Published Jul 12, 2026, 8:02 PM EDT
Liam Gaughan is a film and TV writer at Collider. He has been writing film reviews and news coverage for ten years. Between relentlessly adding new titles to his watchlist and attending as many screenings as he can, Liam is always watching new movies and television shows.
In addition to reviewing, writing, and commentating on both new and old releases, Liam has interviewed talent such as Mark Wahlberg, Jesse Plemons, Sam Mendes, Billy Eichner, Dylan O’Brien, Luke Wilson, and B.J. Novak. Liam aims to get his spec scripts produced and currently writes short films and stage plays. He lives in Allentown, PA.
Sign in to your Collider account
HBO is a network that is synonymous with high-quality television that transcends the barriers of the medium to become truly cinematic. That being said, not every HBO series ends up being a phenomenon in the vein of ***Game of Thrones ***or a cultural touchstone like The Sopranos. Just like every network or streaming service, **HBO has shows that weren’t well-appreciated when they were first released **or didn’t get the audience that they deserved.
It’s a better time than ever to check out older HBO shows given how readily accessible they are, and many have aged well because of how much stronger they look when compared to what is currently airing. It’s much harder to recommend an older show because of the significant time commitment that is required to watch one from start to finish, but these are undersung achievements that are deserving of that attention.
Perry Mason* is a show that was ahead of its time* **in anticipating the rise of Matthew Rhys, who has become one of the most popular stars on television. Although there have been various iterations of the titular character in various forms of media for several decades, HBO’s *Perry Mason *returns the franchise to its pulpy roots and fully immerses itself in the period setting to be an old-fashioned, swanky neo-noir.
***Perry Mason *****is a richly stylized, exciting legal drama **that managed to improve within its second season by taking a closer look at the social and cultural biases of early 20th-century American history. While at times the series is dark to the point of cruelty, it’s an exciting new spin on what an investigative thriller can look like because it doesn’t rely on the format of a procedural.
Westworld*** *might be the single most ambitious show in HBO’s history **because it operated on a massive scale, involved a huge ensemble cast, was told in a non-linear way, and merged several genres at once. While both the original novel by **Michael Crichton **and the 1973 film had offered dire warnings about putting too much faith into technology, HBO’s *Westworld *feels more relevant than ever in showing the dangers of putting power into artificial intelligence, particularly when there are major corporations involved.
*Westworld *was never not interesting, which makes it all the more disappointing that showrunners **Jonathan Nolan **and **Lisa Joy **were not allowed to complete the five-season story arc that they had pitched when HBO initially picked up their adaptation. Nonetheless, it’s hard to imagine another show with such lofty goals ever being greenlit in today’s entertainment ecosystem.
Bored to Death* *is another show that was guilty of coming out at the wrong time, as it might have succeeded in ratings had it debuted after its three stars became even more prominent. In the years following the premiere of *Bored to Death, ***Ted Danson **has only solidified himself further as one of television’s most dynamic stars, Zach Galifianakis has spiked in popularity as one of the most unusual living comics, and **Jason Schwartzman **has gained even more respect for his talents as both a dramatic and humorous actor.
***Bored to Death *****offered a nostalgic look at classical detective stories **while also highlighting narcissistic, selfish characters, and is well worth a watch for anyone that wanted an “HBO version” of ***Only Murders in the Building ***that is slightly raunchier and far more cynical. Its three existing seasons are all completely hilarious.
Silicon Valley*** *****is a far more authentic series about the growth of the tech industry *than many of the more “serious” shows about the same subject because it understands how ridiculous those making decisions in this space are. Although there isn’t another showrunner out there who better understands the minutiae of workplace culture than Mike Judge, Silicon Valley *combined his skepticism about big tech with a surprisingly optimistic storyline about independent entrepreneurs establishing a space for themselves.
***Silicon Valley *****has aged quite well **because it retained a consistent level of quality throughout its seasons and delivered a satisfying conclusion that did not overstay its welcome. It marks one of the last instances in which HBO dared to make a comedy series about a relatively niche subject, as the service has aimed itself at broader audiences in the decade since.
Flight of the Conchords*** ***is a comedy perfectly suited for those with a very specific sense of humor, as it’s completely meta and proudly idiosyncratic. While not technically a mockumentary, *Flight of the Conchords *is based on the real band of the same name and stars its two members, Jemaine Clement and Bret McKenzie, as fictionalized versions of themselves during their first trip to New York City.
*Flight of the Conchords *is an authentic depiction of the challenges faced by emerging artists who never run the risk of “making it big” and offers a heartwarming story of friendship that doesn’t become too cloyingly sentimental. Although it is often the case that these types of highly specific cult comedy shows are cancelled too soon, Clement and McKenzie chose to end *Flight of the Conchords *on their own terms, making it a fully satisfying show.
Your answers point to the world your instincts were built for. This is the universe your temperament, your survival instincts, and your particular brand of stubbornness were made for.
You took the red pill a long time ago — probably before anyone offered it to you. You’re a systems thinker who can’t help but notice the seams in things.
The wasteland doesn’t reward the clever or the well-connected — it rewards those who are hard to kill and harder to break. That’s you.
You’d survive here because you know how to exist in moral grey areas without losing yourself completely.
Arrakis is the most hostile environment in the known universe — and you are precisely the kind of person it rewards.
The galaxy far, far away is vast, loud, and in a constant state of violent political upheaval — and you wouldn’t have it any other way.
The Newsroom* *is a show that has caught a lot of backlash in recent years due to the changing perspectives on Aaron Sorkin, a showrunner whose optimistic idealism about American government has felt far less aspirational in the Trump era. While *The Newsroom *does make some mistakes in how it chooses to assert itself into real events, it’s also a well-acted show that boasts a lot of insights about contemporary journalism and is clearly well-researched.
**The flaws in *****The Newsroom ***are partially why it is so interesting, as the show is nothing if not a good way of inviting important conversations. Even though Sorkin has become a bit of a punching bag who has been made fun of for being out of touch, it’s a shame that he doesn’t have another show that incites as much discussion and **introspection as The Newsroom did.
Boardwalk Empire*** ***was a successful show that won Emmys, performed well in ratings, and included a stacked cast of guest stars, yet it still feels somewhat underrated as an entry in HBO’s canon of classic crime dramas. The fact that it is a period piece set in the Prohibition era and contains many real historical figures should not suggest that it is in any way a stuffy history lesson; it’s five seasons of propulsive, violent, and darkly funny mafia drama, which makes sense considering that it was produced by Martin Scorsese.
***Boardwalk Empire *****features one of the all-time great television anti-heroes **in Steve Buscemi’s Nucky Thompson, an Atlantic City treasurer who is connected to the mob. Although there have been various films and shows that have depicted some version of the notorious gangster Al Capone, *Boardwalk Empire *offers the best version thanks to the terrific performance by Stephen Graham.
Winning Time: Rise of the Lakers Dynasty* *is among the most disappointing cancellations in HBO’s history because the historical basketball series was cut off right at the moment when it was about to launch into a fascinating period in the development of the NBA. While its hasty resolution was a desperate means by the showrunners, given that they were not expecting to be canceled after receiving strong reviews, *Winning Time: Rise of the Lakers Dynasty *is still worth watching because it offered a more immersive and emotional depiction of sports media than nearly any other show.
***Winning Time: Rise of the Lakers Dynasty *****has fascinating insights on power, race, and media **that make it a thoughtful work of historical adaptation, ensuring that it has value for members of the audience who don’t already have an outstanding interest in the trajectory of the NBA.
Sharp Objects* *is based on the novel of the same name by Gillian Flynn, the bestselling author who would go on to write ***Gone Girl ***(as well as the screenplay adaptation for David Fincher’s film). *Sharp Objects *was never going to be as successful as *Gone Girl *because it is darker, more cynical, and less entertaining in its commentary on media, and the adaptation is just as ruthless as the source material required.
***Sharp Objects *****features a performance by Amy Adams **that ranks among the best that she has ever given, proving that she can add even more to a character when given the chance to develop over the course of eight episodes. The series ends on such a shocking, emotional twist that it is worth rewatching just to track how the jaw-dropping revelation is subtly hinted at along the way.
Scenes From a Marriage* *is a show that shouldn’t have worked because it is based on an **Ingmar Bergman **classic that is already well-regarded as a masterpiece. English-language reboots of international films often end up failing, but *Scenes From a Marriage *was an effective modern interpretation because it looked at the changing perspective on divorce and dedicated equal time and sympathy to the two lead characters.
*Scenes From a Marriage *would not have worked nearly as well if the two leads hadn’t already had an established repertoire with one another, but **Oscar Isaac **and **Jessica Chastain **were already familiar with each other after working together on the underrated A24 crime drama A Most Violent Year. While it is by no means an easy show to watch, **Scenes From a Marriage is refreshingly honest in its depiction of the different ways people choose to express love.
Scenes From a Marriage
2021 - 2021-00-00