10 TV Characters Who Were Not Meant To Be Popular – but Became Icons

Sometimes television magic happens by accident. A character shows up for a handful of scenes, maybe even destined for a quick exit, and something clicks—performances land, audiences lean in, and writers suddenly have a new engine for stories. What began as a plot device, a comic beat, or a short-term antagonist becomes central to the show’s identity.

Here are ten characters who were never designed to carry their series but ended up shaping them anyway. In each case, early plans shifted—contracts changed, arcs expanded, and entire spin-offs or marketing campaigns followed—because viewers wouldn’t let these unexpected standouts fade into the background.

Jesse Pinkman

Aaron Paul’s character on ‘Breaking Bad’ was originally conceived as a short-lived partner who could be written out early, but the production’s truncated first season and the on-screen chemistry with Bryan Cranston led the writers to keep him alive and deepen his arc. The creative team responded by expanding Jesse’s storylines—from small-time deals to moral reckonings—until he became essential to the show’s narrative structure.

As Jesse’s role grew, the series built pivotal episodes around his perspective, and the character’s evolution earned major awards recognition for Paul. The decision to retain him reshaped the balance of ‘Breaking Bad’, giving the show a two-hander dynamic that allowed it to explore consequences, loyalty, and trauma through parallel character journeys.

Arthur “Fonzie” Fonzarelli

When Henry Winkler joined ‘Happy Days’, the leather-jacketed greaser was meant to orbit the Cunningham family as colorful background texture. Audience response turned Fonzie into the focal point of countless plots, pushing the show to feature his hangout spots, friends, and family connections while softening earlier rough edges to widen his appeal.

Network promotion soon leaned on the character’s image, and episodes were structured to foreground his entrances, catchphrases, and mentorship of younger characters. The Fonz’s expanded presence influenced casting decisions, merchandise, and even the show’s tone, illustrating how a supporting role can evolve into a defining brand symbol for a long-running sitcom.

Steve Urkel

Jaleel White’s appearance on ‘Family Matters’ began as a one-episode gag—a nerdy neighbor created to spark a few laughs and move the Winslow family plot along. Viewer enthusiasm was immediate, and producers brought him back, then back again, until Urkel became the engine for A-plots, holiday specials, and event episodes.

As his footprint grew, the series reoriented story arcs around his inventions, alter egos, and relationships with the Winslow household. Urkel’s ascent drove syndication value, international recognition, and a torrent of character-centric merchandise, transforming ‘Family Matters’ from a straightforward family sitcom into a franchise identified with a single, once-incidental character.

Daryl Dixon

Norman Reedus’s crossbow-wielding survivor was created specifically for the television adaptation of ‘The Walking Dead’ and had no analog in the original comics, signaling a secondary role by design. Audience interest and the actor’s performance led to a sustained expansion—from supporting team member to narrative anchor whose choices often set the course for entire season arcs.

Daryl’s prominence ultimately extended beyond the flagship series, with dedicated arcs that explored his background, alliances, and leadership. The character’s durability paved the way for the standalone ‘The Walking Dead: Daryl Dixon’, demonstrating how a made-for-TV addition can grow into a franchise pillar recognized well outside the show’s core fanbase.

Spike

Introduced as a punk-inspired vampire antagonist on ‘Buffy the Vampire Slayer’, James Marsters’s character was initially set up for a limited run. Strong audience response and the character’s versatility in both conflict and banter persuaded the writers to keep him, converting a short-term villain into a complex antihero whose trajectory intersected with nearly every major storyline.

Spike’s longevity carried him across series lines, integrating him into the ensemble of ‘Angel’. The sustained arc let the writers examine redemption, identity, and allegiance over multiple seasons, and the character’s cross-show presence became a model for how the ‘Buffy’ universe could interweave casts while preserving distinct tones.

Ben Linus

Michael Emerson was cast on ‘Lost’ for a brief stint as a mysterious captive with an assumed identity. The performance opened the door to a promotion that reframed him as the strategic leader of the island’s Others, turning a planned guest appearance into a central role in the series’ mythology and power struggles.

As Ben Linus moved from interrogations to long-form flashbacks and alliances, the writers used him to reveal key lore, adversarial politics, and moral ambiguity. The expanded part earned Emerson major awards recognition and provided ‘Lost’ with a reliable narrative fulcrum—someone whose plans could credibly pivot entire seasons without being part of the original core cast.

Frasier Crane

Kelsey Grammer joined ‘Cheers’ as a short-arc obstacle in the Sam-and-Diane relationship, not as a permanent fixture behind the bar. The character quickly proved valuable for the writers, who kept him on as a regular and mined his academic background and insecurities for story variety within the ensemble.

Frasier’s success on ‘Cheers’ ultimately launched ‘Frasier’, where the character headlined a new city, supporting cast, and workplace dynamic. What began as a plot complication became one of television’s longest-tenured personas, with Grammer portraying Frasier across multiple series and formats while accruing awards and critical acclaim tied directly to that unplanned longevity.

Xena

Lucy Lawless debuted Xena on ‘Hercules: The Legendary Journeys’ as a three-episode adversary whose arc would have ended with her defeat. Viewer reaction and the character’s clear potential prompted producers to pivot, redeeming Xena and building a spin-off around her transformation from warlord to protector.

‘Xena: Warrior Princess’ quickly established its own lore, recurring ensemble, and serialized quests, all springing from a role that began as a limited guest turn. The character’s growth into a franchise lead showed how a back-door introduction on one series can test audience appetite and, if successful, justify a full-scale rewrite of long-term plans.

Andy Dwyer

Chris Pratt’s character on ‘Parks and Recreation’ started as a short-term boyfriend intended to exit once the main relationship plot advanced. Early footage and table reads revealed how well Pratt’s improvisational energy fit the ensemble, leading producers to keep Andy, deepen his friendships, and chart a work-life path that anchored multiple subplots.

Andy’s retention expanded the show’s workplace tapestry, connecting city hall with local venues and new side characters that broadened the setting. Over time, the writers leveraged his music gigs, mentorships, and career pivots to diversify episode structures, demonstrating how a supposed placeholder can become a reliable heartline for a sitcom.

Saul Goodman

Bob Odenkirk entered ‘Breaking Bad’ as a recurring, comic-tinged attorney introduced to facilitate criminal logistics. The role rapidly grew as writers recognized how Saul’s contacts, schemes, and flexible ethics could unlock new narrative avenues—courtroom steps, money laundering, and underworld negotiations—without breaking the show’s grounded tone.

The character’s depth ultimately supported the prequel ‘Better Call Saul’, which traced his transformation and expanded the shared world with new legal, familial, and cartel perspectives. What started as a tool for moving plots along became a character study substantial enough to carry its own acclaimed series and redefine how spin-offs can complement an original drama.

Share your favorite “wasn’t-supposed-to-be-popular” TV character in the comments and tell us who else deserves a spot on this list.