“‘Don’t Try to Keep the Dead Alive’: Netflix Slammed for Airing Liam Payne Posthumously in ‘Creepy’ New Show”

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Netflix’s new music competition series Building the Band was always going to be a curious blend of nostalgia and reinvention — part X Factor, part The Voice, part Making the Band. With its sleek, high-stakes aesthetic reminiscent of Squid Game, the show promised to be flashy but familiar.

But its glossy format is now overshadowed by something far weightier: the posthumous appearance of Liam Payne.

The former One Direction star, who tragically passed away aged 31 in late 2024, filmed his judging segments just two months before his death. Now, as Netflix prepares to release the full series, clips featuring Payne have emerged — placing the show in deeply uncomfortable territory.

“Liam Payne’s family reviewed the series and is supportive of his inclusion,” Netflix said in a statement. It’s a sentiment that attempts to offer reassurance, but it hasn’t stopped the unease that surrounds his on-screen presence.

This isn’t the first time a production has been confronted with how to move forward after the sudden death of a cast member. Some, like the 1962 film Something’s Got to Give, chose to shut down entirely. In that case, Marilyn Monroe’s passing brought the troubled production to a permanent halt.

Others have taken a more direct route. Glee, for instance, opened a new season with an emotionally raw tribute to Cory Monteith following his death, allowing the cast and audience to mourn together. Likewise, 8 Simple Rules used the passing of John Ritter to anchor a heartfelt storyline that blurred the lines between actor and character.

However, there are productions that attempt to “keep the dead alive” — and with far more awkward results. When Nancy Marchand passed away during The Sopranos, her character was awkwardly stitched together with archived footage and CGI. The result, critics agreed, was jarring and lacked dignity.

The same can be said of Star Wars: The Rise of Skywalker, where Carrie Fisher’s appearance via digitally reworked material veered into the uncanny and, some argued, disrespectful. As the article noted: “It was a horrible decision… the haphazard execution wasn’t particularly fair on the character or the performer.”

For Building the Band, the stakes are different but no less delicate. Reports suggest Payne appeared as a “guest judge” — possibly limited to a single episode — which might allow his segment to serve as a quiet tribute rather than a focal point. If so, it could land with grace.

But if his presence spans multiple episodes, the transition away from him will be unavoidably jarring. One episode he’s present; the next, he’s simply gone. And this isn’t about a diva tantrum or a scheduling clash — it’s about death. The edit can’t hide that.

As Stuart Heritage bluntly put it: “Don’t try to keep the dead alive.” A talent show must know its limits. Because no matter how high the production value or hopeful the contestants, Building the Band will now always be seen through the tragic lens of a life cut short.