reagan got the land to build cooperative housing for the indigenous community. I never cared about Nathan’s plotline, so I can’t recall his arc. However, I enjoyed that this show developed well-rounded characters of color and allowed them to experience success and grow while facing challenges.
Though this wasn’t the most amazing show, I wish this show continued because I thought it was pretty sweet overall and wanted to see what they could do if they were given more chances and longer seasons to develop arcs fully. It’s especially important that this show centers on an Indigenous woman and provides visibility for the Indigenous community, so it’s upsetting that this show was canceled two seasons in.
8. Avenue 5, “That’s Why They Call It a Missile”
I had hoped Avenue 5 would become the show to fill the Veep-shaped hole in my life continuously, but this Armando Iannucci comedy was axed by HBO too soon. The show isn’t as witty as Veep, but it’s more creative and outlandish in a way many other shows can’t pull off. The ending of Avenue 5 is similar to Space Force’s as it dooms humanity to a future of death and destruction, but in the case of Avenue 5, having a member of the ship’s crew be responsible for destroying their chance at saving humanity highlights the cruel irony that Avenue 5 has highlighted during its run: humanity, at its core, will always manage to destroy itself.
The show’s Lord-of-the-Flies-esque premise has continuously been played around with through comedic situations that preserve Iannucci’s signature witty and existential humor. Avenue 5 is also a sitcom where all the characters are horrible but occasionally sympathizable (think along the lines of Arrested Development), and I adore those kinds of shows. Therefore, my heart broke a little upon hearing about the cancelation, but I’m looking forward to Iannucci’s next comedy series.
9. Los Espookys, “The Eclipse”
I adore Los Espookys, and while I’m sad the show ended, the finale gave enough closure to the point where I had an inkling that the show had ended before I searched up whether there’ll be a season 3. I’ll keep the evaluation of this finale short and sweet, mainly because I want people to watch the series and see how great it is for themselves.
I’m glad the show explored the importance of Andrés owning up for his actions. The last episode was a quintessential Los Espookys episode, so it didn’t feel extraordinary and felt like a quiet but satisfying closure. I do think that the show left a bit of an open door that they could return to if they ever decide to make a third season, but I’m pretty happy with the show as it is, and I hope that Julio Torres’ Problemista will be enough to help me cope with the ending of this great series.
10. Atlanta, “It Was All a Dream”
Atlanta is a great and innovative show, and the finale upheld the show’s prestigious status. The ending is vague and disorientating in the best way possible, but the show’s adherence to absurdity explains this choice. I love that many fans have formed their own theories about whether the show was really all a dream, as the title of the finale suggests, and if there’s a hidden meaning behind it all. The finale stayed true to the show’s promise of delivering surrealism that keeps the audience on their toes. It felt like the appropriate goodbye letter to the show’s incredible run.
I liked that the show didn’t feel like complete closure because these characters all have so much potential that four seasons aren’t enough to provide solid answers about these characters’ paths. Additionally, the decision to end with a Darius-centric episode was great. It feels like Darius’ perspective is similar to the audience’s in that he often doesn’t always try to understand why something is happening but accepts the absurdity and rolls with the punches. I’ll miss this show a ton, especially because it has one of my favorite TV episodes, “Teddy Perkins,” but this finale felt like an appropriate send-off.
11. Succession, “With Open Eyes”
I genuinely think Succession is worthy of the praise that it gets, and the finale proves so. Tom Wambsgans has never been my favorite character, yet as he inched closer and closer to becoming CEO, I reacted the same way I did when Logan died, which is to say I essentially just stared at the screen repeating, “What the fuck? This isn’t happening. What the fuck?” I reacted this same way but excitedly whenever Stewy appeared on screen, as I was happy that he finally appeared one last time before the show ended.
The finale perfectly made it clear how Shiv’s decision was one out of love and spite for her siblings. By voting against Kendall, the siblings had been freed from the burden of their father’s empire, even if they felt like they ultimately lost. Shiv also positions herself where she feels the most comfortable to wield her power without facing the complete cruelty of the world. She can now hold power in her hands (literally, in the last scene) without letting it consume her, as it will inevitably do to her husband.
And Kendall… I had always been sympathetic to him as he was the underdog of the first few seasons, but as Shiv pointed out in the finale, Kendall had become a nightmare. In his attempt to gain power, which he ostensibly argued was motivated by his desire to make the world a better place, Kendall had become warped by his aspirations to the point where he had started becoming the person he hated the most: his father. He clutched desperately at previous promises, like the one his father made to make him CEO when he was only a child, and hoped that wanting it would be enough to make it real.
Roman’s struggle with understanding love and its consequences culminates in him yielding to his older brother out of his need to feel his father’s love again through physical pain and harsh reproach. In the end, he seems like the sibling who might feel the freest, but we, as viewers, know he will keep seeing toxic love because that’s what he feels is the safest kind of love, even if he’s been freed from it.
The finale’s true tragedy, however, lies in its happiest moments. When the siblings gather in the kitchen and make a meal fit for a king, it’s hard not to see them as children during that moment. That scene is almost offputting in how sweet it is; these siblings, who have been at each other's throats for decades, are finally celebrating a potential success without the threat of their father’s judgment looming over their shoulders for just one moment. But we watch all this happening knowing that the show's thesis is that their father’s presence always catches up to them and that they can never truly be happy without tearing each other apart and claiming it's for the greater good.
In a way, Succession’s finale perfectly encapsulates how I feel about TV show finales. It’s hard to say goodbye to something you’ve cared deeply about for a long time, but sometimes, it’s important to move on, even if it feels like losing.