Warner Bros. Discovery has announced the movies, TV shows, and live sports that will be available on HBO Max in August. The HBO Max August 2026 lineup includes the debut of Lanterns, Season 3 of HBO Original series Conan O’Brien Must Go, and HBO Original series Hard Knocks: Training Camp with the Seattle Seahawks.

The schedule also includes the feature films Mother Mary, Normal, and The Strangers: Chapter 2, as well as the documentary series Monsters of God and the comedy special Whitmer Thomas: Terminal Crew of Dudes.

August 1
Amy
Barbarian
Bells Are Ringing
Billy Budd
Blockers
Epic
Flipper's New Adventure
Great White Highway (Discovery)
Hall Pass
Hall Pass: Enlarged Edition
Happy Feet Two
It Comes At Night
Macao
Miss Sloane
Mojave
Murder on the Orient Express (2017)
Orphan
Practical Magic
Put A Ring On It: Cheat Hab (OWN)
Quo Vadis
Road House (1989)
Sicario
Smart Money
Stand by Me
Strike Up the Band
Taxi!
The Band Wagon
The Crimson Pirate
The Fighting 69th
The Kennel Murder Case
The Rain People
The Sea Chase
The Wonderful World of the Brothers Grimm
The Wrong Man
The Yearling
Thresher Shark: Stun to Kill (Discovery)
Tusk
Who's That Knocking at My Door?
You Can't Get Away with Murder
 
August 3
Naked And Afraid: Shipwrecked, Season 1 (Discovery)
 
August 4
Chopped: Volume 4, Season 64 (Food Network)
Hard Knocks: Training Camp with the Seattle Seahawks (HBO Original)
 
August 6
Monsters of God (HBO Original)
 
August 7
Georgie & Mandy's First Marriage, Season 1
House Hunters International: Volume 9, Season 215 (HGTV)
House Hunters: Volume 11, Season 260 (HGTV)
The Invisible Guest
The Strangers: Chapter 2 (Lionsgate)
 
August 8
Belle Collective, Season 8 (OWN)
 
August 9
Heart & Hustle: Houston, Season 2 (OWN)
 
August 10
Double Lives of Suburban Wives, Season 1 (TLC)
 
August 11
The Salisbury Poisonings: A Spy Next Door (CNN Films)
 
August 12
Signs of a Psychopath, Season 11 (ID)
 
August 13
Building Giants, Season 5 (Science)
Faster With Newbern and Cotten, Season 3
Isadora Moon, Season 1D (Max Original)
Most Extreme Humans, Season 1 (TLC)
 
August 14
Normal (Magnolia Pictures)
Whitmer Thomas: Terminal Crew of Dudes (HBO Original)
 
August 16
Lanterns, Season 1 (DC Studios Drama Series)
 
August 17
Thanksgiving (2023)
 
August 20
ER: Caught On Camera, Season 1 (TLC)
Expedition X, Season 12 (Discovery)
 
August 21
Conan O’Brien Must Go, Season 3 (HBO Original)
Mother Mary (A24)
 
August 22
Abbott Elementary, Season 5
 
August 24
Margarita: Make Your Story Count, Season 3 (Max Original)
 
August 25
“Ben Sasse is Coming Home: Lessons in Life and Death” with Jake Tapper, The Whole Story with Anderson Cooper (CNN Originals)
 
August 26
1000-lb Roomies, Season 2 (TLC)
Bobby's Triple Threat, Season 5 (Food Network)
Homestead Rescue: Intervention, Season 1 (Discovery)
 
August 27
Totally '90s House, Season 1 (HGTV)
 
August 28
House Hunters: Volume 11, Season 261 (HGTV)
The Producer, Season 1 (HBO Original)
 
August 30
Enter Nowhere
Holla
Knock Knock
The Cabin in the Woods
The Strangers: Chapter 1
The Strangers: Prey at Night
 
August 31
Big Burger Battle, Season 1 (Food Network)
The Robot Chicken Adult Swim Special (Adult Swim)

https://press.wbd.com/us/media-release/whats-new-hbo-max-august-1

Simple question, I have to subscribe to HBO again and I'm trying to decide between ad-free or with-ads. I don't care if there are a commercial or two beforehand or after, but I will not deal with ad-breaks during the show. Do they do that?

Basically every time I try to watch The Two Towers Extended Edition, my TV freezes and it closes out of the app. The regular version and other movies and shows work fine, it's just this one in particular. Any idea what's causing it?

So I just wrapped up Six Feet Under and finally saw the lauded series final. That last 5-10 minutes lived up to the hype. (What I thought of the rest of the show is a whole 'nother matter)

It got me thinking of series' finals. I think this would be my Top 10, more or less in order:

1. The Deuce - somewhat similar to Six Feet Under
   
2. His Dark Materials - the most emotional ending I've ever seen on HBO
   
3. The Leftovers - the entire last episode really
   
4. Six Feet Under - Loved it
   
5. Sharp Objects - don't skip the credits!
   
6. The Sopranos - Jumped out of my chair to check my cable connection
   
7. Somebody Somewhere - Joyful
   
8. The Penguin - Didn't see the ending twist coming whatsoever
   
9. Succession - tension personified
   
10. Boardwalk Empire - Perfect ending

Here is a list of what I watched favorites at top. Should be for HBO only please. Thanks for your help

Band of Brother

The Pacific

The Sopranos

True Detective Season 1

The Wire

Deadwood

We Own This City

Succession

Chernobyl

The Flight Attendant

Boardwalk Empire

C B Strike

The Leftovers

Task

Curb Your Enthusiasm

Mare of Easttown

Sharp Objects

Station 11

The Last of Us

Rome

John Adams

Game of Thrones

A Knight of the Seven Kingdom

Banshee

Oz

Six Feet Under

Duster

True Detective Season 2

Gunpowder

Been meaning to check this out for a while and finally starting! And wow what a start! The way the marshal is introduced let's me know he's going to be an incredibly interesting character and I can't wait to see what this show is about!

I just got access to HBO max and I’m looking for a reality show that is a complete sh*tshow. Like, if there was a show about a bunch of narcissists having to deal with each other’s BS, I’d watch that. Bonus is if there are consequences

NOT into: humiliating regular people. Voting who is the dumbest, ew.

This is a fantastically written show, and there's depth to it.
Most importantly it's about the complicated nature of male friendship and brotherhood.
Eric is conflicted all the time between being best friend and manager to Vince.
So he needs to maintain Vince's self worth and reputation, but also needs to get him roles and get paid. These are often different goals. He also fights with Ari, who himself has internal conflict how to make Vince a movie star but also make him happy.
This is a peculiar and fascinating situation. 4 average(except Ari) guys that surround a pretty boy who is a movie star. And they all have to support him.
It's also a complex tale on how movie deals get made, and multiple moving parts and issues. Entourage actually shows a passion project movie being made, from beginning to end, with extremely tumultuous production right to the failed end result. And the aftermath too. This is pretty ambitious, that one topic permeates throughout 3+ seasons.

The show is aware of everything. It often makes fun of the industry. And celebrity culture.
It also acknowledges that Vince is a mediocre actor that is only popular because of his looks. This can't be a critique of the show because the character is written that way.

I just think that it's hated because of the current climate. 5 guys having fun is viewed as something wrong. Are there any women who watched the show and like it? I wouldn't mind watching a show about women if it was so amazingly written as Entourage.

I cannot believe anyone with a brain would watch a few episodes and think that it's trivial, or just guys having fun. There is a lot of substance here. Also, I think the the series if unfairly judged, because of the current climate, in which guys having fun is ostracized or something.

Show title: The Brink

Starring: Tim Robbins, Jack Black

Hello I**’m watching sopranos currently got to ep5 s1 and what I noticed that the plot is random like no steady story like every ep have it own story
Does it continue like this ? Cuz I don’**t like this style a lot

Okay I’m on season 3 of this show and I like it so far but Tanya is IRRITATING AND AN IMBECILE WITH NO DRIVE OR COMMON SENSE . she makes literally every situation worse 😭 she’s such an annoying character. Lenore was annoying but at least she could speak in coherent sentences. Tanya will talk in circles and never get to the point and just embarrasses herself acting a damn fool.
she’s made me want to get intense therapy for my social anxiety so I don’t end up like her one day. Every scene where she has to confront someone she actually doesn’t confront them and lies then says she feels bad for lying when she literally didn’t have to lie.
She skips obvious points where she can gain money like hiring Jason I don’t know if she hires him yet but it should have been an obvious yes.

Sometimes I think ray is annoying too he always has some block with everyone he doesn’t think of the money Tanya needs either. If hiring Jason makes her more money what’s the issue?. He’s still going to be booked or even become a pimp like Tanya and make money without fucking why did that have to be explained to him 😭 I mean Jesus they annoy me sometimes especiallyyyyyyy Tanya I just hate characters like hers in general though, characters that are loud but can’t speak are annoying ALWAYS just annoying and loud and embarrassing and acting like what they was supposed to say is more embarrassing than sputtering and screaming and shit 💀 literally she’s always screaming or throwing tantrums it’s insanity like how is that easier than being assertive for her

I recently watched this movie and really enjoyed it. If anyone else has seen it on HBO, I'd love to hear their opinions.

For three seasons, Titans tries to prove its maturity through blood, profanity, trauma, and heavy color grading, yet mature drama never actually emerges. At its core remains a typical young-adult construction: lost children, dead parents, fear of being different, emotional instability, and the search for a surrogate family. The problem is not that the series is adolescent, but that it is ashamed of this and hides it beneath criminal gloom, horror, and performative brutality.

The first season falls apart into several incompatible projects. Dick exists in a street-level crime drama, Rachel in occult horror, Kory in cosmic superhero fiction, and Hank and Dawn in traumatic melodrama. These storylines do not complement one another; they compete for control of the tone. The series constantly expands its world before defining its rules, so instead of scale, it creates the impression of a chaotic assembly of borrowed genres.

The central emptiness is the Titans themselves. The team has no clear mission, shared code, or even a convincing reason to remain together. The characters are united by temporary danger, loneliness, and the need to share the same space, but not by a common idea of heroism. This is why the series can assemble them, scatter them, and place them together again at any moment: there is no internal structure to destroy or restore in the first place.

Rachel best demonstrates the show’s writing method. Her fear of her own power is established as a central conflict, but the path from rejection to acceptance is almost entirely absent. She does not pass through a sequence of choices, mistakes, and attempts at control—her arc is reduced to the emotional states required by the plot. Titans rarely develops characters at all: it switches them between trauma, darkness, guilt, forgiveness, and heroism while cutting out the actual process of change.
The second season begins by acknowledging the structural failure of the first: the premiere is forced to hurriedly conclude the Trigon storyline. A year-long build-up is resolved through a series of instant “falls into darkness,” brief flashbacks, and a magical gesture from Rachel. The characters become evil not through choice or resistance, but through the press of a narrative button. The apocalyptic threat on which the entire season was built disappears like a technical malfunction.

Deathstroke should have organized the series around a single personal conflict, but here too the intrigue depends on withholding basic information. The old Titans behave as though the audience has already lived through their catastrophe with Slade, even though for a long time the series offers only heavy looks and cryptic references to the past. The villain has weight, presence, and physical menace, but the stakes become clear only after the confrontations have already begun. Instead of tension, the result is delayed exposition.

The introduction of Conner is a perfect example of how Titans replaces development with expansion. His standalone episode works better than many others in the season: a clear origin, the conflict between Superman and Luthor, a strong visual hook, and Krypto. But by that point the main ensemble has still not come together, Kory and Gar remain underdeveloped, Deathstroke has not been fully revealed, and the series is already opening up Cadmus and another level of mythology. A good character does not strengthen the season—he takes away what remains of its focus.

The second-season finale becomes a warehouse of unresolved obligations. Nightwing’s debut, Deathstroke, Rose, Jericho, Conner, Gar, the team’s reunion, and Donna’s death are packed into a single episode. During the fight with Slade, the Titans effectively sit nearby because the script needs Dick to have a solo entrance, even though Rose ultimately finishes the victory anyway. The season’s main antagonist falls quickly, the team climax never comes together, and Donna is then killed by a random electrical structure—after the central conflict has already ended and with Conner present. This is not tragedy, but an emergency emotional insert.

The third season looks noticeably more expensive and assured. Gotham, Wayne Manor, the Batcave, saturated lighting, and dense composition finally turn darkness into a style rather than a filter. Space begins to serve the drama: the manor carries history, power, guilt, and Batman’s legacy. But the visual rebranding also exposes a new crisis—Titans becomes far more interesting as a series about the Bat-family than as a series about the Titans.

Jason’s death and transformation into Red Hood is the strongest concept in the series. A former ally knows the team’s weaknesses, is connected to both Dick and Bruce, and could turn the conflict into an indictment of the entire Robin system. But the series quickly strips him of agency, reducing his fall to fear, drugs, and Crane’s manipulation. Instead of becoming a dangerous alternative to Dick, Jason becomes a broken teenager whom a smarter villain reprograms for whatever scene the plot requires.
Hank’s death is a rare moment when a personal story and the central threat genuinely converge. Jason uses Dawn’s love as a weapon and forces her to trigger Hank’s death herself. Yet even this powerful scene begins with an experienced hero walking into an obvious trap. Titans constantly achieves an effective result by temporarily disabling its characters’ intelligence.

After the ninth episode, the third season returns to its old illnesses. The afterlife reverses Donna’s death, the police suddenly stop obeying their own commissioner, Barbara’s authority disappears for the sake of a required turn, and the final Lazarus rain mass-cancels the consequences of the catastrophe. The series first builds a Gotham thriller about fear, power, and the destruction of a city, then ends it with a universal magical button that has neither rules nor cost.

This is the essence of Titans: strong casting decisions, effective individual scenes, successful costumes, powerful DC characters, and a constant inability to assemble them into a coherent series. Again and again, the project chooses the shortest possible route between premise and result. Characters fall without an arc, separate without conflict, reconcile without rebuilding trust, die without completing their journey, and return without consequences.

Titans wanted to become an adult drama about trauma, legacy, and found family, but more often remained a teenage series that mistook darkness for depth, the number of heroes for scale, and a loud twist for drama. It constantly looked one step away from becoming a great DC series, but never understood why these people should be called a team at all.

I never watched this when it was on but I am going through it now. Pete spends a whole night handing out fliers for a comedy club on a random street corner and finds out there is a whole hierarchy to who gets to stand where. Some guy already owns the spot he picked and now he is in a turf war over handing out fliers. Great episode.

HBO surely can afford a cool picture or a human drawing? Or just… nothing? What does this trash even add to the experience?