->''"This isnít a show that knows why it exists anymore, save perhaps to be a big American co-production. It exists to try the formula that worked in the UK in the US, in the hopes that itíll make more money. And even thatís been quietly usurped by ''Doctor Who'', which has finally hit it big in America and had major episodes done with co-production money from an American network."''\\
--'''Phil Sandifer''' [[http://www.philipsandifer.com/2014/07/outside-government-gathering.html on]] ''Series/TorchwoodMiracleDay''

In television, with a successful creation usually comes the chance to create something else. As a successful series runs on longer and longer, the network that carries it will sometimes give the creator of the hit an opportunity to create a new show. And then, because the studio doesn't ''quite'' trust the creator, they'll proceed to engage in ExecutiveMeddling until the new show dies a horrible death.

This can be done by moving the show around in the schedule so often that no one can find it; issuing demands on the direction and content of the show to the creator that introduce things the fans hate; demanding that the new show be more and more like the old show; or even pre-emptively cancelling a show before it has a chance to actually generate an audience. In some cases, the show actually ends up being [[ScrewedByTheNetwork better than the original and the network buries it to avoid killing the existing cash cow.]]

Of course, sometimes the failure of the new show isn't the studio's fault. Sometimes the studio gives the creator [[ProtectionFromEditors carte blanche]] when it came to production, and as a result the show is either too bad or just [[CreatorBreakdown too self-indulgent]]. Perhaps the show ends up built around [[AuthorAppeal the creator's own likes and dislikes]], or turns into a series of [[AuthorTract rants about the creator's pet causes]]. In any case, it fails to connect with the audience because it lacks the broader appeal of the old series.

This can also lead to TheFireflyEffect, as fans are afraid to commit to a new show that is perceived as being ultimately doomed to failure, no matter how successful the original show is. Compare SophomoreSlump.
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!!Examples:

[[AC:ComicBooks]]
* In a combination of this trope and CreatorBreakdown, several of Creator/MarvelComics' biggest artists at the time left that company to form Creator/ImageComics, in reaction to what they say was an overabundance of ExecutiveMeddling. What followed was a textbook example of how not to run a comic book company; it was only when Creator/RobLiefeld was kicked out and the company got new management (Jim Valentino and then Erik Larsen) that the company started going well. Image still survives today, complete with a [[GrowingTheBeard very diverse range of comics]], including ''ComicBook/TheWalkingDead'', ''Age of Bronze'', ''{{Fell}}'' and plenty of other well regarded works. Not to mention Image actually managed to kill [[Creator/ValiantComics another book company]] ''[[ComicBook/DeathMate by associating with them]]''. That's how you don't run a company.
* After the success of ''ComicBook/{{Runaways}}'', the series then-editor C.B. Cebulski conceived of a spin-off series featuring Excelsior, the group of former teen superheroes who appeared in the "True Believers" arc. Problems came up almost immediately; Creator/StanLee held the trademark to the word "Excelsior", which forced Cebulski to change the mini-series title to ''ComicBook/TheLoners''. A long delay between conception and publication didn't help; by the time the first issue came out in 2007, the landscape of the Marvel universe had been altered by ''ComicBook/CivilWar'', which required Cebulski to explain why none of the characters had decided to simply register so that they could legally keep being superheroes rather than sitting around and complaining about their lost superhero careers. Ultimately, the series lasted only six issues.

[[AC:Live-Action TV]]
* ''Franchise/StarTrek''
** Many fans think that each ' series following ''Series/StarTrekTheNextGeneration'' in turn suffered from this trope in an ever-increasing fashion. The thought goes that ''[[Series/StarTrekDeepSpaceNine Deep Space Nine]]'' wasn't quite as good as ''[[Series/StarTrekTheNextGeneration Next Generation]]'', ''[[Series/StarTrekVoyager Voyager]]'' wasn't quite as good as ''[[Series/StarTrekDeepSpaceNine Deep Space Nine]]'', and ''Series/StarTrekEnterprise'' wasn't quite as good as ''[[Series/StarTrekVoyager Voyager]]''. However, some people prefer ''Enterprise'' to ''Voyager'', some people think ''Deep Space Nine'' was the best one, others think ''Deep Space Nine'' was the worst one, some prefer ''Voyager'' above all others... you're [[BrokenBase not going to find consensus]] when it comes to ''Star Trek''.
** Subjective quality levels aside, what is true is this. [=DS9=] experimented with serialized storylines; while it was the early part of a general trend and one of the reasons "Niners" are so dedicated, this contributed to lower ratings during the series run. Because of this, the execs decided that [=VOY=] had to be more like [=TNG=], even though the series premise and cast was not necessarily conducive to (occasionally recycled) "X OfTheWeek" plots. When [=ENT=] rolled around, a ''Trek'' show had been on the air for twenty years, and [=ENT=]'s attempt to change things with a {{Prequel}} setting still relied on samey episodic plots while competing shows were getting ''way'' into serialization, not to mention that Berman and Braga had been running the show for long enough that their fatigue was noticeable. An attempt to change this was made by giving season three one big plotline, and season four brought in a new showrunner who had multiple two- and three-parters, but network changes to the timeslot and fans who'd already been turned off by the first two seasons meant that season four was the last one.
* After two successful made-for-TV movies, ''KolchakTheNightStalker'' was underpromoted and only made it a season. Creator/StephenKing, in his nonfiction book ''Danse Macabre'', argues that that's the least of the series' problems.
* According to Aaron Sorkin, the failure of ''Series/Studio60OnTheSunsetStrip'' was because of his own CreatorBreakdown.
* ''Series/{{Crusade}}'' was torpedoed by the cable network TNT: after they'd picked up the final season of ''Series/BabylonFive'' when its original network Creator/{{PTEN}} disintegrated, they discovered that none of the viewers of ''Babylon 5'' were crossing over to watch the rest of their programming and vice versa. So they deliberately [[ScrewedByTheNetwork screwed around]] with ''Crusade'', flagrantly engaging in ExecutiveMeddling and being deliberately difficult with the show's creator Creator/JMichaelStraczynski, so that they'd have an excuse to cancel it.
* Every spinoff to ''Series/{{MASH}}'' except ''Trapper John, M.D.'', including ''AfterMASH'' and the unsold pilot ''W*A*L*T*E*R'', died from Executive Meddling.
* ''Series/{{Millennium}}'' and ''Series/HarshRealm'', both by ''Series/TheXFiles'' creator Creator/ChrisCarter, were both victims of studio frustration with TheChrisCarterEffect.
* ''Series/HillStreetBlues'' creator Steven Bochco had so much pull at the time following the success of his cop drama that ABC gave him an unprecedented deal to create ten shows for the network. Among them were the notorious misfires ''Series/CopRock'' and ''WesternAnimation/CapitolCritters,'' the first a musical police drama that mixed gritty police realism with song and dance numbers and the second a prime time animated series about mice living in the White House. The first is considered a legendarily bad series, while the second has achieved a cult following. In fairness, ''Series/DoogieHowserMD'' and ''Series/NYPDBlue'' also came out of this deal, and these were successful shows.
* {{Syfy}}'s series ''Series/StargateUniverse'' and ''Series/{{Caprica}}'' both fell to this; their timeslots were constantly tampered with instead of airing them at the time when their predecessors had succeeded. ''Series/{{Caprica}}'' was cancelled right before November sweeps, which would naturally have contained some of the most exciting and dramatic episodes of the season. The shows suffered from massive, unnecessary hiatuses in airing, frequently returning with little to no warning. They were put up against the big networks' prime time dramas on highly competitive nights (If you had a quarter for every comment online complaining about scheduling conflicts...) and just generally making irrational decisions. Eventually, Syfy decided they wanted a different kind of ''Series/{{Battlestar Galactica|Reimagined}}'' spinoff and decided to replace it wholesale with '''Blood and Chrome''. SGU, on the other hand, seems to have had a certain level of network demands that pissed off existing franchise fans. Syfy tried to say that the show wasn't drawing in the "wider" audience they wanted, when the reasons cited for Atlantis's cancellation were that it didn't get enough of the 18-49 males (that show having a large female audience). Is it a coincidence these things occurred at the same time Syfy rebranded and subsequently expressed disdain for their target audience? Subsequently, ''Series/BattlestarGalacticaBloodAndChrome'' was initially announced as a two-hour PilotMovie. It was later reduced to a web-exclusive, ten-part miniseries, with each episode being only 12-minutes long (and then the episodes were compiled and aired as two-hour movie anyway). It's unclear if Syfy has any plans to continue Blood and Chrome, in either medium.
* Jenji Kohan followed up her show ''Series/{{Weeds}}'' with ''Ronna and Beverly'', a show that not only failed to get picked up but was only aired once on {{Showtime}} in the middle of the night. Her second attempt at a follow-up, ''Tough Trade'', failed to get picked up as well. ''Ronna and Beverly'' actually got revived as a [[http://www.earwolf.com/show/ronna-beverly/ podcast]]. Fortunately, she scored with ''Series/OrangeIsTheNewBlack''.

[[AC:Music]]
* Many musical acts fall victim to the "SophomoreSlump" with their second album. Some recover, [[CreatorKiller others don't]].
* Nelly followed up the acclaimed ''Sweat/Suit'' double album (which sold six million copies together) with ''Brass Knuckles'', which was critically panned and sold less than 250,000 copies. He attempted to make up for it with ''5.0'' but it didn't fare any better.
* Two CountryMusic artists have had the biggest country song of the year per the ''Billboard'' Year-End charts, only to follow up with a flop. Specifically:
** James Otto's "Just Got Started Lovin' You", a two-week #1 and the biggest country hit of 2008, was followed by the #39 dud "For You", and his career never recovered.
** In 2012, after a discography that had long run hot and cold, Josh Turner had the biggest hit of the year with "Time Is Love" (although it [[TheRunnerUpTakesItAll never hit #1 on the airplay charts]]). The follow-up, "Find Me a Baby", stalled out at #42.
* Heartland was only the ''second'' country music band ever to hit #1 with a debut single: specifically, 2006's "I Loved Her First". However, the label (Lofton Creek) was inexperienced with Top 40 radio, as it usually only worked singles to smaller-market stations not on the ''Billboard'' chart survey. Between their inexperience and indecision over what the next single would be (they waffled over the very similar-sounding "Built to Last" and the more upbeat "Let's Get Dirty"), Heartland wound up being one of the more literal examples of a OneHitWonder in country music. They tried to follow up on a few more labels, lost four of the six members in favor of ''one'' new one, and had yet ''more'' followups that went nowhere.
* Jerrod Niemann had one of the biggest country hits of 2014 with "Drink to That All Night", a #1 smash that was certified platinum. What did he follow it up with? "Donkey", a ''very'' polarizing DoubleEntendre-laden song that died a very rapid death at #43. This seemed to kill the album's momentum entirely, as he quickly switched out for "Buzz Back Girl", which fared little better at #35. What little promotion "Buzz Back Girl" got also [[CanonDiscontinuity seemed to act as if "Donkey" didn't exist]].
* ''Buddha and the Chocolate Box'' was one of Cat Stevens' best-selling albums, peaking at #2. His next album, ''Numbers'', while still somewhat successful (peaking at #13), almost led him to giving up his career, but ExecutiveMeddling pushed him on to record ''Izitso'' (#7) and ''Back to Earth'' (#33).

[[AC:Software]]
* In software development, this trope is called "the second-system effect". It tends to imply a TroubledProduction as well, as the term was coined during one: IBM's System/360 project in the 1960s, which was fraught with delays, feature creep and general loss of morale (one key lesson learned was "adding workers to a late project just makes it later"). The book ''The Mythical Man-Month'' by Fred Brooks (who was project manager on the System/360) describes the struggles to get the project out on time, and is considered a classic in tech and business circles.
* Short-lived 1990s AppleMacintosh shareware company Storm Impact had two hit programs right out of the gate, both video games: the RPG ''VideoGame/TaskMaker'' and the skiing sim ''VideoGame/MacSki''. Both were fairly successful games met with positive reviews. Their next two products were a ShootEmUp called ''Asterbamm'' and a technical support utility called ''Technical Snapshot'', both of which bombed.\\
And just when they looked to be getting back on track with a sequel to ''[=TaskMaker=]'' called ''VideoGame/TheTombOfTheTaskMaker'', the company went under due to a combination of undercapitalization (they were mostly just one programmer and one graphic artist, and their resources were further drained during a lawsuit against a software-of-the-month club which Storm Impact won), issues with a publisher who [[http://web.archive.org/web/20040605131022/http://www.btinternet.com/~G.Janacek/Taskmaker.html#Tomb%20of%20the%20Taskmaker%27s%20Underdevelopment kept botching orders]], a declining Macintosh market at the time, and advances in video game development since the first version of ''[=MacSki=]'' came out. Storm Impact closed up shop right after ''Tomb'' was rushed out in ObviousBeta form.

[[AC:Western Animation]]
* ''WesternAnimation/TheCritic'' and ''WesternAnimation/{{Futurama}}'' were both killed by {{Fox}}, despite initially outdrawing ''WesternAnimation/TheSimpsons''. Although ''Futurama'' was killed by Fox, its popularity in syndication and DVD sales has resulted in [[UnCancelled new episodes]] being commissioned for ComedyCentral.

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