Underrated Shows You Should Watch
There are plenty of “best shows ever” lists floating around. This isn’t that.
These are the shows that were better than their popularity, better than their ratings, or better than the cultural footprint they left behind. Some are cult favorites. Some quietly ran for years without prestige hype. All of them are worth your time.
Rules of Engagement
This screams classic sitcom, in a good way.
It’s not trying to reinvent television. It’s not prestige. It’s not cinematic. It’s just well-structured, joke-dense, traditional network comedy. And sometimes that’s exactly what you want.
The writing is sharper than people remember, and the cast is strong across the board. Patrick Warburton in particular absolutely steals scenes with that perfectly dry delivery.
If you want something easy, genuinely funny, and low-commitment, this is a sleeper hit.
Malcolm in the Middle
Ahead of its time doesn’t even begin to cover it.
Single-camera. No laugh track. Breaking the fourth wall. Visually inventive. Fast-paced editing. All before that became the industry norm.
The show reworked the “American dream family” template that sitcoms had been recycling for decades and made it chaotic, loud, and painfully real. The writing is tight, the performances are incredible, and the cast chemistry is elite.
It feels modern even now, which is wild for a show that premiered in 2000.
Happy Endings
This was ABC’s answer to New Girl, and in some ways, it was just as funny.
If you ever wondered why Coach (Damon Wayans Jr.) disappears after the pilot of New Girl and then randomly reappears seasons later, here’s the industry backstory: he was in “second position” because he was technically under contract with ABC for Happy Endings. When that show got picked up, he had to leave New Girl. When Happy Endings was canceled, he returned.
It’s one of those sliding-doors TV moments. If this show hadn’t launched against a cultural phenomenon like New Girl, it might have lasted much longer.
The group dynamic is sharp, the pacing is fast, and the joke density is high. A little heightened at times? Sure. But the comedy more than earns it.
If you liked New Girl, you’ll almost certainly like this.
Arrested Development
This one has gained popularity over time, but it still feels underappreciated for how brilliant it is.
Layered jokes. Blink-and-you-miss-it callbacks. A stacked cast. Subtle, absurdist humor that rewards attention.
This isn’t a traditional sitcom where you can half-watch while scrolling your phone. It’s smarter and weirder than that. If you’re okay with slightly offbeat, rapid-fire comedy, it’s one of the best to ever do it.
Freaks and Geeks
Only one season. That’s part of the legend.
It’s nostalgic without being cheesy and cozy without being shallow. It also launched an absurd number of careers.
The tone feels honest in a way most high school shows don’t. It’s awkward, funny, and quietly emotional.
If you haven’t watched it, fix that.
Wet Hot American Summer (And Its TV Universe)
Technically a movie first, but it grew into something much bigger.
The 2001 film launched a ridiculous lineup of talent: Bradley Cooper (who reportedly skipped his grad school graduation to film a scene), Amy Poehler, Elizabeth Banks, Paul Rudd, Michael Showalter, Ken Marino, Molly Shannon, and more.
If you’re going to dive in, here’s the order:
The original movie (2001)
Wet Hot American Summer: First Day of Camp (prequel series)
Wet Hot American Summer: Ten Years Later
It’s absurd, meta, and completely committed to the bit. Not for everyone, but if it clicks for you, it really clicks.
The Other Two
One of the sharpest industry satires in years.
With Molly Shannon, Ken Marino, and Wanda Sykes, it skewers fame, influencer culture, streaming platforms, and Hollywood ambition without losing emotional grounding.
The writing is surgical. The performances are fearless. And it never quite got the mainstream recognition it deserved.
The Americans
A spy thriller that doubles as a family drama.
It ran on cable, which meant longer seasons than today’s 8-episode streaming model, and it uses that time well. The tension builds slowly and pays off in a way that feels earned.
At its core, it’s about marriage, identity, and loyalty disguised as Cold War espionage. It’s suspenseful, intelligent, and far more emotionally layered than it gets credit for.
For All Mankind
Alternate history done right.
It imagines a world where the Soviet Union landed on the moon first, accelerating the space race for decades. It’s political, character-driven, and surprisingly intense.
This isn’t flashy sci-fi. It’s more of a geopolitical thriller with rockets.
The scope is huge, but the character work keeps it grounded. Quietly one of the most ambitious shows of the streaming era.
