I n the final minutes of the Game of Thrones finale, Tyrion Lannister (Peter Dinklage) declares: “There’s nothing in the world more powerful than a good story. Nothing can stop it. No enemy can defeat it.” But if there’s one thing we’ve learnt over the course of GoT ’s final season, it’s that, in fact, one thing can defeat a good story: a misjudged ending.
Few expected the way the show’s eighth season would draw to a close. Even fewer were happy with it – though the jury of public opinion had already sentenced Thrones to death by dragon fire long before its final scenes. Ahead of its last episode, hundreds of thousands of people had signed a petition for the final season to be remade with “competent writers”. It soon gained 1.5 million signatures, as disparaging memes and tweets flooded the internet, including a clip of Emilia Clarke – whose character Daenerys lost the plot in the penultimate episode – nervously laughing when asked if she liked the final season, as if to “warn” fans about the show’s ending.
“There has been nothing quite like it,” says Radio Times TV columnist Scott Bryan on the outcry. “I don’t think we can expect that social media reaction to a drama for a long time.” The core issue with GoT , says Bryan, is that the show went beyond the written material from author George RR Martin . “It made us all feel that we have a say in the narrative arc of the story and where we think the show should go, but also where it deserves to go. Game of Thrones is so utterly unique, though, because it is built for the ending – who deserves and who will get the Throne?”
We’ll tell you what’s true. You can form your own view.
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Emilia Clarke as Daenerys Targaryen on Game of Thrones (AP)
But Game of Thrones is not the first long-running TV drama to disappoint with its ending. After six seasons and 119 episodes, the ending of Lost was universally panned. Breaking Bad ’s finale was met with a mixed reaction. David Simon’s Baltimore-set crime drama The Wire ended with a montage that suggested that the cycle of drugs, murder and corruption would continue – a divisive, if ultimately realistic, conclusion. David Chase’s New Jersey-set gangster drama The Sopranos was similarly divisive. Following the finale, Chase simply said: “Guess what? Life does not end well.”
House of Cards , which continued without Kevin Spacey for its final season, hurtled towards a ludicrous and laughable ending, devoid of everything that made the show popular. Online reaction to the final episode of Mad Men in 2015 was so severe that it prompted its showrunner Matthew Weiner to say, in his first interview after it aired: “I don’t think there’s enough empathy right now in the world.”
But why do we have such visceral reactions to TV endings? Why do they mean so much to us? “We all inherently know how to tell a story,” says scriptwriter Furquan Akhtar, writer of upcoming BBC Three comedy Thirst . “If you cheat stories that we’ve spent years investing in, for the sake of a twist or another story, then we as an audience are going to be unhappy. We all successfully tell stories in our day-to-day lives, that’s a massive part of human interaction.”
Henry Swindell, former script executive at the BBC, who has worked on The Fall , Line of Duty , and Channel 4 drama No Offence , tells me that a successful TV ending usually starts at the beginning. “Why are we telling a story? We tell stories in order to make sense of a world that is random, chaotic and haphazard.”
Swindell says that a central function of drama is to test our worldview, which can be a delicate balance to strike when bringing TV shows to a close. “Much of the way we consume information challenges our ‘thesis’ of the world. The culture we consume often shows us the antithesis of our worldview, so we’ve got to explore it, engage with it and ultimately decide whether our view prevails,” he explains. “That’s what stories do too, they show us characters who face these dilemmas and conflicting ideologies, and we see whether they’re going to overcome them and find resolution.”
left Created with Sketch.
right Created with Sketch.
1/37 Breaking Bad – “Gliding Over All” (2012)
Karma for killing Gale comes for Walter White in season five. The meth maker believes his days of cooking are long over. Having lunch with his family, everything seems perfect. And then everything goes wrong. So, so wrong. Hank (Dean Norris) goes to use the toilet and picks up a copy of Walt Whitman’s Leaves of Grass – a gift from Gale to Walter White. “To my other favorited WW. It’s an honour working with you. Fondly, GB.” And with that, as Hank realises Walt’s true identity, the end of Heisenberg’s empire begins.
AMC
2/37 The Sopranos – “Made In America” (2007)
The debate over whether certain final scenes of television shows are actually good will rage on and on. The Sopranos remains front and centre of the conversation. It’s a seemingly banal occasion – a restaurant dinner scene. We watch on as Tony sits there, observing other customers. Carmela arrives, then AJ and Meadow, who the last we see, is parking her car outside. A bell rings, Tony looks up and the screen cuts to black. It’s an ending that’s inspired essays offering varied interpretations but ultimately, it remains a beautifully-executed few minutes of television – and a cliffhanger that’ll never have a resolution.
HBO
3/37 EastEnders – The Kat and Zoe revelation (2001)
“You can’t tell me what to do ‘cause you ain’t my muvva” / “YES I AM!” – not the work of Shakespeare, granted, but surely one of the biggest moments in soap history. The nation’s jaws collectively dropped as they learned that Kat Slater (Jessie Wallace) wasn’t Zoe’s sister at all, but her mum.
BBC
4/37 Game of Thrones – “The Rains of Castamere” (2013)
Game of Thrones knew George RR Martin was willing to kill off leading characters, but nothing prepared non-book readers for The Red Wedding. Robb Stark (Richard Madden), Talisa Stark (Oona Chaplin) and Catelyn Stark (Michelle Fairley) are attending the wedding of Roslin Frey (Alexandra Dowling) and Edmure Tully (Tobias Menzies) when things go terribly, terribly wrong for the Starks. The Freys turn on them, killing Robb, Talisa and their unborn child. Then, as the blood spills everywhere, Catelyn’s throat is slit. Cut to black. Devastating.
HBO
5/37 Dallas – “A House Divided” (1980)
The cliffhanger that kickstarted the end of season cliffhanger trend. Larry Hagman’s oil baron JR Ewing had made plenty of enemies in Dallas. By the end of season three, one of them took justice into their own hands, shooting JR in the back twice. However, rather than reveal the culprit, the team behind Dallas left the case unsolved. And over the next eight months – the time between seasons – the whole world was asking “Who shot JR?” Unsurprisingly, considering the hysteria around the mystery, 350 million people tuned in to watch the revelatory episode “Who Done It”.
CBS
6/37 The Simpsons – “Who shot Mr Burns?” (1995)
Showrunner Matt Groening had long wanted to do an episode where Mr Burns was shot, and the culprit was not revealed until the next episode. Taking inspiration from Dallas, the animation concluded Part One with the nuclear power plant owner being shot by an unknown assailant. Then, after a Summer of waiting, fans were finally treated to the answer. The two-part episode has gone down as a classic and is often heralded as the series’ best.
FOX
7/37 Doctor Who – “The Parting of the Ways” (2005)
Choosing one standout Doctor Who cliffhanger is almost impossible – especially when you consider that all 37 (and counting) seasons have frequently used the plot device. While the introduction of John Hurt’s Doctor certainly ranks among them, one of best came at the end of the rebooted first series. Having absorbed a bunch of vortexes, the Doctor is struggling and on the verge of regenerating. Turning to Rose (Billie Piper), Christopher Eccleston’s incarnation of the iconic character utters the timeless lines: “Before I go, I just want to tell you, you were fantastic. Absolutely fantastic. And you know what – so was I.” Queue shoddy CGI and the introduction of the soon-to-be nation’s favourite Doctor, David Tennant. “So, where was I? That’s it – Barcelona.”
BBC
8/37 Breaking Bad – “Full Measure” (2010)
Gale (David Costabile) is one of the nicest characters on Breaking Bad. He is not interested in wealth or fame, but in science. However, niceties and a good cup of coffee are not enough to stop him getting in Walter White’s (Bryan Cranston) way. When the choice between their lives has to be made, Walter chooses his own and sends Jesse Pinkman (Aaron Paul) to do the dirty work. Season three ends with Jesse killing Gale – an incident that eventually brings down the drug kingpin Gus Fring.
AMC
9/37 The West Wing – “What Kind of Day Has it Been” (2000)
The West Wing’s biggest cliffhanger came in the season one finale. The episode works its way back from the beginning as we see a Secret Service Agent sense danger from a nearby window at a town hall meeting with the president in attendance. When the episode catches up, gunfire rings out and each member of his senior staff is thrown to the floor. Cut to black as we hear an agent ask over the radio: “Who’s been hit?”
NBC
10/37 Smallville – “Covenant” (2004)
It wasn’t until the third season finale of Smallville that Superman fans’ patience was rewarded as viewers saw Clark (Tom Welling) appear naked in the middle of a Kryptonian symbol burned into the field of his family’s farm. “You shall be reborn,” Jor-El can be heard saying to Clark Kent, but he wasn’t the alone one; the ending marked a radical turning point for the series.
The WB
11/37 Twin Peaks – “The Last Evening” (1990)
Twin Peaks’ season two finale – the mystery drama’s last episode for 27 years – may have featured the most chilling cliffhanger, but the biggest gasp of the series came at the end of season one as the seemingly untouchable Dale Cooper (Kyle MacLachlan) responds to a knock on his hotel room door, only to be gunned down by an unseen assailant.
ABC
12/37 Buffy the Vampire Slayer – “The Gift” (2001)
The 100th episode of Buffy ended with one of the show’s most shocking moments (and no, we’re not talking about the musical episode). Season five concluded with the eponymous ass-kicker sacrificing herself to save the world by jumping into a demonic portal. The episode ends with a slow zoom onto Buffy’s tombstone, which reads: “Beloved sister. Devoted friend. She saved the world. A lot.“
The WB
13/37 True Blood – “Plaisir d’Amour” (2008)
It’s easy to forget that True Blood began life as an acclaimed Emmy-nominated drama, and it was a cliffhanger such as this that made it so: Sookie Stackhouse (Anna Paquin) falls asleep with the friendly neighbour dog Dean for company. Upon waking up, Dean is gone and in his place is local barman Sam Merlotte ( Sam Trammell). Turns out he’s a shapeshifter.
HBO
14/37 The Walking Dead – “Last Day on Earth” (2016)
After eight episodes of build-up, the comic book’s deadliest villain, Negan, reared his head in a scene fans were dreading. With the majority of the main cast lined up at his mercy, Negan – in retaliation for the death of one of his gang – decides which one to kill by using “Eeny Meeny Mino Moe”. After selecting his victim, the camera switches POV and Negan bludgeons the unseen character to death leaving fans with a six-month wait before finding out who had met their maker.
AMC
15/37 The Leftovers – “Ten Thirteen” (2015)
Lost co-creator Damon Lindelof’s HBO drama was set in a world that saw two per cent of the world’s population disappear into thin air during a tragic event known as the Sudden Departure. Season two presented an intriguing mystery: the disappearance of three teenage girls from a Texan town that nobody had vanished from. It was the season’s penultimate episode that cleared up this plot line as Matt Garvey (Chris Zylka) breaks into a heavily-guarded trailer – only to be met with the three teenage girls staring back at him. What’s more is they’re dressed all in white, a callback to the disbanded cult from the first season.
HBO
16/37 Lost – “Deus Ex Machina” (2005)
In episode 11, the writers had introduced a hatch buried underground and, week in week out, the fans waited patiently for any detail about the mysterious structure the writers were willing to give them. The end of episode 19 saw a desperate John Locke (Terry O’Quinn) banging on the door, just as desperate to get inside as the viewers were… only for a light to come on from within. This ending remains an unforgettable moment for those who watched it at the time of broadcast.
ABC
17/37 Lost – “Two for the Road” (2006)
“I’m sorry.” “For what?” BANG. On paper, not so effective but on screen, it equated to one of Lost’s most gasp-inducing cliffhangers. Viewers watched behind their eyes as Michael (Harold Perrineau), desperate to save his son from the mysterious Others, shoots Ana-Lucia (Michelle Rodriguez) and, in a cruel twist, Libby (Cynthia Watros), who has accidentally stumbled upon the whole thing while looking for some blankets.
ABC
18/37 Lost – ‘Through the Looking Glass – Part 2″
Whether you love or hate Lost, there’s no denying that the season three finale deployed one of the most breathtaking rug pulls in television history as writers Damon Lindelof and Carlton Cuse revealed a shake-up long in the running: flashbacks featuring a suicidal Jack Shephard (Matthew Fox) were, in fact, flashforwards to the future. The Oceanic Flight 815 plane crash survivor made it off the island he’d been so desperate to get off for three whole seasons, but was, disturbingly, desperate to get back. The ending set the benchmark for all future finale and was so huge it made newspaper headlines.
19/37 Line of Duty – Series four premiere (2018)
The fourth series of Line of Duty didn’t hold back on the shocks. In fact, its first episode featured a cliffhanger ending to rival the best of them. With DCI Roz Huntley (Thandie Newton) dead on his floor, her murderer – Forensic Coordinator Tim Ifield (Jason Watkins) – sets about dispatching her body, but as his chainsaw nears her face, Roz’s eyes suddenly open.
20/37 Heroes – ”The Butterfly Effect” (2008)
After season one, Heroes became pretty dreadful television. But this cliffhanger looms in the memory for being so left-field it warrants applaud: having captured serial killer Sylar, Angela Petrelli – parent to superheroes Nathan and Peter – tells him she can provide him with the love and guidance he needs. Angry, Sylar tells her she’s not his mother to which Angela drops the bombshell: “But I am dear, I am.” A head-scratching mid-season reveal that had fans chomping at the bit for the next episode.
NBC
21/37 Grey’s Anatomy – “Who’s Zoomin’ Who?” (2005)
After spending an entire season watching the blossoming romance between medical intern Meredith Grey (Ellen Pompeo) and Dr Derek Shephard (Patrick Dempsey), the world of viewers was rocked upon discovering the shock revelation that Derek was married all along.
ABC
22/37 Green Wing – “Emergency“ (2004)
Channel 4 sitcom Green Wing took the term “cliffhanger” quite literally for each finale of its two series. While it became a tad gimmicky the second time around, the first remained a genuinely surprising way for a comedy series to end: having discovered that the colleague he’d just slept with was his mother, drug-addled anaesthetist Guy Secretan (Stephen Mangan) steals an ambulance, drives it to the country and loses control. After crashing, the episode ends with Guy and several other characters dangling – you guessed it – off a cliff.
Channel 4
23/37 Dexter – “The Getaway” (2009)
A particularly nail-biting fourth season was shaping up to end well: after weeks of playing cat-and-mouse with the Trinity Killer (John Lithgow on Emmy-winning form), Dexter finally put an end to his murderous ways and returned home ready to pack up and join his wife Rita on their vacation. Only Rita’s still at home… dead in the bathtub. Trinity killed her before Dexter got to him. A heartbreaking end to a standout season.
Showtime
24/37 Battlestar Galactica – “Kobol’s Last Gleaming: Part 2” (2005)
When things are going supremely well towards the end of a season finale, you know something big is about to go down. Battlestar Galactica proved no different. After destroying the Cylon Basestar – a warship belonging to the enemy – crew member Boomer, who viewers had learnt was a Cylon in the mini-series that aired the year before, fires a round into the chest of Commander Adama (Edward James Olmos), the show’s main character.
ABC
25/37 Babylon 5 – “Z’ha’dum” (1996)
Having been warned for two seasons that Z’ha’dum means death, fans expected big things from an episode called “Z’ha’dum”. They weren’t wrong. It ended with the show’s lead character jumping to his death. The episode was so big the episodes leading up to it teased “Z minus 14 days” and “Z minus 7 days.”
PTEN
26/37 24 – “Day 5: 10:00pm – 11:00pm” (2006)
24 was filled to the brim with huge cliffhangers, but this one – arriving at the 16 episode mark – stands out for sparking what would be the show’s best run of episodes. President Charles Logan (Gregory Itzin) is revealed to be the mastermind behind the shocking assassinations of David Palmer and Michelle Dessler, which kickstarted the season. And thus the show’s most memorable villain was born.
FOX
27/37 Friends – “The One with Ross’s Wedding” (1998)
While Ross (David Schwimmer) and Rachel’s (Jennifer Aniston) “will they, won’t they” courtship arguably went on far too long, there was one moment during the season four finale that left fans with their jaws on the floor. Just after Rachel had accepted Ross was happy with fiancé Emily (Helen Baxendale), everything goes catastrophically wrong. Instead of saying Emily’s name during the wedding vows, Ross says the iconic line: “Take thee Rachel”. After the wedding, as the season finished, everyone was left wondering whether the pair would finally rekindle their romance for good.
NBC
28/37 The X-Files – “Anasazi” (1995)
“I’m in a boxcar, buried inside a quarry, and there are bodies everywhere,” says Mulder to Scully during the season two finale. And just as Mulder solves the riddle of how those people died, the roof of the boxcar slams shut, trapping him inside. Worse still, the Smoking Man then arrives with a unit of soldiers. When they open the boxcar, Mulder’s somehow nowhere to be seen and they decide to blow the freight to smithereens. Did Mulder survive? Did he get away?
FOX
29/37 Gilmore Girls: A Year in the Life – “Fall” (2016)
“It certainly wasn’t the ending I expected,” Rory Gilmore actor Alexis Bledel said of the finale. “Fitting but frustrating”, was how Vanity Fair referred to the episode. The Gilmore Girls sequel, A Year in the Life, concluded with a four-word exchange between Rory and her mother, Lorelai (Lauren Graham). “Mum”, the daughter says, sitting in a park’s bandstand. “Yeah”, she replies. “I’m pregnant,” Rory says. Queue hundreds of fans wanting more from the story, which had, ultimately, come full circle.
Netflix
30/37 Star Trek: The Next Generation – “Best of Both Worlds” (1990)
Another science fiction show filled to the brim with cliffhangers. Star Trek: The Next Generation had many, but few can measure up to Picard (Patrick Stewart) becoming a Borg. The season three finale sees the Enterprise’s crew having no choice but to turn on their former captain, with Riker (Jonathan Frakes) ordering Worf (Michael Dorn) to open fire on Picard’s Borg ship. Fans had to wait three months to discover whether Picard could be saved – and the fandom almost imploded in the meantime.
Paramount
31/37 The OC – “The Dearly Beloved” (2005)
Marissa Cooper (Mischa Barton) and Ryan Atwood (Benjamin McKenzie) would have done anything for each other. When Ryan’s brother Trey (Logan Marshall-Green) gets in the way, attacking Marissa, Ryan has no other course of action but to settle things “once and for all” between them. As the brawl ensues, Marissa somehow ends up shooting Trey. And as the bullet goes through him, Imogen Heap’s song “Hide and Seek” – AKA the “Mmmmh, what you say?” song – suddenly starts playing. It’s hard not to laugh. The pop song cuts through the scene, completely at odds with what’s happening on screen. No wonder, then, that Saturday Night Live famously parodied the scene in one of their most-beloved skits of all time.
Fox
32/37 The Office US – “Casino Night” (2006)
Jim (John Krasinski) and Pam (Jenna Fischer) were the ultimate “will they, won’t they” couple, their chemistry electrifying the early seasons of The Office. Things peaked for the first time during the season two finale. Following Casino Night at Dunder Mifflin, Jim finally takes Pam aside to reveal his true feelings, telling her: “I’m in love with you.” She is, at the time, engaged to Roy (David Denman), and decides to reply to Jim: “What are you doing?” While all hope for the pair seems lost, Jim finds Pam (calling her mother) before the episode’s end and kisses her. Cruelly, the showrunners decided to cut to black after the moment, leaving fans wondering for months whether the couple would return to screens happily together (spoiler: they do not).
NBC
33/37 Alias – “The Telling” (2003)
JJ Abrams loves ending things on a twist. Before creating the mystery-box filled Lost, the filmmaker created Alias, and the season two finale marks one the show’s greatest endings. The episode sees Sydney (Jennifer Garner) discover that Francie (Merrin Dungey) is not Francie at all, but a duplicate. The two then brawl, ending with Sydney shooting Francie and then collapsing due to exhaustion. We immediately jump to Sydney waking up in Hong Kong. After reuniting with her lover Michael Vaughn (Michael Vartan), Sydney realises things are amiss as Michael is wearing a wedding ring. Turns out, she has been missing for almost two years. Cut to black, and the world asking “What just happened?”
ABC
34/37 Spooks – “Smoke and Mirrors” (2003)
The season two finale of Spooks shocked the nation. While the episode begins with the CIA taking on a seemingly straightforward mission – to prevent a member of the Cabinet being assassinated – we soon discover that everything’s not as it seems. The formerly-presumed dead Herman Joyce (Tomas Arana) is still alive and masquerading as Herb Zeigler. Not only that, but the villain has masterminded an elaborate plan to make it seem as if Tom (Matthew Macfadyen) has assassinated the Chief of the Defence Staff. With everything working against Tom, the agent finds himself backed into a corner. And when Harry (Peter Firth) loses faith, Tom decides to shoot Harry with his shotgun. Does Harry die? Will Tom ever be found innocent? The questions were many.
BBC
35/37 Dragon Ball Z – Next time on Dragon Ball Z
There’s really no definitive Dragon Ball Z cliffhanger, as almost every single episode in the series finishes with one. From Vegeta staring menacingly at the camera to the villainous Cell launching a deadline attack on Goku, the series leaves you anywhere and everywhere. When that voice-over comes in with “Next time on Dragon Ball Z”, you can guarantee any child watching will be hooked and instantly wanting to watch the next episode.
Cartoon Network
36/37 Pushing Up Daisies – “Kerplunk” (2009)
Pushing Up Daisies was unceremoniously brought to an end after just two seasons, with showrunner Bryan Fuller having to quickly conclude the whimsical series with very little notice. The epilogue was added late into the writing process and sees the narrator offer some closure to each characters’ story. Yet, with Ned (Lee Pace) and Chuck (Anna Friel) standing on her aunts’ doorstep, waiting to finally reveal that she’s alive, fans could see that there were originally supposed to be many more seasons to come – and they still want them desperately.
37/37 Sherlock – “The Reichenbach Fall” (2012)
Following a war of words with Jim Moriarty (Andrew Scott) on the roof of a building (in which Moriarty shoots himself in the head), Sherlock (Benedict Cumberbatch) decides to seemingly commit suicide by jumping off the building. However, not all is at it seems, as Sherlock is seen alive before the episode end. Fans of the series – plus Martin Freeman’s Watson – were left questioning what exactly happened to Sherlock, with all being revealed in the following special.
1/37 Breaking Bad – “Gliding Over All” (2012)
Karma for killing Gale comes for Walter White in season five. The meth maker believes his days of cooking are long over. Having lunch with his family, everything seems perfect. And then everything goes wrong. So, so wrong. Hank (Dean Norris) goes to use the toilet and picks up a copy of Walt Whitman’s Leaves of Grass – a gift from Gale to Walter White. “To my other favorited WW. It’s an honour working with you. Fondly, GB.” And with that, as Hank realises Walt’s true identity, the end of Heisenberg’s empire begins.
AMC
2/37 The Sopranos – “Made In America” (2007)
The debate over whether certain final scenes of television shows are actually good will rage on and on. The Sopranos remains front and centre of the conversation. It’s a seemingly banal occasion – a restaurant dinner scene. We watch on as Tony sits there, observing other customers. Carmela arrives, then AJ and Meadow, who the last we see, is parking her car outside. A bell rings, Tony looks up and the screen cuts to black. It’s an ending that’s inspired essays offering varied interpretations but ultimately, it remains a beautifully-executed few minutes of television – and a cliffhanger that’ll never have a resolution.
HBO
3/37 EastEnders – The Kat and Zoe revelation (2001)
“You can’t tell me what to do ‘cause you ain’t my muvva” / “YES I AM!” – not the work of Shakespeare, granted, but surely one of the biggest moments in soap history. The nation’s jaws collectively dropped as they learned that Kat Slater (Jessie Wallace) wasn’t Zoe’s sister at all, but her mum.
BBC
4/37 Game of Thrones – “The Rains of Castamere” (2013)
Game of Thrones knew George RR Martin was willing to kill off leading characters, but nothing prepared non-book readers for The Red Wedding. Robb Stark (Richard Madden), Talisa Stark (Oona Chaplin) and Catelyn Stark (Michelle Fairley) are attending the wedding of Roslin Frey (Alexandra Dowling) and Edmure Tully (Tobias Menzies) when things go terribly, terribly wrong for the Starks. The Freys turn on them, killing Robb, Talisa and their unborn child. Then, as the blood spills everywhere, Catelyn’s throat is slit. Cut to black. Devastating.
HBO
5/37 Dallas – “A House Divided” (1980)
The cliffhanger that kickstarted the end of season cliffhanger trend. Larry Hagman’s oil baron JR Ewing had made plenty of enemies in Dallas. By the end of season three, one of them took justice into their own hands, shooting JR in the back twice. However, rather than reveal the culprit, the team behind Dallas left the case unsolved. And over the next eight months – the time between seasons – the whole world was asking “Who shot JR?” Unsurprisingly, considering the hysteria around the mystery, 350 million people tuned in to watch the revelatory episode “Who Done It”.
CBS
6/37 The Simpsons – “Who shot Mr Burns?” (1995)
Showrunner Matt Groening had long wanted to do an episode where Mr Burns was shot, and the culprit was not revealed until the next episode. Taking inspiration from Dallas, the animation concluded Part One with the nuclear power plant owner being shot by an unknown assailant. Then, after a Summer of waiting, fans were finally treated to the answer. The two-part episode has gone down as a classic and is often heralded as the series’ best.
FOX
7/37 Doctor Who – “The Parting of the Ways” (2005)
Choosing one standout Doctor Who cliffhanger is almost impossible – especially when you consider that all 37 (and counting) seasons have frequently used the plot device. While the introduction of John Hurt’s Doctor certainly ranks among them, one of best came at the end of the rebooted first series. Having absorbed a bunch of vortexes, the Doctor is struggling and on the verge of regenerating. Turning to Rose (Billie Piper), Christopher Eccleston’s incarnation of the iconic character utters the timeless lines: “Before I go, I just want to tell you, you were fantastic. Absolutely fantastic. And you know what – so was I.” Queue shoddy CGI and the introduction of the soon-to-be nation’s favourite Doctor, David Tennant. “So, where was I? That’s it – Barcelona.”
BBC
8/37 Breaking Bad – “Full Measure” (2010)
Gale (David Costabile) is one of the nicest characters on Breaking Bad. He is not interested in wealth or fame, but in science. However, niceties and a good cup of coffee are not enough to stop him getting in Walter White’s (Bryan Cranston) way. When the choice between their lives has to be made, Walter chooses his own and sends Jesse Pinkman (Aaron Paul) to do the dirty work. Season three ends with Jesse killing Gale – an incident that eventually brings down the drug kingpin Gus Fring.
AMC
9/37 The West Wing – “What Kind of Day Has it Been” (2000)
The West Wing’s biggest cliffhanger came in the season one finale. The episode works its way back from the beginning as we see a Secret Service Agent sense danger from a nearby window at a town hall meeting with the president in attendance. When the episode catches up, gunfire rings out and each member of his senior staff is thrown to the floor. Cut to black as we hear an agent ask over the radio: “Who’s been hit?”
NBC
10/37 Smallville – “Covenant” (2004)
It wasn’t until the third season finale of Smallville that Superman fans’ patience was rewarded as viewers saw Clark (Tom Welling) appear naked in the middle of a Kryptonian symbol burned into the field of his family’s farm. “You shall be reborn,” Jor-El can be heard saying to Clark Kent, but he wasn’t the alone one; the ending marked a radical turning point for the series.
The WB
11/37 Twin Peaks – “The Last Evening” (1990)
Twin Peaks’ season two finale – the mystery drama’s last episode for 27 years – may have featured the most chilling cliffhanger, but the biggest gasp of the series came at the end of season one as the seemingly untouchable Dale Cooper (Kyle MacLachlan) responds to a knock on his hotel room door, only to be gunned down by an unseen assailant.
ABC
12/37 Buffy the Vampire Slayer – “The Gift” (2001)
The 100th episode of Buffy ended with one of the show’s most shocking moments (and no, we’re not talking about the musical episode). Season five concluded with the eponymous ass-kicker sacrificing herself to save the world by jumping into a demonic portal. The episode ends with a slow zoom onto Buffy’s tombstone, which reads: “Beloved sister. Devoted friend. She saved the world. A lot.“
The WB
13/37 True Blood – “Plaisir d’Amour” (2008)
It’s easy to forget that True Blood began life as an acclaimed Emmy-nominated drama, and it was a cliffhanger such as this that made it so: Sookie Stackhouse (Anna Paquin) falls asleep with the friendly neighbour dog Dean for company. Upon waking up, Dean is gone and in his place is local barman Sam Merlotte ( Sam Trammell). Turns out he’s a shapeshifter.
HBO
14/37 The Walking Dead – “Last Day on Earth” (2016)
After eight episodes of build-up, the comic book’s deadliest villain, Negan, reared his head in a scene fans were dreading. With the majority of the main cast lined up at his mercy, Negan – in retaliation for the death of one of his gang – decides which one to kill by using “Eeny Meeny Mino Moe”. After selecting his victim, the camera switches POV and Negan bludgeons the unseen character to death leaving fans with a six-month wait before finding out who had met their maker.
AMC
15/37 The Leftovers – “Ten Thirteen” (2015)
Lost co-creator Damon Lindelof’s HBO drama was set in a world that saw two per cent of the world’s population disappear into thin air during a tragic event known as the Sudden Departure. Season two presented an intriguing mystery: the disappearance of three teenage girls from a Texan town that nobody had vanished from. It was the season’s penultimate episode that cleared up this plot line as Matt Garvey (Chris Zylka) breaks into a heavily-guarded trailer – only to be met with the three teenage girls staring back at him. What’s more is they’re dressed all in white, a callback to the disbanded cult from the first season.
HBO
16/37 Lost – “Deus Ex Machina” (2005)
In episode 11, the writers had introduced a hatch buried underground and, week in week out, the fans waited patiently for any detail about the mysterious structure the writers were willing to give them. The end of episode 19 saw a desperate John Locke (Terry O’Quinn) banging on the door, just as desperate to get inside as the viewers were… only for a light to come on from within. This ending remains an unforgettable moment for those who watched it at the time of broadcast.
ABC
17/37 Lost – “Two for the Road” (2006)
“I’m sorry.” “For what?” BANG. On paper, not so effective but on screen, it equated to one of Lost’s most gasp-inducing cliffhangers. Viewers watched behind their eyes as Michael (Harold Perrineau), desperate to save his son from the mysterious Others, shoots Ana-Lucia (Michelle Rodriguez) and, in a cruel twist, Libby (Cynthia Watros), who has accidentally stumbled upon the whole thing while looking for some blankets.
ABC
18/37 Lost – ‘Through the Looking Glass – Part 2″
Whether you love or hate Lost, there’s no denying that the season three finale deployed one of the most breathtaking rug pulls in television history as writers Damon Lindelof and Carlton Cuse revealed a shake-up long in the running: flashbacks featuring a suicidal Jack Shephard (Matthew Fox) were, in fact, flashforwards to the future. The Oceanic Flight 815 plane crash survivor made it off the island he’d been so desperate to get off for three whole seasons, but was, disturbingly, desperate to get back. The ending set the benchmark for all future finale and was so huge it made newspaper headlines.
19/37 Line of Duty – Series four premiere (2018)
The fourth series of Line of Duty didn’t hold back on the shocks. In fact, its first episode featured a cliffhanger ending to rival the best of them. With DCI Roz Huntley (Thandie Newton) dead on his floor, her murderer – Forensic Coordinator Tim Ifield (Jason Watkins) – sets about dispatching her body, but as his chainsaw nears her face, Roz’s eyes suddenly open.
20/37 Heroes – ”The Butterfly Effect” (2008)
After season one, Heroes became pretty dreadful television. But this cliffhanger looms in the memory for being so left-field it warrants applaud: having captured serial killer Sylar, Angela Petrelli – parent to superheroes Nathan and Peter – tells him she can provide him with the love and guidance he needs. Angry, Sylar tells her she’s not his mother to which Angela drops the bombshell: “But I am dear, I am.” A head-scratching mid-season reveal that had fans chomping at the bit for the next episode.
NBC
21/37 Grey’s Anatomy – “Who’s Zoomin’ Who?” (2005)
After spending an entire season watching the blossoming romance between medical intern Meredith Grey (Ellen Pompeo) and Dr Derek Shephard (Patrick Dempsey), the world of viewers was rocked upon discovering the shock revelation that Derek was married all along.
ABC
22/37 Green Wing – “Emergency“ (2004)
Channel 4 sitcom Green Wing took the term “cliffhanger” quite literally for each finale of its two series. While it became a tad gimmicky the second time around, the first remained a genuinely surprising way for a comedy series to end: having discovered that the colleague he’d just slept with was his mother, drug-addled anaesthetist Guy Secretan (Stephen Mangan) steals an ambulance, drives it to the country and loses control. After crashing, the episode ends with Guy and several other characters dangling – you guessed it – off a cliff.
Channel 4
23/37 Dexter – “The Getaway” (2009)
A particularly nail-biting fourth season was shaping up to end well: after weeks of playing cat-and-mouse with the Trinity Killer (John Lithgow on Emmy-winning form), Dexter finally put an end to his murderous ways and returned home ready to pack up and join his wife Rita on their vacation. Only Rita’s still at home… dead in the bathtub. Trinity killed her before Dexter got to him. A heartbreaking end to a standout season.
Showtime
24/37 Battlestar Galactica – “Kobol’s Last Gleaming: Part 2” (2005)
When things are going supremely well towards the end of a season finale, you know something big is about to go down. Battlestar Galactica proved no different. After destroying the Cylon Basestar – a warship belonging to the enemy – crew member Boomer, who viewers had learnt was a Cylon in the mini-series that aired the year before, fires a round into the chest of Commander Adama (Edward James Olmos), the show’s main character.
ABC
25/37 Babylon 5 – “Z’ha’dum” (1996)
Having been warned for two seasons that Z’ha’dum means death, fans expected big things from an episode called “Z’ha’dum”. They weren’t wrong. It ended with the show’s lead character jumping to his death. The episode was so big the episodes leading up to it teased “Z minus 14 days” and “Z minus 7 days.”
PTEN
26/37 24 – “Day 5: 10:00pm – 11:00pm” (2006)
24 was filled to the brim with huge cliffhangers, but this one – arriving at the 16 episode mark – stands out for sparking what would be the show’s best run of episodes. President Charles Logan (Gregory Itzin) is revealed to be the mastermind behind the shocking assassinations of David Palmer and Michelle Dessler, which kickstarted the season. And thus the show’s most memorable villain was born.
FOX
27/37 Friends – “The One with Ross’s Wedding” (1998)
While Ross (David Schwimmer) and Rachel’s (Jennifer Aniston) “will they, won’t they” courtship arguably went on far too long, there was one moment during the season four finale that left fans with their jaws on the floor. Just after Rachel had accepted Ross was happy with fiancé Emily (Helen Baxendale), everything goes catastrophically wrong. Instead of saying Emily’s name during the wedding vows, Ross says the iconic line: “Take thee Rachel”. After the wedding, as the season finished, everyone was left wondering whether the pair would finally rekindle their romance for good.
NBC
28/37 The X-Files – “Anasazi” (1995)
“I’m in a boxcar, buried inside a quarry, and there are bodies everywhere,” says Mulder to Scully during the season two finale. And just as Mulder solves the riddle of how those people died, the roof of the boxcar slams shut, trapping him inside. Worse still, the Smoking Man then arrives with a unit of soldiers. When they open the boxcar, Mulder’s somehow nowhere to be seen and they decide to blow the freight to smithereens. Did Mulder survive? Did he get away?
FOX
29/37 Gilmore Girls: A Year in the Life – “Fall” (2016)
“It certainly wasn’t the ending I expected,” Rory Gilmore actor Alexis Bledel said of the finale. “Fitting but frustrating”, was how Vanity Fair referred to the episode. The Gilmore Girls sequel, A Year in the Life, concluded with a four-word exchange between Rory and her mother, Lorelai (Lauren Graham). “Mum”, the daughter says, sitting in a park’s bandstand. “Yeah”, she replies. “I’m pregnant,” Rory says. Queue hundreds of fans wanting more from the story, which had, ultimately, come full circle.
Netflix
30/37 Star Trek: The Next Generation – “Best of Both Worlds” (1990)
Another science fiction show filled to the brim with cliffhangers. Star Trek: The Next Generation had many, but few can measure up to Picard (Patrick Stewart) becoming a Borg. The season three finale sees the Enterprise’s crew having no choice but to turn on their former captain, with Riker (Jonathan Frakes) ordering Worf (Michael Dorn) to open fire on Picard’s Borg ship. Fans had to wait three months to discover whether Picard could be saved – and the fandom almost imploded in the meantime.
Paramount
31/37 The OC – “The Dearly Beloved” (2005)
Marissa Cooper (Mischa Barton) and Ryan Atwood (Benjamin McKenzie) would have done anything for each other. When Ryan’s brother Trey (Logan Marshall-Green) gets in the way, attacking Marissa, Ryan has no other course of action but to settle things “once and for all” between them. As the brawl ensues, Marissa somehow ends up shooting Trey. And as the bullet goes through him, Imogen Heap’s song “Hide and Seek” – AKA the “Mmmmh, what you say?” song – suddenly starts playing. It’s hard not to laugh. The pop song cuts through the scene, completely at odds with what’s happening on screen. No wonder, then, that Saturday Night Live famously parodied the scene in one of their most-beloved skits of all time.
Fox
32/37 The Office US – “Casino Night” (2006)
Jim (John Krasinski) and Pam (Jenna Fischer) were the ultimate “will they, won’t they” couple, their chemistry electrifying the early seasons of The Office. Things peaked for the first time during the season two finale. Following Casino Night at Dunder Mifflin, Jim finally takes Pam aside to reveal his true feelings, telling her: “I’m in love with you.” She is, at the time, engaged to Roy (David Denman), and decides to reply to Jim: “What are you doing?” While all hope for the pair seems lost, Jim finds Pam (calling her mother) before the episode’s end and kisses her. Cruelly, the showrunners decided to cut to black after the moment, leaving fans wondering for months whether the couple would return to screens happily together (spoiler: they do not).
NBC
33/37 Alias – “The Telling” (2003)
JJ Abrams loves ending things on a twist. Before creating the mystery-box filled Lost, the filmmaker created Alias, and the season two finale marks one the show’s greatest endings. The episode sees Sydney (Jennifer Garner) discover that Francie (Merrin Dungey) is not Francie at all, but a duplicate. The two then brawl, ending with Sydney shooting Francie and then collapsing due to exhaustion. We immediately jump to Sydney waking up in Hong Kong. After reuniting with her lover Michael Vaughn (Michael Vartan), Sydney realises things are amiss as Michael is wearing a wedding ring. Turns out, she has been missing for almost two years. Cut to black, and the world asking “What just happened?”
ABC
34/37 Spooks – “Smoke and Mirrors” (2003)
The season two finale of Spooks shocked the nation. While the episode begins with the CIA taking on a seemingly straightforward mission – to prevent a member of the Cabinet being assassinated – we soon discover that everything’s not as it seems. The formerly-presumed dead Herman Joyce (Tomas Arana) is still alive and masquerading as Herb Zeigler. Not only that, but the villain has masterminded an elaborate plan to make it seem as if Tom (Matthew Macfadyen) has assassinated the Chief of the Defence Staff. With everything working against Tom, the agent finds himself backed into a corner. And when Harry (Peter Firth) loses faith, Tom decides to shoot Harry with his shotgun. Does Harry die? Will Tom ever be found innocent? The questions were many.
BBC
35/37 Dragon Ball Z – Next time on Dragon Ball Z
There’s really no definitive Dragon Ball Z cliffhanger, as almost every single episode in the series finishes with one. From Vegeta staring menacingly at the camera to the villainous Cell launching a deadline attack on Goku, the series leaves you anywhere and everywhere. When that voice-over comes in with “Next time on Dragon Ball Z”, you can guarantee any child watching will be hooked and instantly wanting to watch the next episode.
Cartoon Network
36/37 Pushing Up Daisies – “Kerplunk” (2009)
Pushing Up Daisies was unceremoniously brought to an end after just two seasons, with showrunner Bryan Fuller having to quickly conclude the whimsical series with very little notice. The epilogue was added late into the writing process and sees the narrator offer some closure to each characters’ story. Yet, with Ned (Lee Pace) and Chuck (Anna Friel) standing on her aunts’ doorstep, waiting to finally reveal that she’s alive, fans could see that there were originally supposed to be many more seasons to come – and they still want them desperately.
37/37 Sherlock – “The Reichenbach Fall” (2012)
Following a war of words with Jim Moriarty (Andrew Scott) on the roof of a building (in which Moriarty shoots himself in the head), Sherlock (Benedict Cumberbatch) decides to seemingly commit suicide by jumping off the building. However, not all is at it seems, as Sherlock is seen alive before the episode end. Fans of the series – plus Martin Freeman’s Watson – were left questioning what exactly happened to Sherlock, with all being revealed in the following special.
There are three types of on-screen ending, he adds. The closed ending, where either everybody lives happily ever after, or everybody’s dead. “This world is closed, we’ve dealt with it and there’s no need to come back here,” he says. These endings often feature what Hitchcock calls the “morality” or “redistribution” clause” – where the good are rewarded and the bad are punished – which gives the audience catharsis. Next, there’s the open ending, which could be a cliff-hanger, and finally, the ironic ending. “An ironic ending is where the good aren’t obviously rewarded and the bad aren’t obviously punished,” he says. “This often happens in political thrillers where a character gets the power they wanted but have had to sell their soul to do it. So their ‘punishment’ is that they are haunted by their choices and will never actually find happiness.”
Not all shows fall at the final hurdle. Fleabag , the BBC Three series written by and starring Phoebe Waller-Bridge , came to an end earlier this year after two series, and was met with almost unanimous praise.
Sian Clifford, who plays Fleabag’s sister Claire, tells me that Waller-Bridge had originally intended to keep the show to just one series. “We were asked to do another series early on and Phoebe wasn’t sure,” she explains. “Her source material had been the one-woman play and she felt the story was complete then. But fortunately, she was able to have the time that she needed and during the time she had ideas.”
Although she initially thought the show could go on for longer, Clifford thinks it ended at the right time. “I often encounter people who say: ‘Do more! Do more!’ But I really defend the decision now. I think the story is complete.”
Phoebe Waller-Bridge in ‘Fleabag’ (BBC/Two Brothers/Luke Varley )
Not that Fleabag ’s story was neatly tied up. In fact, the ending was beautiful in part because it denied viewers the blissful romantic ending they craved. “It wasn’t about tying things up. I don’t think that was in Phoebe’s mind,” Clifford explains. “Because life is messy. You never reach a point where everything is fixed and healed and dealt with, it doesn’t work like that. But there is hope, and hope galvanises people.”
Fleabag has taught Clifford that collaboration is the key to success, but she says that the hierarchical nature of the entertainment business can have a negative impact on how other stories are told and ultimately concluded. “I wish projects felt more collaborative and not so hierarchical. That’s why there have been so many abuses of power. When you have very powerful producers it can be difficult for people to be creatively free,” she says. “It’s notorious that projects are completely hamstrung by producers, who won’t let writers tell their stories or directors create their vision … If you’re in a situation where you feel restricted, it definitely impacts storytelling and means that projects don’t fulfil their potential towards the end.”
Bryan thinks that, in general, it’s easier to bring shorter shows like Fleabag to a conclusion. “Shorter shows always seem to do well, primarily because it has a narrative arc that is usually planned from the start,” he says. “British shows are very good at this, because even shows on commercial networks here are never planned for more than a couple of series at the start and actor availability can be quite limited to commit for a longer run.” The longer a show runs, the higher the chances it will be cancelled before the story reaches its conclusion. “It’s hard. How many shows have we continued all the way through until the end? So many just drop off.”
TV critic and Independent arts columnist Fiona Sturges thinks that TV conclusions are becoming increasingly complex. “I think endings are more challenging than they used to be,” she says. “You have to have scores of subplots, just to keep that level of engagement. And so when you try to wrap up the subplots at once, it’s pretty much impossible. There’s so much choice that you don’t give shows the attention you used to, because you think, ‘f**k it, there’s something else on that I can start and it’ll give me that sort of instant satisfaction.’ That’s why soap operas are so skilled, because they manage to keep people endlessly engaged.”
‘Fleabag’ came to an end with its second series earlier this year (BBC)
Sturges also warns of “multiple ending syndrome”, where TV shows limp on and spend too much time on their conclusions. “I think there are a lot of writers who do think everything has to be neatly wrapped up,” she says. “That doesn’t necessarily have to be the case. You can leave a bit of mystery”.
Swindell agrees. “One of the mistakes that is made with endings is people often spend too much screen-time on them,” he says. “If you think about the best endings, the drama, crisis and climax go on as long as possible, but the resolution is as quick as possible. Because that’s what’s exciting for us to see.”
Bafta-winning screenwriter Jimmy McGovern once said, “A great ending should be both surprising and inevitable.” The ending of Game of Thrones was certainly surprising, and it seemed inevitable it wouldn’t please everyone. Now we’re consuming stories at a faster pace than ever before, shows like this, that make us wait every week, face increased pressure.
But the upset proves that TV endings are not just about wrapping up a story – they’re about leaving a legacy. Viewers have an emotional connection with the few stories and characters we follow until the end, and the conclusion of these narratives greatly affects our experience. Just like our real-life relationships, it seems we often remember TV shows by how they end, rather than the joy they once gave us along the way.