the cruise season 3 episode 1

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The Cruise (2016)

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Life on board with the 1,400 crew who live and work for up to nine months a year on luxury cruise ship the Regal Princess.

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As over 1,000 crew beaver away to get the ship ready for new passengers, the bridge team have strong winds to contend with on embarkation day.

Scarlet Lady, one of the newest and most luxurious ships at sea, steams towards its first port of call: Costa Maya in Mexico, but the ship is in danger of missing its arrival slot.

Scarlet Lady, one of the newest and most luxurious ships, nears the end of a cruise.

Scarlet Lady, the flagship of Virgin's fleet of luxury cruise ships, is back in her home port of Miami. As satisfied sailors reluctantly bid farewell to their VIP lifestyles... a set of fresh faces eagerly come aboard!

The Scarlet Lady sets off on her journey to the crystal-clear waters of Bimini in the Bahamas; before she docks in paradise, there's a hive of activity on the ship.

Before they set sail, Glenroy and his team need to get over £250k worth of goods to the necessary departments, but a hitch ensues.

Cast & Crew

Sheridan Smith

Gerard McHugh

Harriet Leaf

Molly Fraser

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Documentary series that follows the crew who live and work on board the cruise ship Regal Princess.

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The 100 Best TV Episodes of All Time

By Rolling Stone

Rolling Stone

The thing that has always distinguished TV storytelling from its big-screen counterpart is the existence of individual episodes. We consume our series — even the ones that we binge — in distinct chunks, and the medium is at its best when it embraces this. The joy of watching an ongoing series comes as much from the separate steps on the journey as it does from the destination, if not more. Few pop-culture experiences are more satisfying than when your favorite show knocks it out of the park with a single chapter, whether it’s an episode that wildly deviates from the series’ norm, or just an incredibly well-executed version of the familiar formula.  

Still, that episodic nature makes TV fundamentally inconsistent. The greatest drama ever made , The Sopranos , was occasionally capable of duds like the Columbus Day episode. And even mediocre shows can churn out a single episode at the level of much stronger overall series.   For this Rolling Stone list of the 100 greatest episodes of all time, we looked at both the peak installments of classic series, as well as examples of lesser shows that managed to briefly punch way above their weight class. We have episodes from the Fifties all the way through this year. We stuck with narrative dramas and comedies only — so, no news, no reality TV, no sketch comedy, talk shows, etc. In a few cases, there are two-part episodes, but we mostly picked solo entries. And while it’s largely made up of American shows (as watched by our American staff), a handful of international entries made the final cut.

Fargo, “Bisquik” (Season 5, Episode 10)

Our list of classic episodes starts with its most recent entry, from a January 2024 installment of the great FX anthology drama inspired by the work of the Coen brothers. Fargo Season Five dealt with the growing sense of polarization in America, and the debts — both literal and figurative — that everyone feels they’re owed from everyone else. It all culminates in a long, surprising, utterly gorgeous scene where our firecracker of a heroine, Dot Lyon (Juno Temple) finds herself face-to-face with immortal sin-eater Ole Munch (Sam Spruell), who has come for a rematch of their clash in the season premiere. With her husband and daughter in the house with her, Dot declines to fight this terrifying man, and instead explains, patiently and with palpable kindness, that perhaps Ole Munch might prefer a world focused less on resentment and more on love. — Alan Sepinwall

The Cosby Show, “Theo’s Holiday” (Season 2, Episode 22)

There’s a temptation with these lists to immediately disqualify anything associated with the true monsters like Bill Cosby. But his crimes shouldn’t erase from the history books the wonderful work of everyone else involved in “Theo’s Holiday,” in which the Huxtables get together for an elaborate role-playing exercise to teach Theo (Malcolm Jamal-Warner) a lesson about the economics of life in, as he puts it, “the real world.” All the actors throws themselves into these larger-than-life characters, like Clair (Phylicia Rashad) as a cheery restaurant owner as well as a fast-talking furniture saleslady, or little Rudy (Keshia Knight Pulliam) as a powerful businesswoman. The idea of the whole clan teaming up to both mock Theo and help him out is so intoxicating that even his best friend Cockroach (Carl Anthony Payne II) admits, “I wish they did this kind of stuff at my house!” — A.S.  

South Park, “Scott Tenorman Must Die” (Season 5, Episode 4)

A show that features an anthropomorphized turd in a Christmas hat and at least one projectile vomit scene per episode, South Park has never been known as highbrow. Yet there are elements of “Scott Tenorman Must Die,” a Season Five episode focused on Cartman’s elaborate revenge plot against a high schooler who scammed him by selling his pubes, that are nothing less than virtuosic. There’s the plot itself, a retelling of Shakespeare’s Titus Andronicus, which culminates (spoiler alert, I guess) with the protagonist forcing a woman to unwittingly eat her own children. There’s the exquisite cameo appearance by Radiohead, the culmination of Scott Tenorman’s debasement. And there’s Cartman’s classic taunt, “Charade you are, Scott Tenorman,” a reference to an obscure track of Pink Floyd’s Animals. Co-creators Matt Stone and Trey Parker have often referred to “Scott Tenorman Must Die” as the apex of Cartman’s villainy, marking the character’s transition from obnoxious troll to next-level sociopath. But really, the episode marks another transition entirely: that of Stone and Parker from poop joke purveyors to dark-comedy masters. — Ej Dickson

You’re the Worst, “There Is Not Currently a Problem” (Season 2, Episode 7)

Here’s an odd but welcome trend: FX not only has an excellent track record with extremely niche half-hour comedies (some of which you’ll find higher on this list), but many of them manage to weave thoughtful, even dramatic, material about mental health issues into their usual humor. The hip-hop comedy Dave did it with a terrific episode where we learn that Lil Dicky’s hype man GaTa struggles with bipolar disorder. The final Reservation Dogs season revolved around a character who’d spent much of his life institutionalized. And You’re the Worst — a romantic comedy about two selfish, immature people who would be horrified to learn they were the main characters in a romantic comedy — found a new level with an episode revealing that Gretchen (Aya Cash) suffers from clinical depression. Much of “There Is Not Currently a Problem” is fairly comedic: a bottle episode where the gang is stuck together with Gretchen and Jimmy (Chris Geere) because a local marathon has caused a traffic jam in their neighborhood. But this forced closeness comes while Gretchen is trapped in her latest depressive episode, with no choice but to finally reveal her condition to Jimmy — and to admit that she’s less worried that he’ll reject her for it than that he’ll become the latest man convinced he can “fix” her. Cash conveys every bit of the pain and fear Gretchen is experiencing, in a way that enriches the laughter rather than undercutting it. — A.S.  

In Treatment, “Alex: Week Eight” (Season 1, Episode 37)

Most episodes of this drama were presented as real-time therapy sessions between Dr. Paul Weston (Gabriel Byrne) and one of his patients, or Paul visiting his own shrink. Occasionally, though, outsiders found their way into Paul’s office, like Alex Prince, Sr. (Glynn Turman), the father of one of Paul’s patients, seeking answers as to why his son committed suicide. Alex Jr. had spent most of his sessions to that point painting his dad as such a monster, it should have been impossible for any actor to both live up to those stories and not seem like a cartoon. Turman, in one of the best dramatic performances you will ever see on television, somehow did it, channeling both the bogeyman and the grieving father, in a riveting two-hander with Byrne. — A.S.   

Bob’s Burgers, “Tina-rannosaurus Wrecks” (Season 3, Episode 7)

Bob’s Burgers loves puns, but “Tina-rannosaurus Wrecks” is a groaner of a title even for them. No matter, because the episode so expertly combines many of the series’ hallmarks into one tight, funny, awkward package. Once again, a well-meaning parenting gesture by Bob (H. Jon Benjamin) goes awry, when he lets Tina (Dan Mintz) drive the family station wagon in a nearly empty parking lot, and she somehow crashes into the only other car there. Once again, the Belchers find themselves on the verge of financial calamity, when the other car turns out to belong to Bob’s ruthless rival, Jimmy Pesto (Jay Johnston). Once again, the family gets mixed up in the plans of a lunatic, when insurance adjuster Chase (Bob Odenkirk) forces them to aid him in an insurance fraud scheme in order to get out of the mess with Jimmy. And, once again, Bob’s lovable but terrible children somehow prove surprisingly useful, when Tina uses her brother’s Casio keyboard to get incriminating evidence that frees them from Chase’s clutches. All’s well that ends… not necessarily well, but at least not substantially worse than usual. — A.S.

Enlightened, “Consider Helen” (Season 1, Episode 9)

Today, it seems almost obligatory for cable and streaming shows to devote one or two episodes a season to presenting the POV of a minor character. When future White Lotus creator Mike White did it with his first HBO series, Enlightened , it was still relatively rare. And in this case, the shifts in perspective came as a welcome, even necessary, relief from all the time spent in the head of the show’s fascinating but maddening main character, Amy Jellicoe (Laura Dern), a toxically narcissistic former executive trying to rebuild her life after a nervous breakdown. With “Consider Helen,” White moved the focus to Amy’s mother Helen (played by Dern’s real-life mom, the great Diane Ladd), to present a day in her life, to show what a chore it is to have to deal with such a pathologically needy child, and to make clear that Enlightened itself understood exactly how its audience would respond to Amy. — A.S.

Maude, “Maude’s Dilemma” (Season 1, Episodes 9 & 10)

This two-parter, in which Maude (Bea Arthur) is shocked to discover that she’s pregnant again at 47, and has to decide whether she wants to get an abortion, was so ahead of its time, even the original Supreme Court verdict on Roe v. Wade was two months away. Well after Maude decided to end her pregnancy, the rest of television shied away from the subject, often having pregnant characters suffer conveniently-timed miscarriages before they could make up their minds and potentially alienate viewers and sponsors. But “Maude’s Dilemma,” with a teleplay by future Golden Girls creator Susan Harris, ran toward the thorny subject, and handled it with both humor and grace. — A.S.

Scrubs, “My Screw Up” (Season 3, Episode 14)

There are plenty of shows we call dramedies, even though they’re really just half-hour dramas, as well as lots of alleged comedies that aren’t particularly interested in making the audience laugh. The hospital show Scrubs , though, was remarkably comfortable at balancing silliness and sadness throughout its run, especially in “My Screw Up.” Brendan Fraser reprises his role as Ben, wisecracking brother-in-law to John C. McGinley’s bitterly sarcastic Dr. Cox. Ben’s leukemia appeared to be in remission when last we saw him, so there’s room for him to relentlessly tease J.D. (Zach Braff) about having made out with both of Ben’s sisters, as well as a lighthearted subplot where Turk (Donald Faison) tries to convince Carla (Judy Reyes) to take his name when they’re married, in exchange for having a mole she hates removed. But things also get plausibly serious, even before we get to the Sixth Sense -style twist: Ben was the patient whose death earlier in the episode caused a rift between Cox and J.D., and Cox has been in denial about it ever since. Even the revelation that Cox has been imagining conversations with his dead friend is reflective of the show’s juggling of comedy and drama — it’s the dark mirror of how Scrubs generates so much humor from taking us inside the highly-distractible mind of J.D. — A.S.    

Watchmen, “This Extraordinary Being” (Episode 6)

Even for a series as sophisticated and layered as Watchmen , this episode is an acrobatic feat. In the most dramatic departure from the show’s source material, the 1980s comic of the same name, “This Extraordinary Being” tells the origin story of one of this world’s seminal vigilante superheroes, Hooded Justice (a man lionized in a modern-day TV show-within-the-show that kicks off the episode). Told almost entirely in black and white, it sees our current-day heroine Angela Abar (Regina King) — herself a vigilante who goes by Sister Night, when she’s not working her day job as a cop — sucked into the memories of her grandfather, Will Reeves, after swallowing a bottle of his “nostalgia pills.” Transported to 1930s New York, we watch Will (played as a young man by Jovan Adepo), and sometimes Angela-as-Will, join the NYPD, where he encounters racism so virulent, his fellow cops stage a near-lynching, covering him with a hood and briefly hanging him from a tree as a warning to stand down. The message he takes away, though, is that there is plenty of evil to fight in the world, even in his own precinct. He just has to do it undercover — appropriating for his costume the very hood and noose that had been used to terrorize him. With balletic camerawork, a period soundtrack of big band standards, and visceral performances from King and Adepo, the episode is a sweeping achievement that inverts a fundamental truth of the series’ world — this revered hero that everyone assumed was white is Black — and underscores one about ours: Justice often comes at a steep price. — Maria Fontoura

The Golden Girls, “Mrs. George Devereaux” (Season 6, Episode 9)

The Golden Girls experienced so many adventures together, as Dorothy (Bea Arthur), Rose (Betty White), Blanche (Rue McClanahan), and Sophia (Estelle Getty) lived together as pals and confidantes. But “Mrs. George Devereaux” is a truly touching treatment of grief and loss. Blanche, the most frivolous of the Girls (and the funniest), opens the door and beholds a strange sight: her late husband George, telling her that he faked his death and now wants her back. The episode explores how all the characters live with their different kinds of grief — and how that grief is what brought them here together in the first place. It has the most emotional resonance of any Golden Girls episode, but it’s also the funniest in terms of pure farcical comedy, as Dorothy gets swept up in a bizarre love triangle with two 1970s heartthrobs, guest stars Sonny Bono and Lyle Waggoner. As usual, Blanche gets the best line, when she confronts Cher’s ex-husband with the command, “Sonny Bono, get off my lanai!” — Rob Sheffield

SpongeBob SquarePants, “Pizza Delivery” (Season 1, Episode 5)

The absurdist humor that made SpongeBob SquarePants beloved across multiple generations is already at full strength in this early episode. At the end of another shift at the Krusty Krab, a customer calls in to order a pizza to be delivered to his home. Never mind that the restaurant doesn’t make pizzas: Mr. Krabs (Clancy Brown) sees a few bucks to be earned, and somehow turns a Krabby Patty burger into a pizza, complete with box, then orders SpongeBob (Tom Kenny) and Squidward (Rodger Bumpass) to take it to its destination. Instead, SpongeBob’s usual difficulty with driving strands the odd couple far from Bikini Bottom, trying various bizarre methods to get home — all of them borrowed from the “pioneers,” like the idea of riding on giant rocks. In the end, we get one last, great punchline: The customer lives right next door to the Krusty Krab, and they could have just walked the pizza over to him. — A.S.

Roseanne, “War and Peace” (Season 5, Episode 14)

Both in its Nineties heyday and its modern reinvention as The Conners , Roseanne had a real knack for blending domestic comedy with candid material about poverty, addiction, sexuality, and more. In this terrific conclusion of a two-part story, Dan (John Goodman) gets hauled off to jail after beating up Fisher, the abusive boyfriend of Jackie (Laurie Metcalf), while Roseanne tends to her sister, and Darlene (Sara Gilbert) gets to briefly relish the sight of her disciplinarian father behind bars. “War and Peace” doesn’t hide from the horror of Jackie’s experience, but even its dark moments are flavored with sass, like when Roseanne warns Fisher, “If you ever come near her again, you’re gonna have to deal with me, and I am way more dangerous than Dan. I got a loose-meat restaurant. I know what to do with the body!”  — A.S.

The Dick Van Dyke Show, “Never Bathe on Saturday” (Season 4, Episode 27)

Somehow, the best showcase for Dick Van Dyke and Mary Tyler Moore as one of TV’s all-time couples is in an episode where Moore is frequently off-camera. A romantic getaway for Rob and Laura goes horribly awry when Laura’s big toe gets stuck in a hotel bathtub faucet, the bathroom door gets locked, and Rob makes the ill-timed decision to draw a fake mustache on his upper lip that he can’t wipe off — leading every hotel worker who arrives to help assuming he’s up to no good. Written by Dick Van Dyke Show creator Carl Reiner, this installment keeps finding new and amusing ways to escalate the sticky situation, and to push the outer edge of the envelope of censorship circa 1965, with a story about the risk of other people seeing Laura naked. By this point in the series’ run, Reiner knew exactly how to use his leading man’s fluency with physical comedy, and how his leading lady’s voice on the other side of that locked door was all that was needed to sell Laura’s dismay at being trapped in such an embarrassing position. — A.S.

Black Mirror, “San Junipero” (Season 3, Episode 4)

What would your ideal afterlife look like? Black Mirror — the British dystopian anthology series with a nihilistic approach to rapidly-developing technology — is known for being a show that doesn’t only answer questions about the future but depicts the worst possible alternative you’ve never even considered. Maybe that’s why, when fans were introduced to the couple at the heart of “San Junipero,” and found the answer of the ideal afterlife to be an Eighties beach town party that never ends, they responded so fondly. Yorkie (Mackenzie Davis) and Kelly (Gugu Mbatha-Raw) meet on a night out and quickly fall into a romantic entanglement. But what begins as a love story about two lesbians finding each other in a heaven on earth is quickly revealed to be a virtual reality — one where the elderly and those who have died can be uploaded and then live on forever as their younger selves. The two — both dying in real life — must deal with whether or not the love they’ve found in pixels is enough for both of their forevers. It’s a touching love story that embodies Black Mirror at its very best. — CT Jones

Sex and the City, “My Motherboard, My Self” (Season 4, Episode 8)

Family is, arguably, everywhere in Sex and the City — from those the core four start with their partners to the ones they marry into (have there ever been more terrifying mothers-in-law than Frances Sternhagen or Anne Meara?) and the one they build just among themselves. But when it comes to the blood relations of Carrie (Sarah Jessica Parker), Charlotte (Kristin Davis), Miranda (Cynthia Nixon), and Samantha (Kim Cattrall), the show is surprisingly thin, which is what makes “My Motherboard, My Self” stand out so much. It’s not that the other subplots aren’t memorable — the endless physical comedy of Samantha losing her orgasm; Carrie’s Macintosh meltdown and trip to Manhattan 1990s mainstay Tekserve (R.I.P.), where technician Dmitri (a brilliantly dry Aasif Mandvi) rags on her for not “backing up” — but Miranda’s turn here feels different. As she attends her mother’s funeral in Philadelphia (where she is, apparently, from, and where she has, apparently, multiple siblings), we see a more human side of a character who until this point has largely maintained her station as “the analytical one.” (Though it’s notable that the most intimate moment she has in the City of Brotherly Love isn’t with a direct relation, but the fitting room attendant trying to sell her a bra.) While the show has been criticized for celebrating solipsistic behavior, this episode is a prime example of the four women grappling with their ability to be vulnerable. — Elisabeth Garber-Paul

Broad City, “Knockoffs” (Season 2, Episode 4)

Both stories in the stoner comedy’s most laugh-out-loud installment involve imitation products. In one, Ilana (Ilana Glazer) and her mother Bobbi (Susie Essman) travel into the sewers of Manhattan to obtain counterfeit designer purses. In the other, Abbi (Abbi Jacobson) is shocked when her boyfriend Jeremy (Stephen Schneider) asks her to peg him with a strap-on — a development that so thrills Ilana, she does an upside-down twerk on her friend’s behalf — then has to scramble to find a reasonable facsimile after her dishwasher melts Jeremy’s custom-made dildo. In the end, the replacements prove shoddier than the real thing, but “Knockoffs” is so perfectly constructed, and so memorable, that when the friends met Hillary Clinton in a later episode later, among the first things a flustered Abbi can think to tell her is, “I pegged!” — A.S.

The Fresh Prince of Bel-Air, “Papa’s Got a Brand New Excuse” (Season 4, Episode 24)

When The Fresh Prince of Bel-Air went on the air in 1990, Will Smith was such an inexperienced actor that he literally mouthed the lines of his co-stars while they spoke. But it didn’t take long for Smith to learn his craft and land roles in dramatic movies like Six Degrees of Separation . That’s why the creative team behind this series knew he was ready for a Season Four episode where Will reunites with his father (played by Ben Vereen) 14 years after he walked out on the family, only to see him leave once again after they reconciled. “I’ll be a better father than he ever was, and I sure as hell don’t need him for that, ’cause ain’t a damn thing he could ever teach me about how to love my kids!” Smith roars, before breaking down in the arms of Uncle Phil. “How come he don’t want me, man?” For anyone who grew up without a father, the moment cut deep. “I shed a tear til this day every time I see this episode,” LeBron James wrote on Instagram in 2015. “This hit home for me growing up and I couldn’t hold my tears in. Til this day they still coming out when this episode come on.” — Andy Greene

Doctor Who, “Blink” (Season 3, Episode 10)

The scariest, cleverest episode of the British sci-fi institution Doctor Who features monsters who are elegant in their simplicity: the Weeping Angels, predatory aliens who resemble stone statues of angels, and who can only move when you’re not looking at them. Writer Steven Moffat places these disturbing creatures in service of a story that barely features the Doctor (David Tennant) and his then-companion Martha Jones (Freema Agyeman), instead focusing on a young Carey Mulligan as Sally Sparrow, a woman who keeps running afoul of the Weeping Angels. Her only hope of surviving the ordeal comes in the form of a DVD Easter Egg that creates the illusion of the Doctor having a conversation with her, and even the Time Lord himself struggles to adequately explain all the seeming paradoxes contained within Moffat’s tale. “People assume that time is a strict progression of cause to effect,” he tells Sally, “but actually from a non-linear, non-subjective viewpoint, it’s more like a big ball of wibbly-wobbly, timey-wimey stuff.” Yet it all makes exciting sense by the end. — A.S.

Alias, “Truth Be Told” (Season 1, Episode 1)

Throughout his career, J.J. Abrams has struggled with endings, as anyone who sat through The Rise of Skywalker can tell you. Few, though, are better at beginnings, and the pilot episode of his spy drama Alias is so fantastic that it bought years of goodwill from viewers, no matter how nonsensical the plots grew as the show went along. While undercover agent Sydney Bristow (Jennifer Garner) is in Taiwan being interrogated by a torture expert, we flash back through the events that led her here, starting with her double life as a grad student by day, CIA agent by night. This turns out to be a triple life when Sydney discovers that she’s been tricked into working for a terrorist organization called SD-6, and that her father, Jack (Victor Garber), is secretly her co-worker. Oh, and Sydney’s fiancé gets murdered on the order of SD-6 boss Arvin Sloane (Ron Rifkin), plus a half-dozen other characters have to be introduced, Sydney has to try on multiple hair colors and accents, and more. Between the fractured timeline and the multiple lies Sydney has to live at once, “Truth Be Told” should be absolute gibberish. But Abrams, in one of his earliest efforts as director as well as writer, keeps everything coherent and thrilling in an episode that made him into a star just as much as it did Jennifer Garner. — A.S.  

It’s Always Sunny in Philadelphia, “Mac Bangs Dennis’ Mom” (Season 2, Episode 4)

Most of the time, the Paddy’s Pub gang aim to screw over other people but really just end up screwing themselves, and that’s just what happens in this crude, tangled adventure. When Frank (Danny DeVito) promotes Charlie (Charlie Day) from a sleazy janitor to manager of the bar, he sets in motion a dizzying sequence of events that puts each character’s Achilles’ heels on full display: Mac’s (Rob McElhenny) sensitivity, Frank’s lost youth, Dennis’ (Glenn Howerton) pride, Charlie’s unrequited love, and Dee’s (Kaitlin Olson) conniving impulses. In order to get out of the grunt work Charlie left behind, Dennis goes on a mission to sleep with the unnamed character the Waitress (Mary Elizabeth Ellis), but ends up setting his sights on Mac’s mom (and later Charlie’s) when he finds out Mac banged his mom (and Frank’s ex-wife). Meanwhile, Charlie draws up a plan to finally bang the Waitress; Dennis’ sister Dee isn’t looking for sex, just power, as she plays the henchman to Charlie’s mastermind; and Frank just wants to bang any “young broad” who will give him the time of day. “That doesn’t make any sense,” Mac says to Charlie after encouraging Mac to sleep with Dennis’ mom. Charlie’s response pretty much sums up the entire FX sitcom: “It doesn’t have to.” — Maya Georgi

Grey’s Anatomy, “It’s the End of the World/As We Know It” (Season 2, Episodes 16 & 17)

Hearing main character Meredith Grey (Ellen Pompeo) refuse to get out of bed for fear that she’ll die at work should have been a clue that it wouldn’t be a good week. But viewers were still terrified when the series seemingly tried its hardest to make every main character (plus guest stars Christina Ricci and Kyle Chandler) have near-death experiences in this two-parter, which began airing after Super Bowl XL. Bailey (Chandra Wilson) is in labor at the hospital waiting for her husband, who won’t answer his phone. Derek (Patrick Dempsey) can’t concentrate on saving his patient’s life while the man’s cell keeps going off (put two and two together here). And when a newbie paramedic shoves her hands into the chest cavity of a patient who’s bleeding out, it’s Meredith who learns that what’s currently killing him is unexploded ammunition that could go off at any minute, taking her and the entire O.R. with it. The bomb squad evacuates the floor, but if Derek leaves, Bailey’s husband dies. Meredith steps in for the paramedic, who’s had a panic attack, so now, if Meredith moves, she and Derek and Bailey’s husband die. Richard (James Pickens, Jr.) has a heart attack from the stress of the evacuation. Izzy (Katherine Heigl) and Alex (Justin Chambers) are off hooking up in a closet, which is also life-threatening if you consider Alex’s numerous confirmed STDs. And if Bailey, who is refusing to push without her husband being present, doesn’t give birth, she and the baby will die. It’s an all-in, melodramatic pivot for a series that has since become known for putting its main characters in life-threatening situations. And yet, in the midst of these increasingly heightened stakes, the standout scene remains George’s (T.J. Knight) gentle cajoling that finally convinces Bailey to push — and to name her son after him. “You’re Doctor Bailey,” he says, in a scene that remains one of the most tender of the entire series. “You don’t hide from a fight.”  — CTJ

Girls, “American Bitch” (Season 6, Episode 3)

If ever Hannah Horvath was a voice of a generation, this was it. Airing just a few months before the #MeToo movement exploded in 2017, this quiet cri de coeur — in which famous author Chuck Palmer (Matthew Rhys, nimble as ever) confronts Hannah (Lena Dunham) about a blog post she wrote slamming his alleged misconduct with several college girls — taps into every conversation we’re still having about power and consent. Chuck summons Hannah to his stately apartment, where she attempts to explain why taking advantage of his literary stature to hook up with young women is predatory, while he hurls every trick in the Bad Men Handbook at her: flattery (“You’re very bright”); faux honesty (“I’m a horny motherfucker with the impulse control of a toddler”); defensiveness (“These girls throw themselves at me!”); casual intimacy (“You’re more to me than just a pretty face”). With astonishing precision and economy, Dunham turns the tables such that by the end of the episode — that is, by the time Chuck and Hannah are lying clothed atop his bed, and he takes out his dick and flops it onto her thigh — Hannah has fallen prey to the very manipulations she was calling out. A hallmark moment in a show that will only age better with time. — M.F.

Everybody Loves Raymond, “Baggage” (Season 7, Episode 22)

Like Carl Reiner once did with The Dick Van Dyke Show , Everybody Loves Raymond creator Phil Rosenthal liked to come up with stories by asking his writers what they’d been up to with their families lately. More often than not, there was a conflict that mapped pretty easily onto the Barone family, like an argument that writer Tucker Cawley had with his wife about who would put away the last suitcase left over from a recent vacation. The fictionalized version of it becomes a cold war of sorts between Ray (Ray Romano) and Debra (Patricia Heaton), even as Marie (Doris Roberts) compares the stalemate to a fight that once almost wrecked her marriage to Frank (Peter Boyle). (This leads to one of the great sitcom lines that makes zero sense out of context and seems absolutely logical in context: “Don’t let a suitcase filled with cheese be your big fork and spoon.”) The whole thing culminates in a slapstick battle between the spouses, demonstrating the impressive physical-comedy chops that Romano and Heaton developed over the series’ run. — A.S.  

King of the Hill, “Bobby Goes Nuts” (Season 6, Episode 1)

Some episodes made this list because they do innovative things with episodic structure, or because they have something deep to say about the human condition. This one’s here because Bobby Hill (Pamela Adlon) kicks a bunch of guys in the groin. Well, no. This one’s here because he learns to do this from taking a women’s self-defense class at the Y — at the unwitting urging of Hank (Mike Judge), who just wants his son to learn how to stand up to bullies — and incorporates not only the crotch attacks, but a high-pitched screech of, “THAT’S MY PURSE! I DON’T KNOW YOU!” every time he does it, just like he and his middle-aged, female classmates were taught. Sometimes, you just have to cherish the little things, you know? — A.S.  

Insecure, “High-Like” (Season 3, Episode 5)

The struggling women of Insecure can’t even catch a break when they head to Coachella to see Beyoncé headline. Newly unemployed Issa (Rae) needs everything to go perfectly for the group’s last hurrah before Tiffany (Amanda Seales) gives birth, while Molly (Yvonne Orji) is preoccupied with work, and Keli (Natasha Rothwell) just wants to have a good time. The girls (minus Tiffany, or so we thought…) take edibles and pop so much MDMA they are forced to miss Bey, instead finding themselves in a drug-fueled frenzy that makes the chaos and humor feel like they’re seeping through the screen. Keli takes “Beyoncé or bust” too far and pisses herself after getting Tasered by festival security. Tiffany cries in a closet and tells her husband, “It’s our weed, baby” after admitting to “one bite” of a pot brownie. Molly bugs out and types nonsense on her work laptop, while Issa insists the mess of the night is all her fault. For an episode that starts with a silly Thug Yoda appearance and ends with the abrupt, emotionally-charged return of Issa’s ex-boyfriend, Lawrence (Jay Ellis), it packs in one hell of a trip. — M.G.

Game of Thrones, “A Knight of the Seven Kingdoms”  (Season 8, Episode 2)

Because Game of Thrones presented spectacle on a scale never before seen on television, it’s easy to forget that the series first became beloved when its budget was much smaller and it couldn’t afford to depict massive battles, dragon attacks, or ice zombie hordes. That stuff, when it came with frequency, was icing on the cake that was the deep roster of memorable characters George R.R. Martin had created, who the GoT writers brought to such vivid life. Even in its later, more epic seasons, the show was still most potent when it placed people first and carnage second. “A Knight of the Seven Kingdoms” takes place the evening before a coalition of heroes from across Westeros will face the Night King and his undead army. It’s almost all talking, as the characters have the kinds of conversations you’d expect when they don’t believe they’ll survive the next day. The most powerful of these is the moment that provides the episode with its title, as Jaime Lannister (Nikolaj Coster-Waldau) realizes that, by the laws of Westeros, he can fulfill the dreams of his old friend Brienne of Tarth (Gwendoline Christie) and grant her the knighthood she spent her whole life believing her gender disqualified her from achieving. The actual battle with the Night King winds up being the most visually underwhelming episode of the series, but writer Bryan Cogman’s love letter to these characters still resonates years later.  — A.S.

The Good Place, “Michael’s Gambit” (Season 1, Episode 13)

TV has a mixed track record with twist endings. For every Twilight Zone , it seems there are a half-dozen disasters like the Dexter season where Edward James Olmos was a ghost, or the Westworld season where Ed Harris and Jimmi Simpson were playing the same character — both ideas that fans sniffed out long before those series’ producers expected them to. But then there is the marvelous conclusion to the first season of the metaphysical comedy The Good Place . For the previous 12 episodes, Eleanor (Kristen Bell) and her friends had struggled to figure out why the seemingly perfect afterlife in which they found themselves had so many obvious flaws. In the end, it’s dum-dum Eleanor who’s the only one smart enough to see through the genial exterior of their host, Michael (Ted Danson), and recognize that, for all their worry of ending up in the Bad Place, “ This is the Bad Place!” In hindsight, the idea was clearly seeded; some viewers did guess it in advance, but not so many that it ruined the surprise for everyone else. Rather than undercut everything that happened before, the twist is in keeping with the show’s basic premise about heaven being not all it’s cracked up to be. And it set the series off in new, increasingly wild directions, rather than repeating the same jokes about fro-yo for years on end. — A.S.

Star Trek, “City on the Edge of Forever” (Season 1, Episode 28)

This episode, written by author Harlan Ellison, offers one time-travel tragedy to rule them all. When a deliriously ill Dr. McCoy (DeForest Kelley) staggers through a time portal on a mysterious planet, he somehow alters history enough that the Enterprise is no longer in orbit above the away team. It’s up to Kirk (William Shatner) and Spock (Leonard Nimoy) to follow their friend, winding up in Depression-era New York, where interplanetary lothario Jim Kirk finds himself falling hard for do-gooder Edith Keeler (Joan Collins). Unfortunately, Spock figures out that Edith is a pivot point for the future of humanity, where her life will ironically lead to centuries of pain and misery, while her death will lead to the timeline our heroes know well. Torn between his duty to the galaxy and the desires of his own heart, Kirk allows Edith to be fatally struck by a car, in a tearjerker ending that wound up echoing throughout the future of TV science fiction. — A.S.

My So-Called Life, ”Pilot” (Episode 1)

Meet Angela Chase, a high school sophomore who offers us a look into her life in a mundane suburb of Pittsburgh. She has a major crush on Jordan Catalano (“I just like how he’s always leaning. Against stuff. He leans great”) and is quite possibly the only person in history to be jealous of Anne Frank (“She was stuck in an attic for three years with this guy she really liked”). My So-Called Life premiered 30 years ago, giving teens a much more realistic portrayal of what it’s like to endure the “battlefield” that is high school over primetime soap operas like 90210. And the pilot lays that groundwork perfectly, with Angela (Claire Danes) narrating as she navigates her strained relationship with her mom, outgrows her best friend and abandons her for two cool, kindred spirits, and, yes, watches Jordan (Jared Leto) excel at leaning. A battlefield indeed. — Angie Martoccio

Master of None, “Thanksgiving” (Season 2, Episode 8)

Though Aziz Ansari was star, frequent writer, and occasional director of his series about an actor named Dev trying to find meaning in his life, he periodically turned over episodes from the first two seasons to other characters, demonstrating that their stories had just as much richness as Dev’s, if not more. “Thanksgiving” tracks many years of the holiday, as Dev’s best friend Denise (Lena Waithe, who co-wrote the episode with Ansari) gradually comes out to her family, slowly but surely wearing down the resistance of her mother (Angela Bassett), aunt (Kym Whitley), and grandmother (Venida Evans). Partly inspired by Waithe’s own coming-out story, the warm and knowing episode was such a creative success that when the series finally returned for a third season four years later, it was built entirely around Denise’s marriage, with Dev now a minor figure in what was once his own show. — A.S.

For All Mankind, “The Grey” (Season 2, Episode 10)

The second season of this sci-fi drama, set in an alternate timeline where the Soviets beat America to the moon, triggering a never-ending space race, is the platonic ideal of the intensely serialized, “10-hour Movie” approach so much of dramatic television has taken in the years since The Wire , and that so few shows actually do well. Everything that happens throughout Season Two, even the parts that seem slow and pointless when you first watch them, have thrilling payoffs in the finale , where Earth seems on the verge of nuclear Armageddon, while American astronauts and Soviet cosmonauts wage war on and around the moon. All the earlier subplots matter, like Gordo (Michael Dorman) putting his new devotion to jogging to good use when he and ex-wife Tracy (Sarah Jones) have to run across the lunar surface, clad only in spacesuits jury-rigged out of duct tape, to prevent a nuclear meltdown. — A.S.

St. Elsewhere, “Time Heals” (Season 4, Episodes 17 & 18)  

This innovative hospital drama pushed the boundaries of its format throughout its run. One episode was set largely in the afterlife. Another told a quartet of stories about the stages of life from birth through death. The most audacious, and satisfying, of these, is the two-part “Time Heals,” which aired over consecutive nights. As St. Eligius prepares to celebrate its 50th anniversary, we get glimpses of the hospital across the decades, and see how Dr. Westphall (Ed Flanders), Dr. Craig (William Daniels), and the other senior members of the staff each came to work there. Beyond all the backstory — including a great guest turn by Edward Hermann as Father McCabe, the priest who founded the hospital and helped raise the orphaned Westphall — “Time Heals” impresses because each vignette from the past is presented in the style of movies (or, in some cases, television) of that period: Scenes in the 1930s are in black and white, ones in the Sixties are much more brightly lit, and so on. — A.S.

Larry Sanders, “Flip” (Season 6, Episode 12)

“You could sense there would never be another show like that again,” The Larry Sanders  Show actress Ileana Douglas said of the show’s final scene. “And there hasn’t been.” As Rip Torn, Jeffrey Tambor, and show creator Garry Shandling group-hug in an empty studio, a poignant sadness infuses the acerbic wit that Shandling’s revolutionary series displayed for six seasons. Set around Larry’s final show, the Peabody Award-winning episode features gags that remain timeless: Jim Carrey serenading Larry on-air while excoriating him off-air, Tom Petty telling Clint Black to “quiet down, cowpoke” before getting into a fistfight with Greg Kinnear, and Carol Burnett and Ellen DeGeneres catching Larry in a lie that destroys both the show-within-the-show itself and Larry’s glass-fragile ego. It’s a brilliant ending that balances pathos (“I don’t know exactly what I’m going to do without you,” Larry says to his audience before choking up. “God bless you. You may now flip”) with the series’ trademark send-up of Hollywood phoniness (Torn instinctively telling a bumped Bruno Kirby on the last show that “we’ll have you on another time.”) The show that invented the modern sitcom and stuck the landing perfectly. — Jason Newman

Orange Is the New Black, “Toast Can’t Never Be Bread Again” (Season 4, Episode 13) 

The Netflix prison series is the only show in Emmy history to be reclassified from the comedy categories to the drama ones, in part because its tone was so elusive, even to the people making it. But when Orange wanted to get totally serious, it was incredible, like in this episode set in the aftermath of the shocking death of beloved inmate Poussey at the hands of a guard. As Taystee (Danielle Brooks) and the other women grieve the loss of Poussey, then fume at the realization that the guard will go unpunished while most of them are stuck behind bars for much lesser crimes, their pain and rage boils over into a prison riot that will take up the entire following season. — A.S.

The Andy Griffith Show, “Opie the Birdman” (Season 4, Episode 1)

The Andy Griffith Show set the template for broad, light, homespun small-town humor, but the best episode of the long-running 1960s show is as raw as a modern prestige TV feelings-fest. Gifted a slingshot by Don Knots’ iconically bumbling deputy Barney Fife, a young Opie Taylor (played by a nine-year-old Ron Howard) accidentally kills a bird, orphaning its three young offspring. “You gonna give me a whippin’?” Opie asks his father, Sheriff Andy Taylor, played by the show’s star, Andy Griffith. Not this time. Instead, TV’s all-time cool-headed dad simply opens Opie’s window so his boy can listen to the newly motherless baby birds in the tree outside, filling the Mayberry night with their desolate emo chirps. Howard later said the tears he cried in the scene where he kills the bird were real, because he was thinking of his recently deceased dog. The episode doesn’t have any big laughs, a bold move considering it was a season-opener. But by breaking with formula, they made a heartbreaking classic. — Jon Dolan

Good Times, “The I.Q. Test” (Season 2, Episode 7)

As the Seventies sitcom’s iconic gospel theme song noted, there was a lot of scratchin’ and survivin’ to do for the Evans family in Chicago’s Cabrini-Green housing projects. And the Maude spinoff was so smart in illustrating the many ways the deck was stacked against Florida (Esther Rolle), James (John Amos), and their kids. In “The I.Q. Test,” everyone is shocked when gifted youngest son Michael (Ralph Carter) flunks a school standardized test, until Michael explains that he refused to finish after recognizing that the test is racially biased, with questions geared towards the experience of reasonably well-off white children. The episode nimbly addresses systemic problems in a way that few shows were even thinking about at the time, much less willing to incorporate into their scripts. And it does it while still having some fun with the situation, through the obliviousness of the white test proctor. — A.S.

Moonlighting, “Atomic Shakespeare” (Season 3, Episode 7)

At the point “Atomic Shakespeare” rolled around in the third season of Moonlighting , the private detective comedy had already established two things: 1) that the onscreen chemistry of co-stars Bruce Willis and Cybill Shepherd was as scorching as any couple — even an unconsummated one like this — ever put on television; and 2) that the show’s writers didn’t feel in any way bound by the conventions of genre or era, as they had already done a black-and-white film noir tribute, as well as put Willis’ David into a musical number helmed by Singin’ in the Rain director Stanley Donen. So it felt wholly natural to translate the familiar David and Maddie dynamic back to Shakespearean times, with a postmodern retelling of The Taming of the Shrew , with Willis and Shepherd playing David and Maddie-flavored versions of Petrucchio and Kate, and that at various points features ninjas, a horse wearing sunglasses, and wannabe blues singer Willis wailing on the classic rock hit “Good Lovin’.” The episode even gets away with rewriting the Bard: Instead of Kate submitting to Petrucchio’s insistence that the sun is in fact the moon, as a way of humoring her new husband, she instead stands her ground and gets him to admit that, “My wife hath called it: ’Tis the sun, and not the moon at all!” — A.S.

Severance, “The We We Are” (Season 1, Episode 9)

By the time we reach the Season One finale of the satirical workplace thriller Severance , the employees of the macrodata refinement department of Lumon Industries have reached their boiling point. Part of a cohort who volunteered for a surgical procedure that separates their work selves, called “Innies,” from their personal selves, called “Outies,” they all live bifurcated lives, where one half has no clue what the other half does. But now, the Innies, sure they’re getting the short end of the deal, are fed up. With the help of Dylan (Zach Cherry), who hacks into a control room, Helly (Britt Lower), Mark (Adam Scott), and Irving (John Turturro) find a way to inhabit their Outie personas — and, as a result, learn all kinds of things about themselves that they aren’t fully prepared to know. Mark faces his wife’s death in a car accident. Irving tries to reignite his workplace romance with Burt (Christopher Walken), who retired his Innie self. And Helly is shocked to discover she’s descended from the family that championed Lumon’s severance procedure. A master class in building and maintaining tension, the episode reaches a heart-racing crescendo before an abrupt, cliffhanger ending. Premiering two years after the pandemic, as many employees returned to the office with shifted priorities and revamped notions of “work-life balance,” the Dan Erickson-created, Ben Stiller -directed series captures something essential about our modern malaise. But as the mirror maze of this episode shows, completely severing work and home may not be the fix we think it would. — Kalia Richardson

Review With Forrest MacNeil, “Pancakes, Divorce, Pancakes” (Season 1, Episode 3)

In this cult comedy, Andy Daly plays Forrest MacNeil, a pompous fool who has committed himself to the self-destructive task of undergoing and reviewing whatever life experiences his viewers ask him to. Installments prior to this one saw Forrest becoming addicted to cocaine, acting racist, and trying to make a sex tape. But the true folly of the exercise doesn’t hit until the third episode, where two different binge-eating assignments are wrapped around Forrest having to divorce his wife, without even being allowed to explain to her why he’s doing it. It’s a classic case of a joke building and building, until we get a traumatized Forrest declaring to his awful audience, “Perhaps I simply understood, from the darkest corner of my soul, that these pancakes couldn’t kill me, because I was already dead.” — A.S.

Homeland, “Q&A” (Season 2, Episode 5)

When this spy thriller about domestic terrorism ended its first season without brainwashed double agent Nicholas Brody (Damian Lewis) going through with a planned suicide bombing, it felt like a failure of nerve from the creators of a show that would have been best served as a one-and-done. But the first half of Season Two, featuring an ongoing cat-and-mouse game between Brody and CIA analyst Carrie Mathison (Claire Danes), was excellent, and led to the series’ single-best episode, where Brody gets arrested and Carrie is given a limited window to interrogate him in the hopes of turning him into an asset. Danes and Lewis put on a mesmerizing acting duet, so potent it’s easy to ignore a silly subplot about Brody’s daughter Dana (Morgan Saylor) and her boyfriend Finn (a young Timothée Chalamet) getting into a hit-and-run incident. It was largely downhill for Homeland from here, at least until the producers were finally willing to kill off Brody for real, but that takes nothing from “Q&A.” — A.S.

China Beach, “Hello Goodbye” (Season 4, Episode 16)

Long before cable and streaming dramas began to experiment with fractured timelines, there was the final season of this wildly underrated series about the staff of a U.S. Army hospital base during the Vietnam War. Episodes bounced back and forth between events at various points in the war and in the lives of nurse Colleen McMurphy (Dana Delany) and her surviving colleagues throughout the Seventies and Eighties. Much of the series finale takes place in 1988, as recovering alcoholic McMurphy warily attends a China Beach reunion event, then joins her pals in an impromptu (and incredibly poignant) visit to the Vietnam Veterans Memorial wall in Washington, D.C. But “Hello Goodbye” also takes us back to China Beach one last time, to show us McMurphy caring for a dying soldier she knows she can’t save, as a closing reminder of the costs of war, whether or not you fight in them. — A.S.  

The Jeffersons, “Sorry, Wrong Meeting” (Season 7, Episode 14)

All in the Family , the parent show of The Jeffersons , had already done a story about the Ku Klux Klan four years prior to the KKK-themed “Sorry, Wrong Meeting.” But the very nature of the spinoff and its leading man made the latter episode feel anything like a rehash. A racist neighbor decides that he can’t tolerate the presence of Black tenants like George Jefferson (Sherman Hemsley) and hosts a Klan rally to drive this undesirable element out of the building. But he invites the supremely WASPy Tom Willis (Franklin Cover), not realizing that Tom is best friends with George. Tom mistakenly assumes that the meeting will be about a recent spate of break-ins, and later suggests George attend with him. It’s a perfect set-up for both comedy and drama, as an oblivious George enters and cheers on what he thinks is rhetoric aimed solely at low-class criminals, rather than an upstanding businessman like himself, while the meeting’s vile host is shocked by his presence. But then some earlier business about CPR training leads to a great, dramatic climax: This spectacle agitates the Klan leader into a heart attack, and George turns out to be the only one in the room capable of saving the life of someone who thinks of him as less than human. — A.S.

What We Do in the Shadows, “On the Run” (Season 2, Episode 6)

For a show that specializes in absurdist, nonsensical humor, creator Jemaine Clement and company take it next-level with “On the Run.” The episode plucks pompous vampire Laszlo ( Matt Berry , who in July finally got an Emmy nomination for his work on this show) out of Staten Island, where he lives with four roommates — his undead wife Nadja (Natasia Demetriou), energy vampire Colin Robinson (Mark Prosch), 760-year-old Nandor (Kayvan Novak), and Nandor’s familiar Guillermo (Harvey Guillén) — and relocates him to small-town Pennsylvania, where he’s hoping to escape an old friend (Mark Hamill) who’s come to collect on a nearly two-century-old debt of unpaid rent. A stranger in a strange land, Laszlo goes undercover as a “regular human bartender” named Jackie Daytona and, naturally, becomes an avid supporter of the local girls’ volleyball team. His disguise of dark-wash jeans and a toothpick is enough to fool his pursuer… until a mirror (and the removal of the toothpick from his mouth) exposes his true identity. Fully withdrawn from the show’s usual despondent setting, “On the Run” humorously plays Laszlo’s macabre nature against his desire to help 14-year-old girls make it to their state championship. What more could you want from a small-town, salt-of-the-earth bloodsucker? — CTJ

Friday Night Lights, “Mud Bowl” (Season 1, Episode 20)

When a train derailment near the school forces the relocation of a crucial playoff game, Coach Taylor (Kyle Chandler), seeking a neutral battleground, opts for the most retro possible site: a cow pasture that turns into a swampy mess after a downpour starts during the contest. While everyone else thinks the coach has lost his mind by eschewing a modern facility, he sees it as a back-to-basics location that will allow himself, his players, and the Dillon High School fans to reconnect with the pure essence of the sport, rather than all of the usual cynical distractions. In the same way, “Mud Bowl” provides the most concentrated blast of emotions that this most heart-tugging of all dramas ever provided: the joy of seeing the Panthers have fun and play well despite the weather conditions, and the horror of Tyra (Adrianne Palicki) barely fighting off a rapist while skipping the game to study. — A.S.

Better Things, “Batceañera” (Season 4, Episode 9)

Pamela Adlon’s stunning, semi-autobiographical comedy-drama about Sam Fox, a single mom-slash-actress raising three daughters, is packed with installments that feel worthy of being called the best, but “Batceñera” brilliantly captures what makes this underrated gem of a show so special. It opens with a surprise: Frankie (Hannah Alligood), Sam’s headstrong middle daughter, perfectly reenacting a Jerry Lewis bit from Who’s Minding the Store? set to composer Leroy Anderson’s “The Typewriter.” The heart of the episode is the blending of a bat mitzvah and a quinceañera for 15-year-old Frankie and her friend Reinita, respectively. The episode has everything: carnitas and knishes, a replica of Frida Kahlo’s suit, an all-female mariachi band, great needle-drops, poignant mother-daughter exchanges with each girl, Sam’s ex finally feeling a bit of proper shame for not being there for his kids, and much, much more. It’s a batceañera you never want to end. — Lisa Tozzi

The Honeymooners, “The Man From Space” (Episode 14)

For fans of The Honeymooners , it’s impossible to choose an all-time favorite episode, but like Jackie Gleason himself, “The Man From Space” is one of the greats. Originally airing on New Year’s Eve 1955, it pit Gleason’s blustering Ralph Kramden against his dimwitted pal o’ mine Ed Norton (Art Carney) in the Raccoon Lodge costume contest. Norton rents his outfit — a foppish French getup that’s supposed to evoke the engineer who built the sewers of Paris — while Ralph aims to prove he can do better by making a costume out of everyday items: a flashlight, the ice-box door, a kitchen pot as a helmet. His vision is “the man from space,” but neither his long-suffering wife Alice (Audrey Meadows) nor Norton take it that way. When the live audience finally sees Ralph emerge in all his resplendent glory, their reaction is unhinged, even as pieces of his spacesuit unexpectedly fall to the floor, teeing up a classic Gleason ad lib: “Let me have that,” he barks at Alice, “that’s my denaturizer.” The final scene at the costume party, with Norton barging in from his shift in the sewer in a gas mask, is one for the ages. — Joseph Hudak

Six Feet Under, “Everyone’s Waiting” (Season 5, Episode 12)

Alan Ball’s HBO drama usually kicked off its episodes with a grisly and/or highly ironic death. For the series finale, however, the showrunner opted for something a little different: He’d begin the last chapter of the Fisher family and their associates not with a life being snuffed out, but with a birth — and then he’d end the show not with one death, but a dozen. Having spent the bulk of its swan song tying up all of its loose narrative ends, Six Feet Under then shows us how every one of its surviving main characters would eventually shuffle off this mortal coil: Matriarch Ruth Fisher will die of old age with her family around her; Federico has a heart attack on a cruise ship; David’s security-guard husband Keith is murdered during a robbery, etc. Set to the Sia song “Breathe,” this justly praised montage doubles as a full-frontal assault on your tear ducts. It saves Claire’s passing for last, and before she takes her last breath at age 102, we see evidence of friends, loved ones, professional accolades, and personal memories all around her. For a series so devoted to sudden death, it goes out with a tribute to a long life well-lived. — David Fear

Columbo, “Etude in Black” (Season 2, Episode 1)

As rumpled homicide detective Lt. Columbo, Peter Falk was so superhumanly charming that he could have onscreen chemistry with a doorknob. But the iconic mystery series was at its best whenever Falk had a strong foil. This episode, with the dogged cop trying to prove a famous orchestra conductor murdered his mistress, has a home-field advantage in this regard, as the bad guy is played by Falk’s close friend and frequent collaborator John Cassavetes. Beyond the actors’ ease around one another, the dynamic crackles because the Columbo formula depends on the killers being too arrogant to assume this mumbling schnook could possibly outsmart them — and Cassavetes had a gift for playing smug and irritated. — A.S.

Friends, “The One Where Everybody Finds Out” (Season 5, Episode 14)

The best Friends moments come from full-ensemble episodes (Season Three’s “ The One Where No One’s Ready ,” Season Seven’s “ The One With Monica’s Thunder ”) where all six buds join forces and create a killing floor of comedy. The result is always a propulsive 22 minutes that doesn’t have a single dull moment, and “ The One Where Everybody Finds Out ” is this dynamic at its best. Secret’s out: Everyone has found out about Monica and Chandler’s relationship (OK, maybe Ross is a little late), and the gang play a game of chicken, one-upping each other to see who cracks first. Phoebe’s line, “They don’t know that we know they know we know!” embodies everything great about this episode, and the wit and wordplay that make the series a classic. No surprise it was nominated for three Emmys. — A.M.

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Grace season 4, episode 1 ends with happy news – and a disturbing threat

But what does it all mean for Roy and Cleo's future?

• James Hibbs
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*Warning: Contains full spoilers for Grace season 4 episode 1*

Hit ITV crime drama Grace has returned for its fourth season, picking up with Roy and Cleo after the end of season 3 saw her reveal she was pregnant.

The episode followed Roy as he investigated a brutal robbery, which ended up with a woman dying. He and the team managed to solve the case and arrest the guilty party, but Roy was somewhat distracted by his own personal situation.

Returning home after solving the case, Roy was seen chatting with Cleo. Then, out of the blue, he told her that he didn't have a ring, but still asked her to marry him, impromptu.

She said "yes", before adding "I think", questioning whether it was what he actually wanted, and not just because she was pregnant.

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He confirmed he actually wanted to marry her, and the two shared a kiss, before being interrupted by a knock at the door. While Roy told her to leave it, Cleo went to answer it, before looking out in horror.

There, in the doorway, someone had left a cot with a baby doll inside, on fire. The two threw a blanket over the fire to put it out, before Roy ran out to the road, looking for who had left the cot. There was nobody to be seen.

At this point, it's difficult to say who left the cot, but it is certainly a threatening, ominous message, given Cleo's pregnancy. Could it have something to do with the return of Sandy, Grace's wife who disappeared years before, and who he still doesn't know is alive? It seems we'll just have to wait and find out.

While Grace has already been renewed for an additional season, this will be the last run for one of the central cast members, as Craig Parkinson has announced his departure from the role of Norman Potting.

• Grace, starring John Simm, renewed for season 5 on ITV
• Unforgotten creator reveals first look at new thriller I, Jack Wright

Parkinson wrote in a post on Instagram ahead of the season debuting: "The new season of Grace begins on ITV on 1st September but it will also be my last. It’s been a wonderful experience taking this character from page to screen and updating him for a new audience.

"There was a huge sense of responsibility in portraying such a character from Peter James's much-loved book series, but with a few tweaks here and there from our excellent script team and the support from Peter. I’m really glad that he resonated with the audience."

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You can purchase the Peter James Roy Grace books which will be adapted for season 4, Dead Man’s Time , Want You Dead , You Are Dead and Love You Dead on Amazon now.

Grace season 4 will continue on ITV1 and ITVX at 8pm on Sunday 8th September.

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Marvel’s Spider-Man Season 3: How Many Episodes & When Do New Episodes Come Out?

By Ayesha Zafar

Viewers of Marvel’s Spider-Man Season 3 are wondering how many episodes are in the series and when each new episode comes out.

The third season of the show, also known as Marvel’s Spider-Man: Maximum Venom, officially premiered on April 18, 2020. This animated adventure-drama TV series follows Peter Parker, a super-smart young guy. After getting bitten by a radioactive spider on a school trip to Oscorp. Peter gains some awesome spider-like abilities, like shooting webs from his hands and scaling walls.

Here’s how many episodes are in the third season of Marvel’s Spider-Man and on what day new episodes come out.

How many episodes are in Marvel’s Spider-Man Season 3?

The third season of Marvel’s Spider-Man has 6 episodes.

The episode list is as follows:

• Episode 1: Web of Venom
• Episode 2: Amazing Friends
• Episode 3: Vengeance of Venom
• Episode 4: Spider-Man Unmasked
• Episode 5: Generations
• Episode 6: Maximum Venom

The season begins with Spider-Man and Max Modell conducting experiments on a sample of the Venom symbiote to make breakthroughs in the medical field. However, things take a turn when the symbiote breaks free and unleashes a mysterious weapon. Meanwhile, Toddler Groot arrives on Earth with an urgent message for Spider-Man. The hero faces the challenge of deciphering the alien’s warning while protecting Groot from the sinister forces of A.I.M. and Baron Mordo. During this chaos, Aleksei is transformed back into the ferocious Rhino by Swarm, forcing the Spider Team to fight for survival in the Underground Monster League competition.

The cast of Marvel’s Spider-Man Season 3 includes Robbie Daymond, Laura Bailey, Nadji Jeter, Bob Joles, Josh Keaton, Nancy Linari, Scott Menville, Melanie Minichino, Max Mittelman, Ben Pronsky, and Fred Tatasciore.

When do new Marvel’s Spider-Man Season 3 episodes come out?

All episodes of Marvel’s Spider-Man Season 3 are currently available to watch. There are no new episodes.

The official synopsis for the series reads:

“An insecure but courageous and intelligent teen named Peter Parker, a new student of Midtown High is bitten by a radioactive spider and given powers. He becomes a hero named Spider-Man after the death of his uncle and he must adapt to this new way of life.”

Ayesha, an SEO Content Writer/Editor for Coming Soon. With a degree in Social work, she has been creating content as a Digital marketer for the last 3 years. Recently, Ayesha has taken up skincare as a hobby on Instagram, where she shares budget-friendly skincare routines along with quick and simple tips and tricks. To get in touch with her, make sure to follow her on Instagram.

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TV-MA | 56 MIN

As Alan Cumming doubles the existing reward for Tonka’s whereabouts, the filmmakers face an ethical dilemma.

1 . Monkey Love

Nurse-turned-exotic animal broker Tonia Haddix fights to retain custody of her “kids” – seven chimpanzees bred for entertainment.

2 . Gone Ape

PETA launches a high-stakes investigation into the disappearance of former Hollywood chimp Tonka.

3 . Head Shot

Passengers on 3-year cruise speak out as ship remains stuck in harbor

The Villa Vie Odyssey is now three months past its original launch date.

Passengers planning to travel the world on a three-year cruise are speaking out as they remain stuck on land, waiting for their ship to depart.

Holly Hennessy said she has been stuck in Belfast, Ireland, for three months as she and her fellow passengers wait for the cruise ship, the Villa Vie Odyssey, to be repaired.

"It's cold. It's windy. It's damp. It usually rains," Hennessy told " Good Morning America ," describing the past three months in Belfast. "I've been moved five times to different accommodations."

Johan Bodin and his partner Lanette Canen have spent the past three months traveling around Europe as they wait for the ship to depart from Belfast. The couple relocated from Maui, Hawaii, to spend the next several years on the Villa Vie Odyssey, according to their website, where they post travel content.

"We intend to stay on for a long haul, but who knows how we feel after a year," Bodin told "GMA."

Bodin and other passengers on the Villa Vie Odyssey, operated by Villa Vie Residences, have been waiting since May for the cruise to depart.

Mikael Petterson, the founder and CEO of Villa Vie Residences, told "GMA" the Villa Vie Odyssey is a 30-year-old ship. He said the ship made the trip to Belfast on its own power before other maintenance issues were discovered.

"The rudder stocks took six weeks to get done, and now we're dealing with a couple of other things," Petterson said. "But overall, I think three months is actually not that bad given the circumstances."

What is a crew appreciation fee? Why 1 major cruise line is raising the price

Petterson added that the ship's repairs are in their final stages, and said he expects the ship to depart the week of Sept. 9.

The cruise is advertised to visit 475 destinations in 147 countries. The price to purchase an all-inclusive cabin starts at around $100,000, with an additional monthly fee for at least 15 years.

While the Villa Vie Odyssey has been out of commission, passengers are allowed on the ship during the day but cannot stay overnight, staying in hotel rooms in Belfast instead.

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Canen said she and Bodin are optimistic that after months of delays, they will sail out of Belfast soon.

"Hopefully by next weekend, we'll be floating away, saying goodbye to Belfast," Canen said.

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How ‘Tiger King’ Led to ‘Chimp Crazy’ — and That Penultimate Episode Betrayal

Documentarian Eric Goode explains the origins of his latest hit docuseries (this time for HBO), and unpacks the revelation in the third week with exotic animal broker Tonia Haddix.

By Gary Baum

Senior Writer

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[This story contains spoilers from the third episode of Chimp Crazy , “Head Shot.”]

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In the penultimate episode, which aired Sept. 1, viewers learned that Haddix, who’d previously claimed Tonka had died (she’d provided evidence that he’d been cremated), was keeping her “humanzee” hidden in her Missouri basement. “Do we turn her in?” Goode wonders, on camera, “or do we continue following the story?”

Haddix appears increasingly anxious as the chimp-hunt heats up. Actor Alan Cumming, an animal rights activist who starred alongside Tonka in the 1997 family comedy Buddy , draws international attention for matching PETA’s own $10,000 reward for information leading to Tonka’s whereabouts. “They would literally send a hitman after me, I swear to God by that, if they thought they could,” she says, adding: “They’re never going to leave me alone. I’m screwed.”

Near the episode’s end, she’s told a key member of the filmmaking team that Tonka is in congestive heart failure and that a vet has scheduled an imminent appointment to euthanize him. Soon, Goode is seen with PETA’s lawyer, revealing her admission.

The Hollywood Reporter spoke to Goode — who aside from his Emmy-nominated filmmaking efforts is known for being the founder of the Turtle Conservancy — about the Gordian knot of complexity and complicity he’s found himself in with this new project, which is poised to become HBO’s most-watched documentary series in years.

How did Chimp Crazy happen?

What did you bring from doing Tiger King to this?

Just that you don’t know what you’re going to get until you’re there. If there’s a story at all. You go in hoping.

It’s a different world this time than Tiger King .

The tiger people, it’s macho. “I’ve got a tiger, I’ve got a Lamborghini.” It’s this accessory. With these women, it’s much more of an intimate bonding relationship with these monkeys. They think they can be surrogate children, and then as time goes on, they have to think about castration and shock collars once they go through puberty — which is much younger than humans. With chimps, it’s about five or six years of age that they’re no longer manageable.

Tonia repeatedly states that Tonka is more important to her than her husband and her children. What did you make of that?

This was not the first time I’d heard that from these monkey moms. Sometimes it’s said in a more joking way. Tonia’s been through a number of relationships. I think her first husband died of some drug-related death. She recognized that she could trust these chimpanzees more than any human that she knew. She had more control of their destiny.

Chimp Crazy is full of characters — including the “proxy director” you hired, Dwayne Cunningham, who’s identified as having worked as a circus clown.

Dwayne was never meant to be the “proxy director.” But he’s the one who met Tonia. Then we started following her.

Tonia really trusted you — or at least Dwayne. You filmed her at a lip-injection appointment and at the tanning salon. How’d you get that intimate access?

She’s just open ! (Laughs ) She was very familiar and intimate, and just let us into her world. I didn’t have any je ne sais quoi . That’s just Tonia.

Did Tonia’s trust make it harder to reveal that you and Dwayne had betrayed her?

Oh, yeah. Dwayne had gotten very close to Tonia. Dwayne was not telling me everything. So, I had to sit Dwayne down. He’d gone rogue. That was really difficult. He was confiding and telling things to Tonia that weren’t making it to me. I think Tonia is lonely at times and really needed a friend, and Dwayne was her friend. And Dwayne would say, “Tonia, don’t say anything to the filmmakers that you don’t want the whole world to know.” He was very protective. So, Dwayne knew things before I knew them.

It was frustrating. I sat down with Dwayne. We filmed it, but it didn’t end up in the show. Part of me wanted to include that conflict, that struggle with Dwayne. I didn’t know Dwayne well. Dwayne is someone who does believe people should keep animals. He wasn’t so clear on where Tonka should be. He witnessed this endless doting and love with Tonka. So, he wasn’t so convinced that Tonka should leave.

I’m not an animal rights activist. If anything, I’m a conservation biologist. I care about keeping species going. PETA, with my own work with tortoises, I struggle with their hard-nose point of view on eradicating rats in the Galapagos. But I’m aligned with PETA here.

How long did you keep filming between learning of Tonka’s existence in Tonia’s Lake of the Ozarks house and informing PETA about it?

I want to say it was a matter of months. The first thing I did was call up a few primatologists. I asked them about whether one can tell if a chimp is really depressed, which is what Tonia had been saying.

The thing is, I thought this woman was going to lead us to other people who were keeping apes and gibbons. That this is where we were headed. But she was caught up in this lawsuit with PETA.

So, when she eventually said she was going to put Tonka down, and said she had a vet appointment coming up to do it, we notified PETA.

You’ve done tigers. You’ve done primates. What’s next?

When I first started filming things, it was about the reptile trade. The volume and scale of it is just vast, and there’s many similarities to cartels in how it works. I’ve been working on a project about that, and I want to finish it.

Chimp Crazy releases its finale Sunday, Sept. 9, at 10 p.m. on Max.

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Here’s What You Need To Know Ahead of Tonight’s ‘The Bachelorette’ Finale

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It is almost time to watch The Bachelorette Season 21 finale and viewers are excited to see if Jenn Tran will pick Devin or Marcus . There is also room to speculate that the bachelorette could walk away without a diamond ring. After all, a scene from the finale has been circulating online for a while of her telling one of the men that she can't let him get down on one knee. Regardless of who she ends up with (or whether she will end up with one of them at all), there are a few things to know before watching the last episode of the season. In order to get you prepared for the climactic goodbye to Jenn and her journey on the reality hit, here is a detailed guide.

The Bachelorette

Not available

A single bachelorette dates multiple men over several weeks, narrowing them down to hopefully find her true love.

When Will 'The Bachelorette' Season 21, Episode 10 Be Streaming?

The Bachelorette Season 21 finale will air on Monday night, September 2, at 8 p.m. ET on ABC . As per usual, Episode 10 will only arrive on streaming the following day . Bachelor Nation fans in the US can finally uncover who is the lucky man getting to walk away from the show as Jenn's fiancé via Hulu, or through the Disney + and Hulu bundle. For those who aren't subscribed to the platform yet, plans range between $7.99 per month and $17.99 per month. The first option includes ads, while the other is ad-free.

What Happened in the Previous Episodes of 'The Bachelorette'?

The reality show dropped two episodes last week, one being the Fantasy Suites and the other being the Men Tell All special. Episode 8 came out on Monday night, with Jenn spending some time getting to enjoy a honeymoon-like getaway with Devin, Marcus, and Jonathan in Hawaii. Prior to Fantasy Suites Week, the bachelorette had the chance to catch up with Molly Mesnick (a The Bachelor alum) and get some valuable advice to prepare her for the trip. This conversation helped Jenn understand where she was at with her connections, and embark on those last couple of one-on-one dates with a clear vision of what she was looking for. Although she does have feelings for all the remaining participants, she said "I love you" to one of them first. Marcus is the man that Jenn admittedly sees herself with, but when she tells him that, he still feels reluctant about whether he is ready to get engaged. Devin, on the other hand, had been nothing but reassuring and even though he felt apprehensive that she didn't feel the same way, the bachelorette also professed her love for him. By the end of the trip, Jenn decided to send Jonathan home during the rose ceremony.

After it was determined that Marcus and Devin were the bachelorette's top 2 picks, it was finally the time to reunite with the participants that were sent home in Season 21 to hear what they had to say about their experiences with Jenn and with the other men. The Men Tell All special was drama-filled, with Aaron dissing Sam M. and Spencer for not being emotionally prepared for marriage, and Sam M. getting a hot seat segment, with several participants and Jenn criticizing his attitude on the show. By the end of the special, it is confirmed that Jonathan will be in the next season of Bachelor in Paradise and Grant gets to share his excitement about being the next lead of The Bachelor .

Fan Reactions Ahead of 'The Bachelorette' Season 21 Finale

After a double release that had everyone talking, it isn't a surprise that Bachelor Nation fans were spilling their thoughts and hot takes on what happened at the Fantasy Suites and the Men Tell All. Here are some notable tweets reacting to the two episodes that premiered last week.

Watch the Preview for 'The Bachelorette' Season 21 Finale

The sneak peek shared of this season's finale makes audiences wonder whether Jenn will leave the show engaged or not. After all, she had a wonderful time with Devin and Marcus during her final days in Hawaii, but having her family meet the two suitors will make things a bit tricky for her. Jenn's brother even helps her see some of the patterns that the bachelorette has experienced in her love life thus far, which might make her reflect if she can really break a cycle with either Devin or Marcus by her side. The clip ends with her telling one of the men that she can't let him propose to her, which definitely keeps fans of the show on the edge as they try to decode what will happen next.

What's the Schedule for 'The Bachelorette' Season 21?

Only one episode left for Jenn Tran to walk away with her fiancé. Here is the complete schedule for The Bachelorette Season 21.

Other Reality Shows Like 'The Bachelorette' To Watch Next

After watching the latest season of The Bachelorette , viewers can move on to other reality TV shows that are focused on matchmaking and finding a fiancé. The mentions below are perfect recommendations to follow along if you are looking for more romance-driven reality experiments.

'Married at First Sight' (2014-Present)

Similarly to people joining Bachelor Nation shows and are looking to settle down soon, the participants in Married at First Sight are also tired of meaningless relationships and are ready to tie the knot in an unusual way. Instead of a bachelorette or a bachelor getting engaged to one of the many suitors they spend time with, in this program, singles are matched by a relationship therapist and meet for the first time at the altar. After their wedding, the pair spend their nuptials at a hotel and go off on their honeymoon. Only when they return are they given the opportunity to change their minds about being together. Once the couple completes a total of eight weeks living in the same home, they are allowed to call for a divorce. Those who are satisfied with their experience as husband and wife can choose to remain together.

Married At First Sight

Watch on Hulu

'Love Is Blind' (2020-Present)

Think of The Bachelorette, but without physical interactions before the proposal , Love Is Blind is what you get. In this Netflix reality hit, singles go on dates without ever getting to see the person they are connecting with until they leave the pods engaged. The pairs that do decide to go through with the experiment and plan their wedding get to meet each other face-to-face after the proposal, venturing off on a honeymoon and living together in the weeks leading up to the ceremony. When the wedding arrives, the participants can finally say "yes" or "no" to being with the person they go to know during their time on the show.

Love Is Blind

'love island' (2019-present).

On Love Island , several singles get the chance to go to a luxurious villa in the hopes of having a memorable summer and leaving the show alongside a significant other. Yet, there is a catch! Throughout their stay at the getaway spot, participants must couple up in order to remain in the program and get the chance to win $100,000 dollars. Although the pairings might change from Episode 1 to later in the season, it is of the utmost importance for those on the show to be in a relationship, or else they will have to be sent home.

Love Island

Screen Rant

The 11 sons of anarchy episodes that defined the show.

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How The Galindo Cartel's Twist Changed Jax's Sons Of Anarchy Story

Every samcro president in sons of anarchy, how samcro completely failed opie in sons of anarchy.

Sons of Anarchy was full of ups and downs thanks to its combination of drama and action, but there are specific episodes that defined the show both for good and bad. In 2008, Kurt Sutter brought Sons of Anarchy , which took the audience to the fictional town of Charming in California to meet the title motorcycle club. Sons of Anarchy ran for seven seasons packed with action, drama, and many twists and turns, while also covering themes like brotherhood, betrayal, loyalty, revenge, and family, all through the complex story of SAMCRO (Sons of Anarchy Motorcycle Club Redwood Original).

Sons of Anarchy kicks off with the club’s VP, Jackson “Jax” Teller (Charlie Hunnam), finding the manifesto written by his father, John “JT” Teller, one of the founding members of the club. However, JT’s vision and goals go against those of the club’s current President, Clay Morrow (Ron Perlman). What follows are Jax’s struggles to fulfill his father’s wishes, keep the club afloat, maintain his personal relationships, and deal with a variety of enemies – from neo-nazis to fellow motorcycle clubs and even drug kingpins.

All 7 Sons Of Anarchy Seasons, Ranked Worst To Best

Sons of Anarchy is one of television's most successful shows, having lasted for many years, yet some seasons of the show were better than others.

Throughout its seven seasons, Sons of Anarchy went through many ups and downs, with many losses but also key moments after which the show was never the same, both for good and bad. Some of those defining moments happened early in the show, setting the tone for it, while others happened towards the end, giving some final twists leading to its heartbreaking yet satisfying conclusion.

11 Albification

Sons of anarchy season 2, episode 1.

What makes “Albification” a defining episode is the introduction of Ethan Zobelle and A.J. Weston.

Season 1 of Sons of Anarchy successfully established the tone of the series and the type of twists and turns it would have, but season 2’s premiere was the show’s very first defining episode. “Albification” follows the aftermath of the death of Opie’s wife , Donna, at the hands of Tig, though it was an accident as he was supposed to kill Opie. However, what makes “Albification” a defining episode is the introduction of Ethan Zobelle and A.J. Weston, members of the League of American Nationalists.

Sons of Anarchy season 1 gave the idea that the club’s problems were either with other clubs and gangs or among its members, but the arrival of Zobelle and Weston to Charming showed a different threat that also directly impacted the club. What they and businessman Jacob Hale Jr. wanted was to take Charming back from SAMCRO, which also showed how influential the club was in town and how fiercely they defended their role in it. At the end of the episode, Gemma is kidnapped by Zobelle’s people and sexually assaulted, showing how far the show was willing to go.

Sons of Anarchy: What Happened To Zobelle (Is He Dead)?

Sons of Anarchy season 2 villain Ethan Zobelle managed to escape the club and left town, but what happened to him after that? Let's take a look.

10 Na Trioblóidí

Sons of anarchy season 2, episode 13.

The finale of Sons of Anarchy season 2 set the path for a change of setting for the club. A lot happens in “Na Trioblóidí”: Zobelle is released from prison as he’s an FBI informant, Weston is also released, and Cameron Hayes orders his son, Edmond, to kill Agent Stahl to prove his loyalty to the IRA. However, Jax manages to kill Weston, and Stahl kills Edmond. When Gemma follows Zobelle’s daughter, Polly, to Edmond’s place, Polly believes Gemma killed him and Gemma shoots her. Stahl emerges and frames Gemma for the deaths of Edmond and Polly .

“Na Trioblóidí” is Irish for “The Troubles”.

When Jax and the rest of the club find Cameron, he’s leaving on a boat with Abel, and so this sets up SAMCRO’s travel to Ireland to rescue Abel.

Cameron overhears Stahl’s report and goes to Jax’s house for revenge. There, he holds up Tara, kidnaps Jax’s baby son Abel, and stabs Half-Sack when he tries to stop him. When Jax and the rest of the club find Cameron, he’s leaving on a boat with Abel, and so this sets up SAMCRO’s travel to Ireland to rescue Abel, making way for a different and divisive season.

Sons of Anarchy season 3, episode 11

Jax has a painful but eye-opening realization: Abel is safe and well, and he would be much better off as far away from SAMCRO as possible.

Season 3 is the one that sent SAMCRO to Ireland , and it has a different pace than previous seasons. It takes Jax and the club a while to find Abel, but they eventually learn that he has been given up for adoption. Jax is told where the adopting parents of Abel are staying and he goes there, but when he sees them with Abel, he has a painful but eye-opening realization: Abel is safe and well, and he would be much better off as far away from SAMCRO as possible. However, the couple is later killed by Jimmy O’Phelan, who eventually brings Abel back to Jax.

“Bainne” means “milk” in Irish.

In addition to that, “Bainne” is the episode where it’s revealed that Maureen, JT’s mistress in Ireland and mother of his daughter, kept in touch with him through letters until his death. In those letters, JT shared with her his suspicions that Clay and Gemma wanted him dead . Maureen slips those letters into Jax’s bag, and these unleash a series of problems (and some deaths) back in Charming.

Sons of Anarchy season 3, episode 13

Chibs and Opie, with Unser’s help, kill Jimmy O’Phelan and Stahl, the latter being a satisfying moment for fans as Opie does it to avenge Donna’s death.

The season finale of Sons of Anarchy season 3 was also an important episode in the series. In one part, Jax, Clay, Bobby, Tig, Juice, and Happy are arrested and taken to prison after Jax makes a deal with Stahl and she tricks him – but in reality, she was the one tricked, as Jax and the club had anticipated her betrayal. While they are taken to prison, Chibs and Opie, with Unser’s help, kill Jimmy O’Phelan and Stahl, the latter being a satisfying moment for fans as Opie does it to avenge Donna’s death.

Sons Of Anarchy: Why Opie Killed Stahl In Season 3

One of Sons of Anarchy's most beloved characters, Opie, killed one of the show's most hated characters, June Stahl, and here's why.

In another part, Tara reads JT’s letters to Maureen and learns of his suspicions about Clay and Gemma and his possible death. Tara learns that there’s a much darker and dangerous side to Clay and Gemma as they might have been responsible for JT’s death for their own benefit (and they were), which completely changes how Tara sees them and how she moves around them.

Sons of Anarchy season 4, episode 1

Charming has a new sheriff, Eli Roosevelt, who has been working closely with U.S. Attorney Lincoln Potter to shut SAMCRO’s gunrunning operation down.

“NS” is followed by another defining episode with season 4’s premiere. Jax and the rest are released from prison and are welcomed with a couple of surprises, both good and bad, such as Tara giving birth to Jax’s son and Charming having a new sheriff, Eli Roosevelt, who has been working closely with U.S. Attorney Lincoln Potter to shut SAMCRO’s gunrunning operation down. Roosevelt’s presence means that SAMCRO no longer has an ally in the police force , and he’s very determined to end the club.

Potter, on the other hand, as eccentric as he is, also ends up becoming one of SAMCRO’s biggest enemies. His plans to build a RICO case against SAMCRO lead him to blackmail and use Juice against the club, which marks the beginning of a dark downward spiral for one of the club’s most loyal members, which, in turn, leads to his tragic demise later on in the show.

Sons of Anarchy season 4, episode 3

Speaking of Juice’s downward spiral in Sons of Anarchy , it officially started in season 4’s episode “Dorylus”. Roosevelt lets Juice know he knows his father was Black and thus he had been lying to the club. Juice had told SAMCRO he was Puerto Rican, as there was an outdated rule in the club that didn’t allow any Black members. It’s later revealed that this would never have mattered to SAMCRO as the rule was no longer active, but Juice wasn’t aware of that.

SAMCRO members have to make a decision about their deal with the Galindo Cartel, which marks the beginning of the club’s end under Clay’s command.

In another subplot, Clay threatens Tara to test how much she knows about Maureen’s letters and Gemma confronts Tara about them, asking her not to tell Jax about them. Meanwhile, SAMCRO members have to make a decision about their deal with the Galindo Cartel, which marks the beginning of the club’s end (under Clay’s command) as they get involved in drug trafficking.

5 To Be, Act 2

Sons of anarchy season 4, episode 14.

Sons of Anarchy ’s season 4 finale was divided into two parts, but the second part is the defining one. Potter’s RICO case takes a turn when the Galindo Cartel’s true intentions are revealed: they are CIA agents, and they shut down the RICO operation. However, the most important part of this episode, and what earned it a place in this list, happens within SAMCRO.

The Galindo Cartel in Sons of Anarchy arrived with a major twist, which ended up stopping Jax's plans for the club and brought more problems.

As mentioned above, the deal with the cartel was a turning point in Clay’s time as President of the club, and Jax learns that Clay had ordered a hit on Tara. By then, Jax already knows of Clay’s involvement in JT’s death (but not Gemma’s, as she got rid of the letters that incriminated her). Back at the club, Jax takes over as President, thus marking the beginning of his reign as SAMCRO’s leader .

4 Sovereign

Sons of anarchy season 5, episode 1.

“Sovereign” is the first Sons of Anarchy episode with Jax as SAMCRO’s President, but, surprisingly, that’s not the important part of this episode. “Sovereign” is the introduction of Damon Pope , a drug kingpin and, perhaps, the most terrifying villain in all Sons of Anarchy . SAMCRO comes to Pope’s attention when Tig, believing the Niners were responsible for shooting Clay (when, in reality, it was Opie), tried to kill their leader but instead killed his girlfriend, who was Pope’s daughter.

The Sons of Anarchy motorcycle club went through many changes within its ranks, but it hasn't had a lot of Presidents so far. Let's take a look.

Pope proceeds to burn Dawn alive in front of Tig, who can’t do anything to save his daughter.

Pope’s revenge consisted of many steps to make SAMCRO suffer, and the first was his personal revenge against Tig. Pope tasks his people with kidnapping Tig’s daughter, Dawn, and Tig, with Dawn chained in a pit and Tig chained outside. Pope proceeds to burn Dawn alive in front of Tig, who can’t do anything to save his daughter. This established Pope as a character to fear and who knew no limits , and it was only the beginning of many more atrocities.

3 Laying Pipe

Sons of anarchy season 5, episode 3.

Pope wants Tig to rot in prison but also wants the life of a Son, and forces Jax to choose which one of them will die in front of the rest.

“Laying Pipe” might very well be Sons of Anarchy ’s most heartbreaking episode, and that’s saying a lot. Jax, Opie, Chibs, and Tig are in prison (again), but that’s also part of Pope’s horrible plans. Pope wants Tig to rot in prison but also wants the life of a Son, and forces Jax to choose which one of them will die in front of the rest. Jax plans to choose himself, but Opie steps in and attacks the Guard Sergeant, becoming the victim Pope wanted.

Opie is taken to the next room while Chibs, Jax, and Tig watch through a glass, and they see their friend being beaten to death. Opie was not only Jax’s best friend since childhood, but also one of SAMCRO’s most loyal and kindest members, and he’s, by far, the one the club failed the most. Jax wasn’t the same after Opie’s death , and there was a shift inside him that made him choose violent alternatives over less confrontational ones.

Opie Winston is one of the most popular characters in Sons of Anarchy, but he's also the one that was massively failed by the club, various times.

2 Aon Rud Persanta

Sons of anarchy season 6, episode 11.

Jax doesn’t just kill his stepfather in this episode, as he also seizes this chance to kill his IRA enemies and make it look as if they all killed each other.

Some deaths in Sons of Anarchy like those of Opie and Tara were unexpected and heartbreaking, and others were deserved and expected. Falling into the latter category is Clay’s death, which happened in season 6’s episode “Aon Rud Persanta”. Per SAMCRO’s rules, Clay’s involvement in JT’s death was enough reason for him to meet Mr. Mayhem , but he did a lot more than only add to his death sentence.

“Aon Rud Persanta” is Irish for “Nothing Personal”.

However, Jax doesn’t just kill his stepfather in this episode, as he also seizes this chance to kill his IRA enemies and make it look as if they all killed each other. Clay’s death proves that no one is exempt from SAMCRO’s rules, no matter their position, loyalty, and more, but it also speaks a lot about Jax as a person and President of the club, as he planned it all so carefully so he could get rid of more than one enemy, but that also showed how ruthless he had become.

1 A Mother's Work

Sons of anarchy season 6, episode 13.

Gemma forces Tara’s head into the sink full of water and repeatedly stabs her on the back of the neck with a carving fork.

Just when viewers were starting to come to terms with Opie’s death, Sons of Anarchy had another surprise tragedy for them. Tara’s time in prison after Pamela Toric’s death led her to realize she had to find a way out of SAMCRO and take her sons with her, as that would be the only way for them to be safe. In this episode, Jax and Tara finally get to talk and clear up many things, with Jax agreeing to turn himself in so Tara and the boys could be free – however, Gemma believes she has ratted on the club and betrayed Jax .

Gemma surprises Tara at her house and the two fight, with Gemma forcing Tara’s head into the sink full of water and repeatedly stabbing her on the back of the neck with a carving fork. To make it worse, Roosevelt arrives and tells Gemma the truth about Jax’s deal, but it’s too late. As he calls for help on his radio, Juice arrives and shoots him, giving Gemma a chance to escape. Gemma’s subsequent lies to Jax about Tara’s death are what led to her and Jax’s deaths .

Sons of Anarchy

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Sons of Anarchy, created by Kurt Sutter, follows a notorious outlaw motorcycle club, the Sons of Anarchy, as they confront drug dealers, corporate developers, and law enforcement to protect their livelihoods and their hometown of Charming, CA. Loosely based on William Shakespeare's "Hamlet," Sons of Anarchy explores what happens when the seduction of money and power comes between family. The show follows the Teller and Morrow family legacies, with Jackson 'Jax' Teller handling his duties as the V.P. of the club while dealing with the new president - his stepfather - Clay Morrow.

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