It’s no secret that the Grey’s Anatomy doctors are not the most ethical physicians, and Izzie, in particular, should have been fired multiple times.

Grey's Anatomy is oftentimes closer to a soap opera than a primetime network television show, which is made clear by the number of times the characters should have been fired from their jobs at Seattle Grace Hospital. In particular, Izzie Stevens, played by Katherine Heigl, broke eight rules during her time on the ABC medical drama series, which should have resulted in her being removed from the hospital. However, Grey's Anatomy is a fictional show in its own universe with its own set of rules, meaning that the penalty for breaking some regulations in the series isn't the same as in the real world.

Of course, throughout the series' 19 seasons, characters have gotten in trouble and even been fired. If there were no consequences for their actions, then the show would not contain any real conflict, resulting in a boring program that undoubtedly would not have lasted as long as it has. Even Izzie was reprimanded a few times throughout the six seasons she was on Grey's Anatomy, but given her track record, she should have never kept her job as long as she did.

American crime thriller series ‘The Blacklist’ ended its decade-long run on Thursday with James Spader aka Raymond Reddington eluding the authorities (spoilers ahead).

The long journey of NBC’s investigative series by crime juggernaut Jon Bokenkamp, spanning over 10 seasons and 218 episodes, concluded with a 2-hour finale last night which started with Reddington, an ex-US Naval intelligence officer and master criminal-turned-FBI informant, on the lam.

Within the first hours of the ‘Blacklist’ finale, Reddington was in-face with Congressman Arthur Hudson (Toby Leonard Moore) and shot him dead after the latter put a bullet in his bodyguard-turned-agent Dembe Zuma (Hisham Tawfiq).

He successfully managed to get the agent to a hospital for treatment before continuing his quest to flee the country. In the second part of the finale, the force is back to find Reddington while Special Agent Jordan Nixon (Derrick Williams) vowed to avenge the death of Hudson by killing the criminal himself, which leads to a shoving match between him and Assistant Director Harold Cooper (Henry Lennix).

Meanwhile, Reddington landed in Spain, where he goes fruit and vegetable shopping at a local market, before making his one final call to his granddaughter Agnes (Sami Bray), while also checking up on Dembe. The Strike Force continues the Reddington chase, who comes face-to-face with a drooling bull, charging toward him in slow motion.

Finally, the camera cuts to a helicopter landing on the field with Donald Ressler (Diego Klattenhoff) of the team, who sees the body of Reddington, killed by the creature which meant him so much throughout the series’ tenure.

All the episodes of all 10 seasons are available to watch on the streaming platform Peacock.

Cobra Kai has somehow managed to divide its runtime to keep each character arc interesting but has seemingly sacrificed several storylines in doing so.

Cobra Kai has had a strong run almost throughout its five-season runtime, but, along the way, the show seemingly forgot about many important stories. Ingeniously reversing the primary character beats from the original Karate Kid movie, Cobra Kai started by introducing Johnny Lawrence as its protagonist and Daniel LaRusso as his bully. After reigniting their rivalry throughout seasons 1 and 2 and adding new ones to the mix, Cobra Kai expanded its lore by reinstating several legacy Karate Kid characters like Chozen, Kreese, and Silver in its overarching storylines.

So far, Cobra Kai has done an incredible job at churning out fascinating stories about karate rivalries, romance, redemption, and coming-of-age drama. While pleasing audiences who have followed the franchise since Daniel started training with Mr. Miyagi in the first Karate Kid, Cobra Kaialso garnered a whole new viewer base with its contemporary take on the narrative foundations set by the original films. However, despite its commendable run, Cobra Kai has not been able to avoid plot holes that highlight how the show forgot many important stories.

Miguel's Asthma

The Blacklist has brought a lot of criminal energy to our screens over the last ten seasons. Will we get a season 11?

For the last ten years, The Blacklist has graced us with some of the best crime drama fans could have asked for. The series starring James Spader has introduced us to more iconic villains than we can count and included an insane amount of mindbending twists. But will we got a season 11 for The Blacklist?

Don't worry: no spoilers here!

Diving deep into the world of Raymond "Red" Reddington, a crime-lord who decides to work with the FBI, is no easy feat. Throughout the series, it is difficult to get a read of Red's character, as he always seems to have some kind of ulterior motive. His gangster gentleman persona has a certain charm, though, and it really makes up most of the intrigue the show provides loads of. Adding to that, each episode reveals a new high-profile villain, ensuring the series never gets boring.

The show already boasts a shocking 218 episodes, spanning ten seasons. You would think that the show had gotten boring by now, but The Blacklist still delivers ample entertainment and people are longing for more. Thankfully, James Spader sheds some light on this subject.

James Spader Opens Up About The Future Of The Blacklist

I'm going to pull that tooth right away: there won't be a season 11 of The Blacklist. James Spader has a pretty good explanation for that, though. As hard as it is to say goodbye, Spader is not wrong in his assessment of why the show needs to end after season 10. As Red's actor and executive producer himself, he spoke to NBC about why The Blacklist ended with season 10.

I think if the show went beyond this year, it would turn into a very different show. Tonally the show shifts a lot from episode to episode, and I think that even the show has taken strange turns, and I suspect that the show, if it went much further, would just become something that would be less recognizable to me.

Honestly? Good call. We've already seen way too many shows that didn't know when they should end and continued on without any good stories to tell, burning out and leaving fans more bitter than anything. It's smart to end a show when audiences are still sad about it and not angry because the last season was basically unwatchable.

Rena Sofer, who originally exited General Hospital in 1997 after 101 episodes, is returning to the show to reprise her role as Lois Cerullo.

Rena Sofer is set to return to General Hospital after being off the soap opera for 26 years. Sofer played Italian-American band manager Lois Cerullo, who briefly marries Ned Ashton (Wally Kurth) - twice - and becomes the mother of his child after meeting him in his alter ego as rock star Eddie Maine. After 101 episodes, Sofer left the series in 1997. The character briefly returned in 2004 played by Lesli Kay, but Cerullo's final appearance until now took place in 2005.

People has reported that Sofer is returning to the General Hospital fold and has already filmed an episode that will air in October. Her return comes during a juicy storyline where Ned has amnesia and believes himself to be Eddie Maine, which provides the perfect opportunity for him to encounter such an important figure from his past. This reappearance on the series has been rumored since Sofer left her longtime role as Quinn Fuller on The Bold and the Beautiful in 2022, and now it has been officially confirmed.

Everything Rena Sofer Has Done Since Leaving General Hospital

Although she doesn't have the tenure of longer-running General Hospital stars such as Maurice Benard and Laura Wright or the widespread name recognition of previous General Hospital alums including True Lies' Tia Carrere or Full House's John Stamos, Sofer has become a huge name in the soap opera industry. In addition to being part of the major General Hospital on-again-off-again couple, her role on The Bold and the Beautiful has earned her great notoriety. Before her exit, she played jewelry designer Quinn Fuller on 946 episodes of the long-running series, beginning in 2013.

In the years between those two major soap roles, Sofer maintained her hold on dramatic television. In fact, just one year after her first General Hospital exit, she joined Melrose Place for 25 episodes as the memorable character Eve Cleary. She would play that role until the end of Melrose in 1999, at which point she moved on to roles in series including The Chronicle, Blind Justice, 24, NCIS, and the fantasy show Once Upon a Time.

This return to General Hospital is something of a victory lap for the star. It is currently unknown for how long Sofer will remain on the series now that she has returned. However, she has no other officially confirmed roles in the near future, nor has she appeared onscreen outside of soaps since a 2017 episode of the game show Jeopardy, so Lois could stick around to wreak havoc for some time to come.

Across its three seasons, RuPaul’s Drag Race Down Under has featured 30 of Australia and New Zealand’s finest drag queens. Unfortunately, that might not actually be obvious if you’ve watched the show, which has struggled to really show off the calibre of our local drag scene – even as we approach the current season’s finale on Friday.

The multinational series has attracted millions of fans since it first debuted in the US in 2009, and has contributed significantly to broader awareness of drag. Fan reaction to the news that Australia was finally getting its own iteration of the show was overwhelmingly positive, but three years in, many are now wondering why Australian Drag Race isn’t hitting quite as hard and feels so much more awkward (has anyone ever had “Aussie! Aussie! Aussie! Oi! Oi! Oi!” as a call-and-response at a drag show?).

This isn’t just a case of classic Australian cultural cringe. Globally, fans agree. Out of the more than 16 international franchises and fifty-plus seasons that make up the Drag Race empire, Down Under is home to some of the series’ lowest-rated episodes on IMDB.

It’s also regularly cited by critics and Drag Race aficionados as the worst of the pack. But with the show crowning its third winner on Friday, co-producers Stan, TVNZ and US Drag Race producers World of Wonder have an opportunity to revitalise the series.

Down Under needs a bigger budget

The most immediate, positive change would be more money. Compared to the multimillion-dollar gloss of the US show, Down Under’s cramped set adorned with Bunnings cherubs is closer to a backyard shed than the world-class runway we’re used to.

Time and time again, the cheap-looking set sabotages the queens. We’ve seen more than a few mid-lip-sync or mid-challenge collisions due to the micro-stage, and details on runway looks - which take countless hours of labour and can cost thousands - are often washed out by unflattering lighting.

While a bigger budget and soundstage would go a long way to zhuzhing the show’s look, it wouldn’t fix the show’s biggest problem - a lack of connection to our culture and drag scene.

Embrace Australia’s unique drag scene

The more beloved international franchises, like Spain, France and Canada, aren’t merely a transplant of the US show: they’re tailored to that drag scene, with distinct challenges and local hosts who understand the references and jokes thrown out by the queens, without them being over-explained or translated for an international audience.

Instead, because RuPaul flies over the Pacific to host, the show is tailored primarily for international audiences. He - and judge Michelle Visage - are conduits for an imagined audience, who are often bewildered and at best bemused by Australia’s off-kilt humour and irreverence.

Jokes constantly have to be explained to a stone-faced Ru (recently, he didn’t know who The Wiggles were), meaning queens feel pressured to cater to his interests and humour - sanding off their edges in favour of a more ‘universal’ (ie. American) sensibility. (Thank heavens for Australian comedian and Down Under judge Rhys Nicholson - his riffs with queens are without fail the funniest part of any episode.)

Drag Race may have helped homogenise drag in favour of a uniform aesthetic and archetypes - the comedy queen, the fashion queen, the Southern charmer - but Down Under drag remains distinct. It’s a wonderful blend of blue humour, camp and raw talent, with importance placed on charisma and wit even for the more glamazonian queens.

Down Under nearly got it right once

Perhaps the most frustrating part of Down Under is that we almost had it with season two. Where season one was rough for many reasons - most of all, the choice to brush over a finalist’s repeat performances in blackface and with other offensive outfits - season two loved its cast. It wasn’t perfect but challenges were tailored better to our charms, like a drag brunch allowing queens to riff on a mic, or a chance to make a tourism campaign for queens’ hometowns.

The eventual winner, Spankie Jackzon, was a breath of fresh air to the franchise - an incredible talent whose off-the-rack outfits and questionable taste levels would have seen her discounted on the US show. It’s telling that the season two cast features some of the most universally beloved and referenced queens, from finalists Kween Kong and Hannah Conda through to early outs like Yuri Guaii and Minnie Cooper. It actually let us fall in love with them.

Season three, comparatively, arrived lifeless - and the queens could do little to resuscitate it.

The Down Under references are bottom barrel (in addition to lip-syncs to Jet and Men at Work, the queens were forced to ride bikes in high-heels in a girl group challenge riffing off 1983 film BMX Bandits), the storylines are barely existent, and the challenges have reverted to generic.

With the finale on Friday, it’s like we’re still getting to know our final three - Melbourne’s Isis Avis Loren, Ballarat’s Gabriella Labucci and Auckland’s Flor.

It’s by no fault of their own, as we’ve barely been given a chance to connect to them. At least the true race begins off the show, in the ability to sustain a career when the public is introduced to hundreds of new queens a year. But Down Under has barely given our queens a kick-start (or a boost to their Instagram followers) to work with. If queens as well as local and international audiences are being left hungry, hopefully, when Down Under returns, season four will do more than throw shrimps on the barbie.

Emmy-winning Sopranos actor details that the hardest scenes to shoot didn't involve drugs or bloody mob hits but a more painful segment in the show.

The Sopranos star Michael Imperioli, who portrayed Christopher Moltisanti, explained the most difficult scenes to shoot on the HBO mega-hit. The show is known for portraying the dark catharsis of New Jersey's mob world with internal and external trauma, balanced with a struggling father attempting to meet the standard of leader in his family. Apart from the violent, bloody mob killings, there were scenes involving domestic disputes, racism, and homophobia abundant throughout the iconic series. Imperioli played Christopher, the short-fused, murderous nephew to Tony Soprano (James Gandolfini), for all six seasons, earning a Primetime Emmy Award for Best Supporting Actor in a Drama Series in 2004.

In a conversation with The Guardian (conducted before the SAG-AFTRA strike), Imperioli was recently asked about which scene from The Sopranos was the toughest for him to film. He revealed that it wasn't the violence, intense drug use, or even his uncle's betrayal that overwhelmed him most but rather the scenes involving physical abuse towards his girlfriend, Adriana (Drea de Matteo). Read his full comment below:

That wasn’t really brutal at all, I’ll be honest with you. When we shot it, it wasn’t my last day either because we shot out of sequence. The most brutal, difficult stuff for me is when Christopher had to be physically abusive with Adriana, for obvious reasons. On a technical level, you’re trying to be really careful so you don’t hurt the person. But having to get to that point of violence towards a woman, you have to go to some nasty places to get there. Sometimes it’s very immediate. Sometimes it’s something present in your life that you can tap into. Sometimes you have to go someplace from the past. And sometimes you have to go to someplace imaginary. It’s much easier shooting a mobster or shooting heroin. That stuff to me is not difficult. But that stuff with her was. Sometimes you’ll use stunt doubles, sometimes not. And even then, it’s one thing to choreograph and rehearse it, then when you act it full-tilt with all the emotion, it’s easy to not have as much control as in the rehearsal. So you really have to be quite careful.

Sopranos Actor Michael Imperioli Is Unafraid to Take A Stance