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    Home»Television»21 Times Our Favorite TV Shows Jumped the Shark
    Television

    21 Times Our Favorite TV Shows Jumped the Shark

    Loryn StoneBy Loryn StoneOctober 5, 20187 Mins Read
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    Crossing the line. Passing its peak. Pooping the bed. Jumping the shark. Whatever you want to call it, it’s the moment when a show you love surrenders to the suck are you just can’t get back into it. Like that moment in Happy Days when Fonzie…you know…literally jumped over a shark on jet skis. It really doesn’t get worse than that. So today, we asked our readers to cite that specific moment a show lost them, and their responses ranged from jumps to full-on dive-bombs.

     

    21) Married with Children

    1.jpg

    The first time I ever realized that a thing I liked could turn bad was when that blonde kid showed up in Married With Children. His freakin’ name was Seven!!! You could almost hear the writers applying for other jobs.

     

    20) Battlestar Galactica

    Battlestar.jpg

    Wow, it’s so great that those Final Five Cylons are so damn important that one can strangle murder the other and it literally means nothing.

     

     19) Shameless

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    I stopped Shameless after season 4 when I realized there wasn’t really a plot anymore, and it’s really just a way of making people feel better about their lives not being that crappy.

     

    18) Hell on Wheels

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    I loved Hell on Wheels. Post Cival War Western Industrialism is kinda my thing. That is, until they brought back Common’s character (that had been dead for at least a season) so they could kill him back off again during the same episode?? It turned into “Who Wants To Bone Bohanon?” after all the good characters got killed/written out. Once it was all about mining or whatever I used the show to go to sleep.

     

    17) Star Trek: Deep Space 9

    3

    It ended when Jadzia Dax died. They never made another season and there certainly wasn’t some annoying reincarnation of her character.

     

    16) Dexter (a few times)

    4.jpg

    Dexter was a decent show up until season 4 which was its peak for me. It began to meander after that, and once they started hinting at “Is Deb in love with her brother” I was like NOPE! I’m out. Didn’t even see “Dexter becomes a lumberjack” but I heard about it.

    What… the… hell series finale?! Worst way to end the series EVER! It’s like everyone predicted how it could potentially end, so they’re like ‘well let’s make it a horrible ending, no one will predict that!’ Cue The Lumberjacks Song…

     

    15) Sons of Anarchy

    5

    Season 3 when they went to “Northern Ireland.” I CAN TELL THAT’S TOPANGA CANYON WITH BLUE FILTERS, JERKS.

     

    14) Pretty Little Liars

    6.jpg

    Pretty Little Liars was one of my guilty pleasure shows for so long but it was easily 2-3 seasons too long, got more and more ridiculous and the ending was f-ing stupid. They pull that BS with “there’s been an identical twin this whole time!” crap which has always been one of the dumbest endings something can have for me.

     

    13) That 70s Show

    7.jpg

    Replacing Laurie and Eric leaving ruined it.

     

    12) ER

    8.jpg

    I stopped watching “ER” around the time that a doctor, shortly after having to deal with a kid around Christmastime, heard a “ho ho ho” through the air as he stepped out of the hospital. It was just too damn unrealistic for what was, until then, a relatively realistic show.

     

    11) The X-Files

    9.jpg

    The series finale that just aired was pure trash. More like a final eff-you to all the fans like myself who think Mulder and Scully are meant to be together.

     

    10) The Walking Dead (lots of times)

    10.jpg

    Rick shoots zombies in the head at 50 yards for years, but he can’t shoot Neegan who’s 10 feet in front of him. SHM.

    Walking Dead end of season six meandered, ended on cliffhanger felt disrespectful to viewers, then, start of season seven was just sick.. Seriously wtf was that.. Felt abusive.

    Walking Dead- Glenn trashcan fakeout…led tons of people to the internet, where they discover what happened to him in the comics… and then do the scene from the comics next season???

    I don’t know why I kept with it for so long… but the walking dead. I stayed with it until the guy with the bat showed up. It’s not really one thing. it was pretty much garbage from the start to be honest… but I had to stop when Rick and the gang went up against another group of humans for the umpteenth time in the show. And his group just willy-nilly murdering other humans for no reason and then being mad at other people for doing the exact same thing. Some of the worst writing for a hit show in history. And like… I get it… humans are the real bad guys of the show. not zombies. But can the zombies please be a little more interesting than just fucking slow moving obstacles. Such a terrible show. Screw that show.

     

    9) Heroes

    11.jpg

    The end of Heroes season 2, when Nathan Petrelli got shot in the chest. Was that really needed?? I stopped watching it after that.

     

    8) Burn Notice

    12.jpg

    It kind of lost me around season 6. The show got away from a lot of the quirky, funny stuff that I liked about it and became just another NCIS/Scorpion-type show.

     

    7) Glee

    13.jpg

    There was an episode of the 2nd season of Glee where Mercedes like started picketing the cafeteria because they stopped serving tater tots and I think I stopped watching shortly after that. The Rocky Horror episode helped me quit it for good too…

     

    6) Once Upon a Time

    14.jpg

    When they lost almost all of their cast and tried to start off this new season in a new world with literally the same stories, but different cast. On top of losing a VERY involved and dedicated fandom, they lost the show. It’s since been canceled.

     

    5) South Park

    15.jpg

    The last couple seasons are just so far from what the jokes used to be. Feels like a friend has died. Such a shock to go so many seasons strong and then just derp it up so hard. At least the Simpsons is always there.

     

    4) Buffy the Vampire Slayer

    BUFFY THE VAMPIRE SLAYER, (from left): Alyson Hannigan, Sarah Michelle Gellar, 1997-03. TM and Copyr
    Once Buffy moved to UPN, AKA, come back from the dead. The story was just horrible afterwards, and even though in those last two seasons there are a few good episodes, it does not make up for the crazy amount of suck. they could have ended it perfectly with her dying, it was beautiful, it was moving. and then they brought back a corpse, literally. And when they did end the series, the finale felt sloppy, and rushed, and overall annoying. I was literally rooting for all of them to die.

     

    3) Supernatural

    17.jpg
    Supernatural should have ended with Sam going to hell, but NOOOOOOOOOOOO, THEY NEED MORE MONEY! Hey Dean, guess what, I’m back from hell! I ended a great story and now let’s continue doing the exact same thing except in high saturation so instead of being dark and gloomy wear bright and colorful. Let’s make it so every single Monster looks like a human so we don’t have to spend any money on special effects or makeup. And let’s constantly bring characters back from the dead because let’s face it, we’re all immortal by this point.

     

    2) Weeds

    18
    Hey everyone, I’m out of jail, for some reason the cartels are not after me. So I’m going to do exactly the same thing, except I’m going to be even more trashy while doing it, and even more ignorant, like I learned literally nothing in my entire experience of being a dealer. Now look, my family who was able to luckily escape this, decides to come back and do the exact same thing even though they were doing much better off in a completely different country. Too bad there’s no actual story that leads anywhere.

     

    1) Lost

    19.jpg
    A second Island… A SECOND ISLAND!?!?!?!

     

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    Loryn Stone
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    Loryn Stone has dedicated her life to the written Word of the Nerd. Her writing has also been published on other pop culture websites such as Cracked, LoadScreen, PopLurker, and Temple of Geek. Her debut young-adult novel "My Starlight" (a contemporary love letter to fandom, friendship, anime, cosplaying, love, and loss) is out now by Affinity Rainbow Publications. When she's not writing, Loryn's other interests include collecting robots (Megazords, specifically), playing bass, and blasting metal.

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    Most studios searching for a match-3 level design company are looking for five different things. Some need levels built from scratch, others require a live game rebalanced before churn compounds, and some demand a content pipeline that won't fall behind. These are different problems, and they map to multiple types of companies. The mistake most studios make is treating "match-3 level design" as a single service category and evaluating every company against the same criteria. A specialist who excels at diagnosing retention problems in live games is the wrong hire for a studio that needs 300 levels built in 2 months. A full-cycle agency that builds from concept to launch isn't the right call for a publisher who already has engineering and art in place and just needs the level design layer covered. This guide maps 7 companies for match-3 level design services to the specific problem each one is built to solve. Find your problem first. The right company follows from there. What Match-3 Level Design Services Cover The term "level design" gets used loosely in this market, and this causes bad hires. A studio that excels at building levels from scratch operates dissimilarly from one that diagnoses why a live game's difficulty curve is losing players (even if both describe their service the same way on a website). Match-3 level design breaks into four distinct services, each requiring different expertise, different tooling, and a different type of partner. Level production — designing and building playable levels configured to a game's mechanics, obstacle set, and difficulty targets. This is what most studios mean when they say they need a level design partner, and it's the service with the widest range of quality in the market. Difficulty balancing and rebalancing — using win rates, attempt counts, and churn data to calibrate difficulty across hundreds of levels. Plus, this includes adjusting live content when the data shows a problem. Studios that only do level production typically don't offer this. Studios that do it well treat it as a standalone service. Live-ops level design covers the ongoing content pipeline a live match-3 game requires after launch (seasonal events, new level batches, limited-time challenges) sustained at volume and consistent in quality. This is a throughput and process problem as much as a design problem. Full-cycle development bundles level design inside a complete production engagement: mechanics, art, engineering, monetization, QA, and launch. Level design is one function among many. Depth varies by studio. Knowing which service you need before you evaluate a single company cuts the list in half and prevents the most common mistake in this market: hiring a full-cycle agency to solve a level design problem, or hiring a specialist to build a product from scratch. The List of Companies for Match-3 Level Design Services The companies below were selected based on verified credentials, named shipped titles where available, and the specific service each one is built to deliver. They are ranked by how well their capabilities match the service types outlined above. A specialist who does one thing exceptionally well sits above a generalist who does many things adequately. SolarSpark | Pure-play match-3 level design specialist SolarSpark is a remote-first studio built exclusively around casual puzzle game production. With 7+ years in the genre and 2,000+ levels shipped across live titles including Monopoly Match, Matchland, and KitchenMasters, it is the only company on this list that does nothing but match-3 level design. Level design services: Level production, difficulty curve planning, fail-rate balancing, obstacle and booster logic design, live-ops pipeline, competitor benchmarking, product audit and retention diagnostic. Verdict: The strongest pure specialist on this list. When level design is the specific constraint, SolarSpark is the right choice. What they do well: Every level is built around difficulty curves, fail/win balance, obstacle sequencing, and booster logic, measured against targets before delivery. Competitor benchmarking is available as a standalone service, mapping your game's difficulty curve and monetization structure against current top performers with specific, actionable output. Where they fit: Studios with a live or in-development game that need a dedicated level design pipeline, a retention diagnostic, or a one-off audit before soft launch. Honest caveat: SolarSpark does not handle art, engineering, or full-cycle development. Logic Simplified | Unity-first development with analytics and monetization built in Logic Simplified specializes in Unity-powered casual and puzzle games, with match-3 explicitly in their service portfolio. Operating for over a decade with clients across multiple countries, the studio positions itself around data-informed development: analytics, A/B testing, and monetization are integrated into the production process. Level design services: Level production, difficulty progression design, obstacle and blocker placement, booster and power-up integration, A/B tested level balancing, customer journey mapping applied to level flow. Verdict: A credible full-cycle option for studios that want analytics and monetization treated as design inputs from day one, not as post-launch additions. What they do well: Logic Simplified builds analytics and player behavior tracking into the design process. Their Unity expertise is deep, and their stated MVP timeline of approximately three months is competitive at their price point. India-based rates make full-cycle development accessible without requiring a Western agency budget. Where they fit: Studios building a first match-3 title that needs the full production chain handled by a single vendor, with analytics built in from the start. Honest caveat: No publicly named match-3 titles with verifiable App Store links appear in their portfolio. Ask for specific live game references and retention data during the first conversation before committing. Cubix | US-based full-cycle match-3 development with fixed-cost engagement Cubix is a California-based game development company with a dedicated match-3 service line covering level design, tile behavior, booster systems, obstacles, UI/UX, and full production on Unity and Unreal Engine. 30+ in-house animators can cover the full scope of puzzle game production. Level design services: Level production, combo and difficulty balancing, blocker and locked tile placement, move-limit challenge design, booster and power-up integration, scoring system design. Verdict: A viable full-cycle option for studios that need a Western-based partner with transparent fixed-cost pricing and documented match-3 capability. What they do well: Cubix covers the full production chain in one engagement, with strong visual production backed by an in-house animation team. Their fixed-cost model is a practical differentiator for studios that have been burned by scope creep on previous outsourcing contracts. Staff augmentation is also available for studios that need talent to plug into an existing pipeline. Where they fit: Studios that want a US-based full-cycle partner with predictable budgets, cross-platform delivery across iOS, Android, browsers, and PC, and a single vendor to own the concept through launch. Honest caveat: Named shipped match-3 titles are not prominently listed in their public portfolio. This is a verification gap worth closing during vetting, not a disqualifier on its own. Galaxy4Games | Data-driven match-3 development with published retention case studies Galaxy4Games is a game development studio with 15+ years of operating history, building mobile and cross-platform games across casual, RPG, and arcade genres. Match-3 is a named service line. What distinguishes them from most studios on this list is a level of public transparency about retention data. Their case studies document real D1 and D7 numbers from shipped titles. Level design services: Level production, difficulty curve development, booster and obstacle design, progression system design, LiveOps level content, A/B testing integration, analytics-based balancing. Verdict: The most transparent full-cycle option in terms of real retention data. For studios that want to see numbers before they hire, Galaxy4Games offers evidence most studios keep private. What they do well: Their Puzzle Fight case study documents D1 retention growing to 30% through iteration. Their modular system reduces development time and costs through reusable components, and their LiveOps infrastructure covers analytics, event management, and content updates as a planned post-launch function. Where they fit: Studios that need a data-informed full-cycle match-3 partner and want to evaluate a studio's methodology through published results. Honest caveat: Galaxy4Games covers a broad genre range (casual, RPG, arcade, educational, and Web3), which means match-3 is one of several service lines rather than a primary focus. Zatun | Award-winning level design and production studio with 18 years of operating history Zatun is an indie game studio and work-for-hire partner operating since 2007, with game level design listed as a dedicated named service alongside full-cycle development, art production, and co-development. With 250+ game titles and 300+ clients across AAA studios and indie teams, this agency has one of the longest track records. Level design services: Level production, difficulty progression design, level pacing and goal mapping, game design documentation, Unity level design, Unreal level design, level concept art. Verdict: A reliable, experienced production partner with a long track record and genuine level design depth. What they do well: Zatun's level design service covers difficulty progression, pacing maps, goal documentation, and execution in Unity and Unreal. Their 18 years of operation across 250+ titles gives them a reference library of what works across genres. Their work-for-hire model means they can step in at specific production stages without requiring ownership of the full project. Where they fit: Studios that need a specific level design or art production function covered without a full project handoff. This can be useful for teams mid-production that need additional capacity on a defined scope. Honest caveat: No publicly named match-3 titles appear in Zatun's portfolio, their verified work spans AAA and strategy genres; match-3 specific experience should be confirmed directly before engaging. Gamecrio | Full-cycle mobile match-3 development with AI-driven difficulty adaptation Gamecrio is a mobile game development studio with offices in India and the UK, covering match-3 development as an explicit service line alongside VR, arcade, casino, and web-based game development. Their stated differentiator within match-3 is AI-driven difficulty adaptation. Thus, levels adjust based on player skill. Level design services: Level production, AI-driven difficulty adaptation, booster and power-up design, progression system design, obstacle balancing, social and competitive feature integration, monetization-integrated level design. Verdict: An accessible full-cycle option with a technically interesting differentiator in AI-driven balancing. What they do well: Gamecrio builds monetization architecture into the level design process: IAP placement, rewarded ad integration, battle passes, and subscription models are considered alongside difficulty curves and obstacle sequencing. The AI-driven difficulty adaptation is a genuine technical capability that more established studios in this market have been slower to implement. Where they fit: Early-stage studios that need a full-cycle match-3 build with monetization designed in from the first level. Honest caveat: No publicly named shipped match-3 titles are listed on their site — request live App Store links and verifiable retention data before committing to any engagement. Juego Studios | Full-cycle and co-development partner with puzzle genre credentials and flexible engagement entry points Founded in 2013, Juego Studios is a global full-cycle game development and co-development partner with offices in India, USA, UK, and KSA. With 250+ delivered projects and clients including Disney, Sony, and Tencent, the studio covers game development, game art, and LiveOps across genres. Battle Gems is their verifiable genre credential. Level design services: Level production, difficulty balancing, progression system design, booster and mechanic integration, LiveOps level content, milestone-based level delivery, co-development level design support. Verdict: A well-resourced, credible full-cycle partner with a flexible engagement model that reduces the risk of committing to the wrong studio. What they do well: Juego's engagement model is flexible: studios can start with a risk-free 2-week test sprint, then scale to 20+ team members across modules without recruitment overhead. Three engagement models (outstaffing, dedicated teams, and managed outsourcing) let publishers choose how much control they retain versus how much they hand off. LiveOps is a named service line covering analytics-driven content updates and retention optimization after launch. Where they fit: Studios that need a full-cycle or co-development partner for a match-3 build and want to test the relationship before committing to full project scope. Honest caveat: Puzzle and match-3 are part of a broad genre portfolio that also spans VR, Web3, and enterprise simulations. How to Use This List The seven companies above cover the full range of what the match-3 level design market offers in 2026. The quality range is real, and the right choice depends on which service type matches the problem you're trying to solve. If your game is live and retention is the problem, you need a specialist who can diagnose and fix a difficulty curve. If you're building from zero and need art, engineering, and level design bundled, a full-cycle partner is the right call and the specialist is the wrong one. The honest caveat pattern across several entries in this list reflects a real market condition: verified, named match-3 credentials are rarer than studios' self-descriptions suggest. The companies that couldn't point to a live title with an App Store link were flagged honestly. Asking for live game references, retention data, and a first conversation before any commitment are things you can do before signing with any studio on this list.

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