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Shows that went on way too long
"Californication" (seven seasons)
MOSCOW (AP) — Usain Bolt restored order to the world of sprinting.
Regaining the 100-meter world championship gold he lost through a false start two years ago, the Olympic champion once again holds every major sprint title there is.
And he shook off rain, a slow start and any doubters Sunday to prove there never has been an athlete quite like him.
Despite getting late out of the blocks in the downpour, the Jamaican superstar steadily caught up with 2004 Olympic champion Justin Gatlin and left the American behind with a trademark late burst of speed that, still, no one can match.
If the result was predictable, the demeanor was not.
At 26, he has left behind most of the hot-dogging that has made him famous. While he used to start celebrating well before the finish on big wins, he remained expressionless this time as he ran across the line watching his performance on the giant screen in front of him.
It took him several minutes of understated celebrations before he unleashed the mighty “Lightning Bolt” pose that made him famous across the globe.
His winning time was almost irrelevant, 9.77 seconds, .19 seconds behind his world record. Gatlin crossed second in 9.85, while Bolt’s teammate, Nesta Carter, took bronze in 9.95.
If Bolt did not produce a sense of theater himself, the elements did it for him. Lightning flashed over Luzhniki Stadium half an hour before the final, and the rain started pouring in as the finalists entered the arena.
To the cheers of about 25,000 fans, the stadium played Bob Marley’s classic “Three Little Birds” and he was loosening his neck muscles to the lyrics, “Don’t worry, ’bout a thing. ‘Cause every little thing is gonna be all right.”
It was for him. Not his opponents.
Gatlin had beaten Bolt in Rome early this season, and could take some hope from a blistering start on Sunday. But once those huge strides of Bolt started catching up with him, it was all over.
"Californication" (seven seasons)
"Entourage" (eight seasons)
Much like “Californication,” this man-centric show started strong and buzzy -- a perpetual nominee at the Golden Globes and Emmys, and a perceived gender-swapped “Sex and the City.” Then it ground on and on, and what might once have been read as a sophisticated satire of Hollywood materialism became a grinding conveyor belt of self-congratulatory guest-star appearances.
"Will & Grace" (eight seasons)
Hey, did someone say “self-congratulatory guest-star appearances?” Look -- it’s Jennifer Lopez, and Cher, and Janet Jackson, and Madonna! The latter seasons of “Will & Grace” effectively ruined the fun of watching the show in syndication now -- will it be a fun and jaunty early episode, or a later episode in which title characters enact an Ibsen play about having a baby together (really) while Jack and Karen meet one pop star or another? The fact that the show hastened a widespread acceptance of gay people that, then, made the show something of a throwback by the time it ended is one thing; the fact that the show itself seemed uninterested in relying on its actors’ sharp comic timing is quite another.
"The King of Queens" (nine seasons)
This CBS stalwart just kind of kept going, exactly as long as was needed to launch Kevin James’ film career. In the show’s final minutes, a formulaic sitcom became a mile-a-minute soap, with the central characters considering divorce and then having two children.
"Frasier" (11 seasons)
Though it ended strong, "Frasier" had something of the opposite problem as “The King of Queens”: While the CBS comedy chucked a whole bunch of plot at viewers toward the end, NBC’s Emmy magnet stayed stuck in familiar ruts, with Frasier questing endlessly for love and Daphne and Niles in fairly unthrilling domestic bliss. The jokes stayed good, but this maybe could have gone one or two years shorter.
"Weeds" (eight seasons)
As “Homeland” viewers may be learning, Showtime isn’t particularly good at keeping its shows coherent over time. (Maybe this is “Californication”’s issue -- we wouldn’t know!) This show changed settings and, effectively, organizing conceits so many times that by the end, it had few earnest defenders.
"Nip/Tuck" (six seasons)
This FX series, too, changed settings midway through, moving from Miami to Los Angeles four seasons in for no compelling reason. The show’s most gripping subplots had a way of petering out (remember the anticlimactic solution to the mystery of the Carver?), and its bizarre tendencies overtook any sense of fun.
"Glee" (five seasons and counting)
The series has, like its sibling show “Nip/Tuck” (Ryan Murphy created them both), switched locations, moving in large part to New York once its core cast graduated high school. But what’s the point of a high school series when the stars graduate? Despite some lovely moments, the show’s heat seems gone, and attempts to get back into the conversation (the school shooting episode, for instance) have been more desperate and tone-deaf than effective.
"Grey's Anatomy" (10 seasons and counting)
Here’s the thing: By all accounts, “Grey’s Anatomy” is not a creative failure. And it’s still widely watched. But when you begin your life as a world-beating hit, anything else seems somewhat marginal. “Grey’s Anatomy” has shed more regular viewers than many shows will ever hope to get in the first place (same’s true of “Survivor” and latter-day “ER,” to name just a few). Those who stopped watching once the Golden Globe nominations petered out may wonder why the show is still on; loyal viewers know better.
"The Simpsons" (25 seasons and counting)
Like the “Grey’s” doctors, the Springfield clan and their neighbors still draw a crowd. But “The Simpsons” is so omnipresent in syndication and in pop culture that the first-run series seems besides the point (not least because, though there are good episodes here and there, the show’s best days are universally agreed to be behind it -- like way behind it, in the 1990s).
"The Office" (nine seasons)
There was a natural break for this show, where it ought to have ended -- with the departure of lead actor Steve Carell in Season 7. The latter years were a creative fugue state, and as NBC’s Thursday night lineup continued to flatline in the ratings, one-time fans could be forgiven at their surprise that the adventures of Jim and Pam kept on unfolding.
"The X-Files" (nine seasons)
Once one of the show’s leads departs and has to be replaced -- as Steve Carell did on “The Office,” or David Duchovny did here -- the show faces a reckoning; if the lead is so central to the show’s plot as to make people wonder how the show could possibly go on, maybe the show shouldn’t. And even “X-Files” superfans might have been happier with fewer seasons of drawing out the conspiracy string toward a famously unsatisfying ending.
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