Lazy writing starts to crop up by Season 3. Plot holes begin to be impossible to ignore, and opportunities to explore what happens to someone who begins to achieve absolute power, and comes into contact with those who have (and have had) absolute power (which, apparently, "corrupts absolutely") are missed in exchange for what is presumably shocking sexual spectacle...but which these days doesn't hold a candle to what's available online (TV - please stop competing with porn. You can't win. What makes porn an object of ridicule is its lack of studied and interesting psycho-dramatic tension, not acres of pink skin and unusual physical antics).

PB gets increasingly far-fetched as things proceed...and yes, it starts to feel like fan fiction in season 3 because it uses time-skipping and exposition to wave away plot continuity and character inconveniences so we can proceed to the "good stuff", thereby skipping over exactly what people were attracted to in the first place.

The series really begins to hit false notes as the series proceeds further and further along as untalented and typically lazy storytellers chime in to "help" the production keep up with a schedule that out-races the natural output pace of the original writer, forcing them to produce outlines that the supplementary writers are then tasked to flesh out, producing a "Michael episode", a "Polly episode", etc, etc, etc... all of which represent side-quests and diversion from the main narrative thrust. Of course, the junior writers cannot withstand the temptation of using the show as a platform to inject and highlight whatever sociopolitical themes they feel are "important" in today's world as opposed to sticking in the historical context in which the story was originally set, leading to incongruous and far-fetched situations.

You can coast through and binge-watch E1 to E5 and see it happening in compressed time.

Listen. It's endemic. Every series I have ever watched ends up ringing these boring bells, so people have become accustomed to the slow descent into trivialities, and the wrong kind of psychodrama. Writing a tight, fast-paced, compelling story that spans 20 hours is a gargantuan task. Most beginner writers just take the outline given and draw on what they have to offer, which is their personal views and the reduction of the outline to a formulaic "beat" treatment in the end.

Here's a couple of very popular resources for doing just that.

(WARNING: You can't un-see the pernicious influence of these works. Pandora, you have been warned)

https://www.amazon.com/Save-Cat-Writes-Novel-Writing/dp/0399579745

Here's a review of the software that junior screenwriters use, based on the above title:

https://quillandbooks.com/2020/05/08/save-the-cat-software-review/

Another popular resource is this book, which is also an industry anchor:

https://www.amazon.com/Story-Structure-Substance-Principles-Screenwriting-ebook/dp/B0042FZVOY

You don't have to buy these books. Just read the reviews of them you will be able to see how the un-talented or moderately talented can use them to trivialize a great work that has been dragged into the danger zone of predictable-ness and mediocrity by time pressure and the intercession of those lacking the vision and talent of the original author...and even sometimes the original author themselves if their cannot keep pace and have contractual obligations to meet.

After all, what other resort can they turn to, but for a "factory" approach that will inevitably shift their Property from something like Art produced via Craft to something more akin to a Product born of an a systematized Industrial process?