Jake, who urged her to have a life with Mike, Anne decides to accept his offer, although she would not be permitted to work, by Japanese law. In the final episode, "The Cutting Edge", Clarke Roberts (Janice's brother) dares Anne to get back in the trenches and help him with a hard news story. She does, finding how much she loves the excitement. She is offered a job at another news station, by the station owner (Simon MacCorkindale). After talking to Mike, they decide they want different things. Mike goes to Japan to begin his new job. Anne is last seen standing outside the building where her new job, as station manager will begin. Episodes Season 1 (1989–90) Season 2 (1990–91) Season 3 (1991–92) Season 4 (1992–93) Season 5 (1993–94) Main cast Anne Hildebrandt — Sara Botsford Jake Antonelli — Mark Humphrey Mike Fennell — Art Hindle Eric MacFarlane — Jonathan Welsh J.C. Callahan — Neil Dainard Dan Watson — Karl Pruner Terri Morgan — Cynthia Belliveau Seth Miller — James Millington Bobbi Katz — Mary Beth Rubens Kyle Copeland — George R. Robertson Jane Oliver — Sherry Miller Marge Atherton — Theresa Tova Clarke Roberts — Clark Johnson Janice Roberts — Rachael Crawford Kelly Longstreet — Lisa LaCroix Adam Hirsch — Victor Garber Reception Jim Leach argues that E.N.G. attempted to "negotiate between the traditions of Canadian television and formulas of the popular American programs that dominate CITV's schedule." He says that the series was often compared with the Canadian Broadcasting Company's Street Legal, covering the "personal and professional entanglements" of a law office". Both of these show were in turn compared to Hill Street Blues and LA Law. Unlike much of Canadian drama which had been produced by public networks, Leach reflects that "the success of E.N.G. raised hopes that the private networks would offer more support to Canadian producers." The show, according to Leach, followed a tradition of documentary realism and social responsibility. However, he argues, the formula owes more to "melodramatic structures" of daytime soap operas rather than the "Canadian suspicion of 'crisis structures'". The show won ten Gemini Awards, including best dramatic programming series. Broadcast historian Michael Nolan observes that the low was "critically acclaimed" yet "lost money every time it was aired, an illustration of how expensive the genre of Canadian dramatic programming was to produce in an increasingly fragmented television market." International broadcasts