When it comes to TV, the adage “there’s nothing new under the sun” has never been more apt. Here, we rank 10 revamps of beloved shows, from best to worst.
Battlestar Galactica
“Star Trek” writer and producer Ronald D. Moore turned a hokey “Star Wars” wannabe into a gritty, thought-provoking drama about war, religion and humanity itself. Although it won just three technical Emmys over its four-season run, it’s widely considered one of the best of the prestige dramas. — Debra Yeo
Twin Peaks: The Return
Showtime gave David Lynch mostly free rein to unleash his expansive imagination with the return of his cult hit series, cancelled prematurely by ABC. Lynch and co-creator Mark Frost brought back touchstones like Laura Palmer, the Black Lodge, the Log Lady and Agent Dale Cooper but took the series into thoroughly surreal new places. Inscrutable at times, it nonetheless stayed with you like snatches of a lucid dream. — D.Y.
Dexter: Resurrection
“Dexter” is unique in that it is practically a cottage industry: “Dexter” spun off an animated web series, then was rebooted eight years after its finale as the one-season “Dexter: New Blood”; 2024’s “Original Sin” spinoff — covering the titular serial killer’s origin story — also only got one season, making last year’s second reboot, “Resurrection,” the one that seems to have the most staying power. It was a lot funnier and campier, complete with a billionaire hosting serial-killer parties and a game cast. It’s already been renewed, with Brian Cox stepping in as the New York Ripper. — Briony Smith
Doctor Who
Showrunner Russell T. Davies breathed new life into a beloved, if dated, franchise with a sci-fi joy ride through time and space. “Doctor Who” has built-in rebootability since its time-travelling, alien hero regenerates, which allowed a wealth of actors to share the lead role, including my favourite, David Tennant. — D.Y.
One Day at a Time
Norman Lear’s 1975 sitcom got a loving refresh by creators Gloria Calderón Kellett and Mike Royce, who stayed true to its spirit while centring on three generations of a Cuban-American family living under one roof. The shift opened the door for a comedic take on thorny issues like immigration, LGBTQ identity and mental health. The serialized format and standout performances by Oscar-winner Rita Moreno and Justina Machado helped the series strike a balance between laugh-out-loud moments and genuine poignancy. — David Friend
Melrose Place
With teen dramas “Gossip Girl” and “One Tree Hill” all the rage in the late aughts, the CW was fully committed to soapy, high-gloss fare in prime time. Eventually, the broadcaster turned to reboots, hoping to replicate a successful “90210” revival with a redo of its sister series. Set in the same West Hollywood apartment complex, but anchored by a fresher cast — including Katie Cassidy, daughter of “The Partridge Family” star David Cassidy, and pop singer Ashlee Simpson — at first it seemed destined to be a salacious delight. But by the time the original series’ Heather Locklear arrived mid-season, the show’s middling murder mystery had petered out. — D.F.
The L Word: Generation Q
As the first show about a group of queer women (made predominantly by queer women), the original “L Word” was groundbreaking, but it was also genuinely compelling TV. Sadly, “The L Word” didn’t usher in a golden age of lesbian television, making this reboot big news for queer-TV enthusiasts. “Generation Q,” however, never managed to nail the casting or storylines required to give it much staying power. It’s hard to even remember anything that happened on the show, which is saying a lot, given the marriage of two major original cast members and the resurrection of a dead one in a musical sequence. — B.S.
Fuller House
Not long after Netflix dove into original content, its leaders began proselytizing the gospel of the algorithm, claiming audiences wanted more of the same. Cue the 2016 update of “Full House,” one of the streamer’s most popular titles at the time. Built on the shakiest of premises, the revival saw a widowed D.J. Tanner (Candace Cameron Bure) move back into her childhood home just as her father (Bob Saget) conveniently found reasons to flee. His departure cleared the way for her sister and best friend to fill the void, kick-starting a frantic game of musical chairs in which legacy stars like John Stamos and Dave Coulier made fleeting cameos. — D.F.
And Just Like That …
“Sex and the City” is one of the jewels in HBO’s crown. Too bad “And Just Like That …” flamed out harder than most reboots, enraging the fan base with a character so annoying they united the entire internet in hatred and turning one main character into a monster — not to mention ending the finale on a poop joke. — B.S.
The New Leave It to Beaver
Nobody was asking for a “Leave It to Beaver” reunion when CBS exhumed the 1950s sitcom for “Still the Beaver,” a lifeless 1983 movie of the week. The Beav was a divorced father in mid-life free fall, while Eddie Haskell had curdled into a tax evader. None of it worked, and yet the movie was a ratings hit, spinning off into an equally uninspired TV series that slogged along for four seasons. — D.F.
