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  • After the success of The Office, creators Ricky Gervais and Stephen Merchant actively parodied/dared people to invoke this trope in the lead-up and advertising for their next series Extras, which was essentially billed as "the show people are already calling 'the disappointing follow-up to The Office." Although Extras was largely praised as being just as good as their original series, comments of this nature could still nevertheless be heard from time to time.
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  • On Saturday Night Live, when Norm MacDonald was fired in the midst of mild controversy, Colin Quinn's first episode as the Weekend Update anchor acknowledged this trope essentially saying "don't shoot the new guy."
  • Doctor Who:
    • Everyone's favorite Doctor is a tough act to follow — not to name names; you know where the bases are broken.
    • Some purists also apply this trope to the Modern Era (2005 onwards) versus the Classic Era (1963-1989). Certainly, in terms of longevity, the bl is unlikely to equal the original, although at eleven seasons (as of 2019) it has already run longer than most English-language sci-fi series.
    • Leaving aside matters of quality, personal preference or favouritism, the Fourth Doctor as played by Tom Baker cast a long shadow over many of his successors in the role and to some degree continues to do so. There are many potential factors for this, but the simplest is probably that at seven years, he's still the actor who played the part on television the longest, and was also the star at a point when for numerous reasons the show was receiving its biggest ratings evernote . As such, his interpretation of the Doctor had more opportunity to become cemented in more people's minds and thus became the one that much of the general public associated with the role. His unusual and distinctive style, including the distinctive 18-foot long scarf, also probably helped. And his successors have continued to be influenced by the way he portrayed the role in many different ways. Even today, the Fourth Doctor is still the one many people associate with the classic series when it's brought up and perhaps notably, Tom Baker was the only living pre-2005 Doctor to appear in person in the 50th anniversary special rather than just as part of stock footage.
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    • In terms of the modern series (and once again foregoing arguments around quality, personal preference or favouritism), while it's still early days the Tenth Doctor as played by David Tennant seems to be shaping up to be something similar to the above; the Doctor to whom his successors tend to be compared to. While his successors have hardly been unpopular or disliked, Tennant took on the role at a point where Doctor Who was experiencing popularity and ratings success it hadn't seen in decades, his stories experienced both wide popular and critical acclaim, and even after leaving the role his Doctor remains widely popular.
    • In 1984, "The Caves of Androzani" was Peter Davison's final story as the Fifth Doctor. It was an unexpected critical success and widely heralded as a fan favorite ever since its premiere. However, producers wanted to capitalize on the hype for the next actor who would play the Doctor, Colin Baker, by airing his first story right after Davison's last. This put him in a very unfavorable position, as he had no time for the Sixth Doctor's character to be scripted attentively, and what resulted... was for lack of a better word, a trainwreck. With a hastily written and undercooked story, jarringly cheesy costume and set design even by the show's usual standards, lacklustre acting from the episode's two central extras, and little time for audiences to be let down from the initial excitement of Caves, "The Twin Dilemma" hobbled onto the screen... and the reaction from audiences was not pretty, beginning the long, sad decline of the show over the remainder of the 1980s.
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    • "The Day of the Doctor", the 50th anniversary special that teamed up the Tenth and Eleventh Doctors, brought back much-loved Classic!Who villains the Zygons, showcased instant fan favorites the War Doctor and Osgood, and culminated in ALL 13 Doctors saving Gallifrey — among other things — was wildly acclaimed by critics and fans. A month later the Christmas Episode "The Time of the Doctor" came along; tasked with picking up where the previous story left off AND tying up Eleven's long-neglected Story Arc (the crack in time, the Silence, etc.), culminating in his regeneration into Twelve, in just one hour, it's largely regarded as underwhelming by comparison.
    • The Series 9 finale three-parter of "Face the Raven/Heaven Sent/Hell Bent", which saw the Doctor undergo a temporary transformation into a Woobie, Destroyer of Worlds in the wake of his companion Clara getting Killed Off for Real, was a deeply emotional, dark, tragic story with a Bittersweet Ending. It was a succession of Wham Episodes that weren't universally acclaimed but had a big impact on fans and critics for better and worse, and at least one loose end that will certainly haunt the Doctor somewhere down the line ( finally returning to Gallifrey only to become a fugitive from his people once more). Not three weeks later came the MUCH Lighter and Softer Christmas Episode "The Husbands of River Song", an almost slapstick adventure with a romantic Bittersweet Ending far more sweet than bitter compared to the Series 9 endgame. While the show hadn't had a Breather Episode since Series 8 and it was time to throw the poor Doctor a bone, the Mood Whiplash was too much for some fans and critics. Also, the previous Christmas Episode "Last Christmas" had been a big hit for being scary, poignant, funny, and conceptually ambitious — sort of the ideal of a Doctor Who story — so a straightforward Romantic Comedy was going to seem like small potatoes by comparison.
    • Averted with "World Enough and Time/The Doctor Falls", the Series 10 finale. When "World Enough And Time" received a large number of positive reviews, some people were worried that "The Doctor Falls" would be a letdown. Why? This trope had been played straight with many of the previous Season Finales of the revival, which took the challenging crises and tragic status quo changes (in particular, Doctor and/or companion deaths) set up by their seasons' story arcs — ones that often climaxed with a highly-dramatic, critically-acclaimed penultimate episode — and undid them with overly simplistic, contrived solutions, fake-out demises, and general wasted potential. There was no reason not to think similar things would happen this time, especially given that title and promises of a "bloodbath" by writer/showrunner Steven Moffat, a notorious Lying Creator. However, most fans and critics were very positive about the episode for how it resolved the major character arcs in a dramatic, emotionally satisfying manner, albeit with the odd contrivance here and there (the big one being Bill Potts's Cyber-conversion being undone by a character who hadn't appeared since the season premiere, and even that was dinged more for being too similar to certain previous finales than for not being emotionally satisfying).
  • Chris Carter is a variant of this trope. He tried three different times to premiere new shows while his most famous show, and ultimately the only one that's remembered, The X-Files, was on the air. These shows are: Millennium, a conspiracy show in a similar vein as The X-Files minus the paranormal angle; The Lone Gunmen, a spin-off of The X-Files featuring three of its most popular supporting characters; and Harsh Realm, a critically derided effort featuring characters trapped in a virtual reality. All three featured an attempt at crafting a Myth Arc much like that of The X-Files but all three failed to catch on and lasted less than one season (with the exception of Millenium which lasted 3, with the show being retooled beyond recognition each season). Millenium and The Lone Gunmen both received Fully Absorbed Finales on The X-Files and neither is remember as fondly. Harsh Realm on the other hand is almost not remembered at all. Since The X-Files' conclusion, Carter, who was once a well-known show runner on the same level as Joss Whedon, has mostly faded into obscurity, coming out of semi-retirement to write and direct an X-Files film which was not well received and failing (or possibly not attempting) to get any other series or films off the ground as of 2011.
  • Brit comedian Tony Hancock apparently sunk into a deep depression after his famous Blood Donor sketch. Most people couldn't understand why this could be, given how brilliant the sketch had been, but it was apparently because Hancock believed he would never ever top it.
    • It didn't help that he'd been the passenger in a car involved in a road traffic accident that same week. The reminder of his mortality seems to have had a very bad effect on him, in particular, it probably contributed to his decision to split from writers Galton & Simpson, which in retrospect is recognised as a bad move.
  • The Super Sentai series experienced this throughout the early and mid-'90s —Choujin Sentai Jetman was so immensely popular, that nearly every season that came after it in the next 9 years was seen as a huge step down (although Gosei Sentai Dairanger has been Vindicated by History as being a spectacular season in its own right). In 2000, when Mirai Sentai Timeranger began airing, the Jetman hype had finally died down, and even the hardcore Jetman fanbase was satisfied with Timerangers drama and story rivaling Jetman's.
    • General consensus was that Zyuranger and to a lesser extent Kakuranger were the only ones affected. Dairanger was an awesome series in its own right, and the other series were no slouches either (except for Ohranger, but it was because of other factors).
    • Played straight, however, by Tensou Sentai Goseiger, coming immediately after the dripping-with-awesome Samurai Sentai Shinkenger. It doesn't help matters that Kaizoku Sentai Gokaiger came after it. Tokumei Sentai Go-Busters got exactly the same position, coming right off of the immense success that was Gokaiger. And if that wasn't enough, Shinkenger and Go-Busters were both written by Yasuko Kobayashi, and the latter show kept being compared to her earlier work.
      • Go-Busters wasn't the only post Gokaiger show to be hit with this - Zyuden Sentai Kyoryugernote , Ressha Sentai Toqger, and Shuriken Sentai Ninninger also got hit by this, much like the aforementioned post-Jetman shows. Fortunately, Dobutsu Sentai Zyuohger seems to have been able to avert this.
    • Before Jetman, there was a four season long period of extremely well-received shows, from Dengeki Sentai Changeman to Choujuu Sentai Liveman. After Liveman came Kousoku Sentai Turboranger and Chikyuu Sentai Fiveman, which ended up being average at best and aren't well remembered. Then came the aforementioned Jetman, and both seasons in between Liveman and Jetman had their fates sealed as essentially seasons that were just there.
  • There's the infamous "Seinfeld Curse" that allegedly prevents any of Seinfeld's four main cast members from achieving future success:
    • Jason Alexander had two failed sitcoms, Listen Up and Bob Patterson. Despite this, he has continued to have a successful career on stage since the 1980s.
    • A bigger victim is Michael Richards (Kramer), who basically retired from acting after The Michael Richards Show failed to catch on in 2000 because the main character was turned into a cheap Kramer clone thanks to Executive Meddling and Richards almost completely destroyed his reputation in 2006 when he hurled racial slurs at a heckler during his stand-up act. In the 12 years since The Michael Richards Show, Richards has only returned to acting for a voice part in the Jerry Seinfeld written Bee Movie and an appearance as himself on co-creator Larry David's Curb Your Enthusiasm.
    • With Julia Louis-Dreyfus having won a total of 4 Emmys in the 15+ years since Seinfeld's conclusion on two different shows that have each lasted for multiple seasons (not to mention headlining Nicole Holofcener's well-received film Enough Said opposite James Gandolfini), it's agreed upon that Julia more than shattered the curse.
    • Jerry Seinfeld himself largely sidestepped this, returning to stand-up and only doing the occasional one-off voice acting job.
    • Co-creator Larry David subverted this when his film Sour Grapes bombed critically and commercially but his second series Curb Your Enthusiasm became a hit in its own right.
  • A similar fate has affected the actors of Friends after the show ended:
  • Keeping with the Sentai trend, Power Rangers:
    • Power Rangers Samurai isn't without its faults, but the series would have likely been better received had it not been adapted from Samurai Sentai Shinkenger (a very well-received Sentai)note  and following Power Rangers RPM (considered one of — if not the — best season that Power Rangers has ever done). Similar things could be said about Wild Force coming behind Time Force, Lightspeed Rescue coming after the entire Zordon Era (Mighty Morphin-Lost Galaxy)note  and Turbo never stood a chance after Zeo.
    • Power Rangers Ninja Steel seems to be facing this at the moment - Power Rangers Dino Charge was able to Win Back the Crowd after the panned Samurai and Power Rangers Megaforce, leaving Ninja Steel with some big shoes to follow, on top of Ninja Steel being the first ninja-themed season since Power Rangers Ninja Storm. Unlike Samurai however, it's able to avert this in regards to its source material, as Ninninger is seen as one of the worst Sentai shows in recent memory.
    • Though the overall quality of Wild Force is debated, it is commonly agreed to have two of the best team-up episodes in series history, "Reinforcements from the Future" and "Forever Red." Few, if any, of the subsequent Ranger team-ups, have been able to match them.
    • To varying extents, this could be said of every series set after Power Rangers in Space, which not only managed to Win Back the Crowd after Turbo's lukewarm reception but was the Grand Finale of a Story Arc starting with the original Mighty Morphin' Power Rangers. (In Space was originally going to be the last Rangers season, so it needed to end with a bang.) As all subsequent seasons are (mostly) self-contained, standalone works with only about 30 episodes to develop character and whatnot, they tend to fall short of a saga that had a six season buildup and was more or less at the apex of the Cerebus Rollercoaster by its end. It should be noted that Lost Galaxy, in Space's immediate successor, gets less of this reaction partially because of its holdovers from the Zordon Era note , though its darker tone and famous decision to kill off the Pink Ranger during the two-part PRiS crossover also played a role.
  • On the topic of Tokusatsu, Kamen Rider:
    • Kamen Rider Hibiki is an odd example: instead of Kamen Rider Blade, the previous series in the franchise, being the tough act to follow, it's Hibiki itself. The show's two halves are very different - the first half is very different from a traditional Kamen Rider series, while the second half is more along the lines of traditional KR series. While the second half does have fans who disliked how different the first half was, many fans felt that the first half was stronger because of how different it was.
    • Kamen Rider Kiva faced this as a result of coming after Kamen Rider Den-O - while Den-O wasn't a huge ratings success, it was popular enough to have movies made for it after the series had finished airing. Fortunately, Kiva managed to be successful.
    • Similar to the aforementioned Jetman example in Sentai, Kamen Rider Gaim is currently a tough act - Kamen Rider Drive got hit by this hard, but was able to be successful like the aforementioned Kiva. However, the same can't be said for Kamen Rider Ghost, which on top of having to live up to the still present (albeit not as strong) hype that Gaim had, also had to deal with the incredible task of following up Drive, which significantly improved in the end.
    • Ghost's succesor, Kamen Rider Ex-Aid averted this trope. Gaim comparisons were everywhere, both popularity-wise and story-wise, and Ex-Aid withstood that, and Kamen Rider Build was also able to fill the shoes that Ex-Aid left.
  • The Oprah Winfrey Show enjoyed reverence, and ended partly because Oprah felt that she couldn't top herself. However, Oprah's television network is struggling.
  • Star Trek: The Next Generation managed to step out of the shadow of its parent series, though not without birthing pains. George Takei once compared the cast to "young children putting on their parents' clothes and trying to act like grown-ups." It took roughly two years for the show to find its footing and differentiate itself from TOS. The only memorable episodes from Seasons 1-2 are "The Big Goodbye", which earned Star Trek its first (and so far only) Peabody Award, and "Measure of a Man." Star Trek: Deep Space Nine managed to forge its own path at around the time TNG concluded. However, Voyager and Enterprise are typically overshadowed by comparison, mostly due to producers recycling scripts from TNG's heyday.
    Darren Mooney: While Deep Space Nine would end up an evolutionary dead-end for the franchise, the seven seasons of Voyager and the first two seasons of Star Trek: Enterprise would find the franchise trapped within a phantom version of 1994 that seemed to last forever.
    • Paradoxically, the premise of ENT was too big of a shift from past Star Trek shows. Enterprise found itself more often than not in a kill-or-be-killed struggle with a hostile alien species, and it seems this drove away many stalwart Trek fans. The only characters that didn't seem to have Multiple Personality Disorder were T'Pol and Phlox, and between them, only Phlox had serious acting chops. The Xindi arc had no payoff. After the detached episodes of seasons 1 and 2, and the constipated story in season 3, the fourth season was a second pilot in all but name; all those course corrections and retcons resulted in a fairly shallow adventure, in which Crewman Daniels does all the heavy lifting while Captain Archer and company never quite have a handle on what's going on.
  • The Prisoner (1967): Actor Patrick McGoohan actually left the UK shortly after the controversial final episode aired and settled in the US, and his only television series since then (Rafferty) has been long forgotten except by die-hard cult fans. He did have some sporadic success in the US, notably when working with Peter Falk on some Emmy-winning episodes of Columbo but The Prisoner completely overshadows all his other work. (Indeed, one of his Columbo episodes was essentially a riff on The Prisoner, and a film he starred in called Kings and Desperate Men not only was directed by and co-starred one of his Prisoner actors, but it revisited many of the earlier show's themes.)
  • James Gandolfini worked pretty consistently after completing The Sopranos, taking several parts before his death in 2013 that helped subvert his mobster persona, such as the General in In the Loop, Leon Panetta in Zero Dark Thirty, a grieving husband and father in Welcome to the Rileys, and a Gentle Giant love interest to Julia Louis-Dreyfus in Enough Said. That said, none of his roles matched up to the public ubiquity of Tony Soprano in popular culture.
  • The Shield writer Shawn Ryan's career has staggered (his follow-up shows The Chicago Code and Terriers and his time working as show-runner of Lie To Me were largely ignored by most).
  • Dan Schneider has made some of Nickelodeon's most well-known and popular successes, like Drake & Josh, Zoey 101 and iCarly. His 2010 creation, Victorious, on the other hand, has been panned by quite a few fans of the former works (especially iCarly considering the shows ran alongside each other for a while) for not being what they were. The fact that the show was constantly promoted by the iCarly cast doesn't help either (because non-fans of Victorious found that infuriating). While most fans of Dan's past work liked it, even part of those fans felt that the second season was significantly lower quality than the first, but the third season rattled the line between being better than ever and even worse. The show ultimately met its untimely end after the third season's filming. The show did win Favorite TV Show at the 2013 Kids Choice Awards, however, which was the second year in running, so it didn't end on a completely bad note.
  • Sam & Cat, which is what Victorious was reportedly canned for, has been received worse than the former. It did win at the 2014 Kids' Choice Awards which made sense being it was the only Nick show nominated (compared to the Victorious/iCarly wars of years' past), and was riding on Ariana Grande's huge popularity, so its win was justified.
  • The Wire is regarded by many TV critics as one of, if not the, best television show ever made. David Simon's follow-up, Treme has been chugging along in relative obscurity, which is admittedly what The Wire did for most of its run as well. Within the run of the series itself, there are many who cite the fourth season as one of, if not THE greatest season in all of television. By contrast, quite a number of fans and critics complained that the fifth (and final) season was hindered by Simon hanging his dirty laundry out to dry (particularly regarding its criticism of journalism, which echoed Simon's real life feelings on the Baltimore Sun). Luckily, those critics still cite the series finale as among the greatest episodes the show had done, so the show was still able to finish on a high note.
  • David Milch hit big with Deadwood, which achieved a lot of cultural saturation in spite of not being a ratings powerhouse. Neither of Milch's follow-up series, John from Cincinnati and Luck, made it to a second season.
  • The fifth season of 24 was universally acclaimed and managed to net the series the Primetime Emmy Award for Outstanding Drama. Season six, however, suffered from poor writing and is easily regarded as one of the worst of the show with the biggest problem coming from the writers trying to find a way to top season five's shocks early on, only to run out of steam immediately after that. Seasons 7 and/or 8, depending on who you ask, either improved the series after the sixth season slump or marked when the show officially Jumped the Shark, but its clear that both of them wound up living in the fifth season's shadow as well.
  • With Breaking Bad already going down as one of the greatest series in television history, with many critics even going so far as to call it the modern Shakespearean tragedy, and having ended in a blaze of glory, both critically and commercially, this trope can be applied in countless ways regarding the show:
    • Its creator, Vince Gilligan, has already resigned himself to the fact that he will likely NEVER hit the same level again. Since then, he's made two new series, Better Call Saul and Battle Creek. Considering the former is a Spinoff of this series, this is a given. However, even with that over its head, the general consensus thus far is that it is great in its own right, though admittedly not as brilliant as its predecessor. The latter was based on a script that Gilligan wrote before Breaking Bad. Although the show was well-liked, most people were too skeptical to tune in to a "commercialized" product, being on network TV instead of cable. The show was cancelled after one season due to low ratings.
    • This came up within the series itself. The third to last episode of the series, "Ozymandias" is almost universally regarded as both the best episode of the series and one of the best episodes ever aired on television. The two final episodes of the series are widely regarded as superb in their own right and an excellent ending to the series, but many feel that they suffered a little, for no other reason than being forced to follow the universal praise for "Ozymandias".
    • This also applies to its actors as well, most notably Bryan Cranston. After an appearance in Godzilla, he went back to drama. His 2015 film Trumbo got good reviews and earned Cranston his first Oscar nomination, but was not hugely successful, if solely because of Walter White's shadow looming above him.
  • It was unlikely The Thin Blue Line was ever going to be better than Ben Elton and Rowan Atkinson's previous work on Blackadder. The last series of the latter, with its widely praised Drama Bomb Finale, saw the series reach a high point and a fitting conclusion. This is thought to be why the writers ended it there.
  • Joe Absolom, who played Matthew Rose in EastEnders, quit the show in late 1999 in order to avert both this trope and Arc Fatigue. At the time, Matthew was embroiled in a storyline in which Steve Owen was trying (ultimately successfully) to frame him for the murder of Saskia Duncan, which Steve had committed in self-defence and which Matthew had tried to help him cover up. Absolom didn't want the storyline to drag on for too long and didn't think it could be bettered once it did end, so he decided to quit and go out on a high note. And boy, did he ever.
  • When Bob Barker retired as host of The Price Is Right in 2007, his successor Drew Carey quickly fell under this trope — possibly because Carey was taking the reins of the longest-running daytime game show ever, despite Whose Line Is It Anyway? being the closest he ever done to a game show beforehandnote . Granted, Bob had hosted for a whopping 35 years (and had hosted Truth or Consequences for 19 years on top of that), so anyone would have had a tough time following Barker.
  • When the 2014 version of Cosmos was first announced, the makers cited this trope directly with regards to the 1980 original.
  • Monty Python's Flying Circus was such a revolutionary show that changed comedy altogether that the main cast members have consciously done more conventional comedy stuff afterwards. Many other alternative sketch comedy shows have tried to imitate Monty Python, but still pale in comparison to the anticommercial risks the Pythons took. Some comedians have even thrown ideas away because they were too Pythonesque in nature.
  • The Colbert Report:
    • The series was such a pop culture phenomenon that since it ended its run in December 2014, there has been concern over whether its successor series, The Nightly Show, another spinoff of The Daily Show premiering in January 2015, can match up to it.
    • Similar reaction was shown when Stephen Colbert succeeded David Letterman as host of The Late Show in The Late Show with Stephen Colbert in September 2015, both in relation to the Report and Letterman's gig. The Report looms so large in the minds of his fans and the public consciousness that he has to strike a delicate balance; preserving the charisma, incisive interviewing skill, and political savvy that made him a star, while moving away from the old show enough to demonstrate that this is not just "the Report 2.0" and make the needed adjustments for a rather different audience. Fortunately, he seems to be doing just fine.note 
  • The Daily Show. After it was announced that Jon Stewart would soon retire and Trevor Noah would take his place, many doubted whether Noah could fill Stewart's shoes. Indeed, the first episodes Noah did had jokes about Noah admitting just how great a task he'd taken on.
    John Oliver: ...he's taking on the impossible — you can't replace the irreplaceable, so [Noah is] doing his own thing.note 
  • Jenji Kohan, creator of Weeds, subverted this big time. Her next series was the Netflix prison dramedy Orange Is the New Black, which became much more popular than Weeds ever was with both critics and audiences. Time will tell if she falls into this trope for that series.
  • Hitfix contributors Drew McWeeny and Roth Cornet posit in this video that Game of Thrones is doing this for all of High Fantasy as a genre. The series' success at creating a fully realized, detailed world means that a lot of viewers will compare any fantasy movie they see to it. Additionally, Game of Thrones' high budget means that now budget is no longer an issue when comparing TV to film. Even though it's still on the air, many people also think that the show will also cast a shadow over the likes of HBO as a whole, showrunners David Benioff and D.B. Weiss, author George R.R. Martin, and all of the actors involved.
  • Joss Whedon was gold when it came to TV series in the '90s and 2000s. Buffy the Vampire Slayer was a cultural phenomenon and its spin-off Angel lasted five seasons. Firefly was prematurely cancelled due to getting Screwed by the Network and developed a strong enough fanbase to get a concluding movie released as Serenity. His next project, also on the same network that cancelled Firefly, was Dollhouse. That one was incredibly divisive and met with lukewarm reactions. Five seasons were planned but it was cancelled after only two, and there are very few fans calling for continuations or spin-offs like the former three.
  • NBC's December 2016 telecast of the Hairspray musical premiered on the heels of The New '10s' most-acclaimed network TV musicals thus far: FOX's January 2016 production of Grease, and NBC's December 2015 production of The Wiz. While Hairspray earned mostly positive reviews, many critics and viewers also called it less polished than Grease and/or The Wiz, despite sharing some backstage talent with both of them. Even more unfortunate, Hairspray scored the lowest Nielsen ratings of any musical aired live on American network TV during The New '10s so far. NBC also struggled winning over fans of the 2007 Hairspray movie, who couldn't resist making unfavorable comparisons between NBC's actors and its cast. However, this telecast did manage to win three Creative Arts Emmy Awards, the most of any live NBC musical of The New '10s thus far.
  • Many a Soap Opera actor has run into this, either
    • Taking over for an actor who was a fan favorite. Some have successfully made the character their own, others have failed miserably, and even those who have succeeded will forever suffer from unfavorable comparisons to the previous actor.
    • Leaving their iconic role on one show to appear on another—Genie Francis became famous for her role as General Hospital's Laura, only to have mediocre success with roles on Days of Our Lives and All My Children, likely because viewers couldn't stop seeing her as Laura.
  • Ken Burns has written and directed documentaries about baseball, jazz, the Dust Bowl, the National Parks, Prohibition, the Roosevelts, and the Vietnam War - to name a few - but none will ever reach the ratings, media attention, or cultural impact of The Civil War.
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