Some TV shows become so iconic that they inspire spin-offs, but not every one is a hit. In fact, some spin-offs flop so badly that they almost tarnish the legacy of the original. Here’s a look at the most infamous spin-offs of all time—shows that fell short of expectations, failed to capture audiences, or simply missed the magic that made their predecessors great.
The Tortellis
In the opening scene of this *Cheers* spin-off pilot, Nick Tortelli faces a nightmare where he’s condemned to hell for cheating on his wife, Loretta. But things only go downhill from there. Nick’s complete lack of redeeming qualities makes it difficult to root for him, either in love or business. Meanwhile, Loretta is depicted as so exaggeratedly clueless that she feels more like a caricature than a real person. Fans found the Tortellis too over-the-top to tolerate, and without the charm of the *Cheers* bar, this family struggled to win any affection.
Mr. T and Tina
This infamous show disappeared so completely that finding any footage today is like looking for a needle in a haystack. The series starred Pat Morita as Taro Takahashi, an inventor who relocates from Japan to Chicago. Despite producing eight versions of the pilot, test audiences just didn’t connect with it. Critics noted that Takahashi was often placed in storylines that leaned into negative stereotypes about Japanese people. In the end, ABC aired only five episodes before canceling it. The combination of weak writing and a character who had appeared in just one episode of *Welcome Back, Kotter* proved unsuccessful.
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The Brady Brides
After Marcia and Jan Brady tie the knot, they and their husbands decide to save money by moving in together. While the sisters get along well and often agree on things, their scenes come off as predictable and bland. The show attempts to spice things up by contrasting Jan’s straight-laced husband with Marcia’s free-spirited partner, hoping for some laughs. Unfortunately, the writers missed the mark, and the formula quickly felt tired. Although the live audience had a few laughs, home viewers weren’t as entertained. The Brady sisters’ spin-off, sadly, fizzled out after just 10 episodes.
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Baywatch Nights
Convincing viewers that Mitch from *Baywatch* could seamlessly transition into a private investigator was a tall order. When audiences didn’t buy into it, the spin-off took an unexpected turn toward supernatural mysteries. *Baywatch Nights* introduced paranormal elements along the Los Angeles coast, aiming for the suspense of *The X-Files.* However, the mysteries fell flat, and the shift left Mitch feeling out of place. Viewers quickly decided the lifeguard hero belonged on the beach, saving lives, rather than navigating the bizarre twists of *Baywatch Nights.*
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Joanie Loves Chachi
Though *Happy Days* launched seven spin-offs of mixed success, none were as infamous as *Joanie Loves Chachi.* The sitcom followed the couple as they pursued music stardom in a new city, joined by bandmates and friends intended to be quirky but often just came across as irritating. While Joanie and Chachi thrived in the *Happy Days* ensemble, they lacked the same charisma as co-leads. The writing declined quickly after the initial episodes, and as ratings plummeted, the lovebirds were soon sent back to Milwaukee to help wrap up *Happy Days.*
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Criminal Minds: Beyond Borders
The premise of this spin-off quickly alienated viewers. While *Criminal Minds* succeeded by delving into the psychology of American criminals, *Beyond Borders* took a global angle. By centering on American victims abroad, however, it often depicted villains as foreigners, creating an uncomfortable, xenophobic tone. Episodes leaned heavily on clichéd cultural stereotypes and sweeping generalizations. Beyond the problematic premise, the characters struggled to connect with audiences, leading to swift backlash and an early cancellation.
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Models Inc.
A model-focused spin-off surviving six seasons and a movie might sound enticing, but flops like *Models Inc.* reveal why this formula rarely works. Attempting to mix the daily struggles of models with a murder mystery, the show started off grounded but quickly spiraled into absurdity. With storylines featuring hired assassins and mysterious lookalikes, the show lost its original focus. Alongside these outlandish plots, it lacked the nuance needed to handle serious themes. Add in lackluster performances, and there was little to draw viewers to this short-lived *Melrose Place* spin-off.
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Sanford Arms
After the beloved leads of *Sanford & Son* exited, NBC moved forward with a spin-off: *Sanford Arms.* This show introduced Phil, an original character trying to launch a rental business in the familiar house. However, rather than establishing its own identity, *Sanford Arms* clung too closely to its predecessor. Fans quickly noticed the issue—the supporting cast only emphasized the absence of the iconic leads, and the humor fell flat. Despite its efforts, *Sanford Arms* failed to capture viewers’ hearts or laughs, leading to its cancellation after just eight episodes.
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Highlander: The Raven
If you didn’t know the cult classic *Highlander* inspired an original TV show, you might also have missed its ill-fated female-led spin-off, *Highlander: The Raven.* In the pilot, immortal main character Amanda initially uses her powers for personal gain, but a cop’s self-sacrifice prompts her to rethink her choices. Despite this promising start, the character development fell short. Amanda and her partner, Nick, lacked the depth needed to engage audiences. While Amanda’s immortality may be eternal, the show’s legacy has all but faded into obscurity.
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Joey
NBC was keen to maintain the *Friends* magic with a spin-off centered around the lovable yet dimwitted character Joey, played by Matt LeBlanc. While Joey’s charm and humor remained, the supporting cast and writing failed to capture the original show’s brilliance. Although Joey’s acting escapades provided enjoyable side plots on *Friends,* they lost their appeal as the main focus. Despite initial curiosity from fans, ratings plummeted by the second season, resulting in the show’s cancellation. What started as a promising spin-off ultimately became a cautionary tale about how quickly a series can derail.
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Booker
During his time on *21 Jump Street,* Dennis Booker embodied the quintessential undercover officer, working alongside fellow cops to apprehend criminals. However, when Booker left the force, he traded his badge for a position at a large insurance company, paving the way for his own spin-off. The writers aimed to create a versatile platform for Booker to tackle a wide range of cases. Unfortunately, the premise struggled to justify the random escapades he undertook. Critics labeled the cases as lackluster, often feeling like pale imitations of more compelling narratives.
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The Blacklist: Redemption
NBC’s choice to expand the universe of this hit thriller seemed logical after the original’s immense success. However, *Redemption* felt like a case of déjà vu. It followed a similar formula, featuring a special agent entangled with a parental figure as they pursued high-profile criminals while uncovering a larger conspiracy. Unfortunately, the leads in the spin-off didn’t shine as brightly as the original cast. The key misstep? *Redemption* failed to establish its own identity, presenting viewers with two nearly identical shows. Why watch a copy when the original still captivates?
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Once Upon A Time In Wonderland
Two years after Disney launched a successful series reimagining its beloved characters, it zeroed in on Alice and her adventures in Wonderland. This new show promised a darker twist, delving deeper into the heroine’s story. However, Alice’s spin-off struggled to differentiate itself. While there was potential for crossovers with other Disney characters, the focus on Alice led to fewer guest appearances. The storytelling suffered from a sluggish romantic subplot, and the CGI fell short of contemporary standards. With *Once Upon a Time* airing at the same time, audiences found little incentive to keep returning to Wonderland.
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Living Dolls
How do you waste the talents of acclaimed actresses like Halle Berry and Leah Remini? By casting them in a lackluster spin-off! In *Living Dolls,* both stars portrayed young women living with other aspiring models under a stern yet nurturing mother figure. The show’s attempts to critique the modeling industry often missed the mark and sometimes trivialized the pressures models face. What really drove viewers away was its tenuous connection to the original show, *Who’s the Boss?* This flimsy link wasn’t enough to entice audiences to give the spin-off a second chance.
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Mrs. Columbo
The iconic *Columbo* won over fans, leading executives to create a spin-off centered on his wife, who shares his talent for solving mysteries—despite Columbo being offscreen. However, neither fans nor Peter Falk, the actor behind Columbo, supported this concept. Those who could overlook its peculiar premise were met with a mediocre mystery series that lacked the charismatic lead who originally captivated audiences. *Mrs. Columbo* felt so disconnected from its predecessor that a new title might have suited it better.
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Galactica 1980
When the original *Battlestar Galactica* series was canceled, fans eagerly urged ABC to reconsider. Unfortunately, their wish resulted in disappointment. To save costs on the spin-off *Galactica 1980,* the network removed or replaced beloved characters. While the original series thrived on a civilization fleeing a cosmic enemy, the new show awkwardly shifted its storylines to Earth, lacking the dramatic impact of its predecessor’s space adventures. Fans were disheartened to see their favorite characters sidelined or forgotten. After facing widespread negative feedback, *Galactica 1980* was canceled after just ten episodes.
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Checking In
After Florence, the beloved maid from *The Jeffersons,* became a breakout character, executives quickly offered her a chance to lead her own series. In *Checking In,* she managed the quirky staff at a posh hotel, showcasing her humor and wit. However, while Florence shone, her co-stars struggled to match her charm. Despite the promising hotel setting, most scenes took place in uninspired offices. The network ultimately canceled the show after just four episodes. Fortunately, Florence made her return to *The Jeffersons* after the executives announced that her hotel—and the show—had gone up in flames!
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The Walking Dead: World Beyond
Set in the familiar zombie-infested world of the original hit, *The World Beyond* followed four teens on a daring cross-country journey, aiming to explore the *Walking Dead* universe and unravel its mysteries. However, the series leaned more into teen drama than the thrilling tension fans expected. Despite strong performances, the characters lacked the charisma of legends like Rick Grimes and Daryl Dixon. The main drawback was a slow-moving storyline that failed to engage viewers. Ultimately, *The World Beyond* struggled to capture fans’ hearts.
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AfterMASH
In *AfterMASH,* three characters from the original series transitioned from the Korean War to a veteran’s hospital. The show aimed to recapture the magic of the drama-comedy blend but fell short of the original’s chemistry. The laugh track frequently made scenes feel cringe-worthy, and despite a few standout moments, fans gravitated toward newer offerings. As season 2 ratings declined, *AfterMASH* was ultimately canceled mid-season.
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CSI: Cyber
*CSI: Cyber* ventured boldly into the realm of digital crimes but faced significant criticism. Many viewers struggled with the computer jargon, often requiring explanations to keep up. Scenes featuring characters focused on laptops and delivering expositional dialogue lacked the engaging intrigue of morgue scenes. Even with Ted Danson’s addition in season 2, his presence couldn’t retain viewers. With poor reception and fluctuating ratings, *Cyber* ultimately became the least successful *CSI* spinoff.
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Three’s a Crowd
When *Three’s Company* concluded its eight-season run on ABC, the network wasn’t ready to let go without leaving a trace. Enter this spinoff, inspired by the introduction of Vicky Bradford as Jack Tripper’s love interest during the final episodes of *Company.* Vicky’s aversion to marriage leads them to live together, but her meddling father complicates their relationship, adding a mix of drama and humor. Despite this intriguing premise, the audience didn’t engage, and the show ultimately bid farewell after just one season.
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Saved By the Bell: The College Years
Unlike its predecessors, *Saved by the Bell: The College Years* made a bold leap from Saturday mornings to primetime, transitioning the beloved characters from high school halls to the bustling dorms of the fictional California University, or Cal U. Familiar faces like Zack, A.C. Slater, and Screech were joined by fresh newcomers, embarking on weekly adventures filled with mild mischief, all neatly wrapped up in 23 minutes. Despite the charm of this new chapter, the show struggled to capture viewers’ hearts and concluded its run after just 19 episodes.
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Tabitha
By the time *Tabitha* aired, viewers had already moved on from *Bewitched*, which had ended five years earlier. This spinoff followed Tabitha, the enchanting daughter of witch Samantha Stevens, as she transitioned from a toddler into a young woman, now portrayed by Lisa Hartman. Robert Urich brought charm as a womanizing talk show host and occasional love interest for Tabitha. Unfortunately, this spinoff lacked the original series’ magic and wit, resulting in a brief run.
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Law & Order: Trial by Jury
This *Law & Order* spinoff aimed to shine with a star-studded cast, including Bebe Neuwirth from *Cheers*, Fred Dalton Thompson, a real-life U.S. Senator from Tennessee, and the iconic Jerry Orbach. However, it strayed from the thrilling crime and punishment narrative of the original series. Instead of exploring captivating mysteries, it focused on the intricacies of legal procedures, such as jury selection, deliberations, and mock courtroom dramas. Unfortunately, viewers were left unimpressed, and this departure lasted only a dozen episodes on NBC, with a single appearance on Court TV.
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Phyllis
*The Mary Tyler Moore Show* spun off a couple of comedy gems. One was *Rhoda*, a brilliant, Emmy-winning hit. The other was *Phyllis*, featuring the talented Cloris Leachman, who snagged an Emmy nomination in 1976 for her role as Phyllis Lindstrom. However, despite its two seasons and 48 episodes, *Phyllis* never quite hit its stride. The storyline followed Phyllis and her daughter Bess moving to San Francisco from Minneapolis after Phyllis’s husband passes away, leaving her broke. Did you chuckle yet? Well, neither did most viewers, even with its star-studded pedigree.
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The Brady Bunch Variety Hour
From the title alone, you could tell this was destined for disaster. It all started as a one-time variety special, reuniting most of the *Brady Bunch* cast just two years after the original series wrapped up. The special snagged massive ratings, prompting ABC to order eight more episodes. But instead of a genuine variety series, it turned into a show-within-a-show concept, where the family was cast to star in one, like an extended run of hilariously clunky *Brady Bunch* episodes. Within six months, it faded into nothing more than a regrettable memory.
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How I Met Your Father
The *How I Met Your Mother* spinoff introduced us to Sophie Tompkins (played by Hilary Duff) and her lively circle of friends navigating life in Manhattan. The show cleverly used a flash-forward to 2050, where an older Sophie, brought to life by Kim Cattrall of *Sex and the City* fame, shares the tale of her journey to finding love with her unseen son. Sophie, a romantic photographer on a quest for her soulmate, initially offers a sweet and intriguing premise. However, despite its promising start and Cattrall’s charismatic presence, *HIMYF* struggled to maintain its charm and wrapped up after just 18 months.
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Ravenswood
From the start, poor ratings haunted this *Pretty Little Liars* spinoff on ABC Family. Set in the mysterious town of Ravenswood, Pennsylvania, it follows five strangers united by a deadly curse that has lingered for ages. Together, they must unravel the mystery, racing against the clock with only a 10-week order and no promise of renewal. Although the storyline had potential for chilling suspense, the slow burn and unfamiliar cast didn’t resonate, causing viewers to switch off before the show could truly immerse them in its eerie intrigue.
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American Juniors
In 2002, riding the success of *American Idol*, Fox aimed to replicate the formula for younger talent with *American Juniors*. This spin-off, crafted by the same production team, came with a unique twist: instead of crowning a single winner, they planned to form a singing group with the top five contestants. The idea sounded promising, but there was a catch—group chemistry can’t be manufactured. *American Juniors* stumbled in this regard, and although the resulting group released one album, it quickly fizzled. After just 17 episodes, the show itself quietly faded from view.
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A Man Called Hawk
*Spenser: For Hire* gave Robert Urich a steady hit in the mid-1980s, but it was Avery Brooks’s magnetic portrayal of Hawk that drew attention. ABC, sensing potential, spun off *A Man Called Hawk*, relocating the character from Boston to Washington, D.C., and pairing him with the wise “Old Man” (Moses Gunn) in hopes of striking gold. Despite Brooks’s charisma, the show lacked the chemistry of its predecessor. Brooks, however, would later find success as Captain Sisko in *Star Trek: Deep Space Nine*. *A Man Called Hawk* struggled with ratings and was canceled after just 13 episodes.
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The Golden Palace
When *The Golden Girls* ended, fans weren’t ready to part with the beloved cast. Luckily, most of the group wasn’t either. *The Golden Palace* brought Betty White, Rue McClanahan, and Estelle Getty back, this time managing a Miami hotel alongside newcomers Don Cheadle and Cheech Marin. The setting allowed for new character interactions and fresh storylines, but without Bea Arthur’s Dorothy, the dynamic felt incomplete. Arthur did return for a memorable two-part cameo, but it wasn’t enough to save the show, which wrapped after a single 24-episode season, never fully recapturing the magic of *The Golden Girls*.
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The Finder
*Bones* creator Hart Hanson ventured into new territory with *The Finder*, a quirky quasi-spinoff inspired by Richard Greener’s *The Locator* novels. Introduced during a backdoor pilot in *Bones*’ sixth season, the series follows Geoff Stults as Walter Sherman, a former U.S. Army major with a special gift—thanks to a brain injury, he possesses an uncanny ability to locate anything or anyone. The show also featured Michael Clarke Duncan, bringing a strong presence as Walter’s legal advisor and friend. Despite its unique premise and cast, *The Finder* struggled to gain traction and was canceled after just 13 episodes, leaving fans with a brief glimpse into a world that never fully took off.
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The Ropers
*The Ropers*, a *Three’s Company* spinoff, brought back the eccentric Stanley and Helen Roper, whose offbeat chemistry once added spice to their original show. But placing the focus solely on the penny-pinching retiree and his socially ambitious, romantically neglected wife didn’t quite hit the mark. The humor felt strained, and young audiences—*Three’s Company*’s main demographic—weren’t eager to follow the duo into their golden years. Ratings sank fast, particularly after a time slot change to Saturday nights, often a death knell for TV shows. Surprisingly, *The Ropers* managed to last for 28 episodes, but it ultimately couldn’t capture the success of its predecessor.
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The Girl from U.N.C.L.E.
Following the success of *The Man from U.N.C.L.E.*, NBC launched a spinoff in 1966 titled *The Girl from U.N.C.L.E.*. While casting Stefanie Powers as the lead agent was promising, the title choice seemed to undermine its potential, signaling a softer, less impactful version of its predecessor. Cross-promotional efforts did little to elevate its status, often making it feel like a lesser counterpart rather than a bold standalone. Despite Powers’ efforts, the show couldn’t capture the original’s flair and intrigue, leading to a brief run that wrapped up after just parts of two seasons.
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Beverly Hills Buntz
*Beverly Hills Buntz* attempted to take the gritty, morally complex character of Norman Buntz from *Hill Street Blues* and place him in a new, quirky setting. After leaving the police force, Buntz, played by Dennis Franz, transitions to life as a private eye in Beverly Hills, a premise that had the potential for comedy and intrigue. Positioned after popular shows like *Cheers* and *Night Court*, it seemed set for success. However, the character’s charm didn’t translate, as Buntz felt more clumsy and off-putting than captivating. Ultimately, only nine of the 13 episodes aired before it was pulled from the lineup.
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That ’80s Show
*That ’70s Show* captured audiences with its nostalgic charm and memorable characters, running for eight successful seasons. Building on this success, the creators attempted a follow-up with *That ’80s Show*, shifting the action to San Diego and a fresh cast of characters living through the iconic 1980s. Despite sharing the same creators and writers, the new show couldn’t recapture the humor or heart of its predecessor. The cast was committed, but the spinoff lacked the chemistry that made *That ’70s Show* shine, resulting in its cancellation after just one season.
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Top of the Heap
*Top of the Heap* tried to capitalize on the success of *Married… with Children* by following the misadventures of Vinnie Verducci and his aimless father, Charlie. Despite *Married… with Children*’s reputation as a groundbreaking sitcom, this spinoff floundered, managing only a brief seven-episode run. The characters lacked the likability needed to carry a show, the humor felt forced, and there was little that tied it to the edgy charm of its predecessor. With weak jokes and lackluster character dynamics, *Top of the Heap* quickly faded into sitcom obscurity.
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Katy Keene
*Katy Keene*, a spinoff of the hit series *Riverdale*, ventured into the realm of musical dramedy, offering a unique departure from the original’s mystery-driven narrative. Starring the talented Lucy Hale as the titular character, the series is set five years after her brief appearance in *Riverdale*, following her and her friends as they chase their dreams in the vibrant world of fashion and music. However, despite its fresh tone and distinct style, *Katy Keene* struggled to find its audience, ultimately leading to its cancellation after just one season. The show’s ambitious concept and strong performances were not enough to capture the same level of popularity as its predecessor.
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Better Call Saul Presents: Slippin’ Jimmy
*Better Call Saul* is often hailed as the premier television spin-off, effectively expanding on the character of Jimmy McGill from *Breaking Bad* and engaging fans throughout its journey. Created by Vince Gilligan, this prequel captivated audiences with its depth and storytelling. However, the introduction of *Slippin’ Jimmy*, an animated comedic spinoff focused on Jimmy’s childhood, took fans by surprise. Each episode, designed as a tribute to different film genres, felt disjointed and out of place within the established universe. Critics found the series to be silly, lazy, and nonsensical, leading to its recognition as one of the worst television shows despite its connection to a beloved franchise.
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The Winchesters
*Supernatural* enchanted audiences for an impressive 15 years on The CW, becoming a beloved series. However, when the spin-off *The Winchesters* premiered, it failed to recapture the original’s magic. Despite Jensen Ackles returning as the narrator and making a guest appearance later in the season, the prequel struggled to meet the high expectations set by its predecessor. Ultimately, both fans and networks recognized the shortcomings, leading to the show’s cancellation after just one season.
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