In an effort to, according to a press release, “provide some entertainment relief for those doing their part to keep everyone safe and healthy in this time of social isolation,” HBO announced Thursday that the premium cable channel has unlocked almost 500 hours of programming to everyone, no subscription required. That means, for a limited time, viewers staying at home to maintain social distance during the coronavirus pandemic can check out some of the greatest television series of all time, including The Sopranos, The Wire, and Veep, acclaimed documentary programming like the Elizabeth Holmes film The Inventor: Out for Blood in Silicon Valley, and a curated selection of some, let’s just say, less-than-classic Warner Bros. movies (Pan hive, activate?). It’s not comprehensive—note that Game of Thrones, Westworld, and Big Little Lies have not been released from behind the subscriber wall to the general public—and the breadth of content surely serves as a great bit of stealth advertising for the forthcoming WarnerMedia streaming service, HBO Max, which is set to launch next month. But who are we to complain about marketing measures when there are some truly legendary episodes to watch? Ahead, some recommendations for the weekend (since Netflix’s Tiger King will still be there next week).

The Sopranos

Season Six, Episode Seven, “Luxury Lounge”

When The Sopranos was funny, it was arguably funnier than any comedy on television. Such is the case with “Luxury Lounge,” a late-stage gem written by future Mad Men creator Matthew Weiner that finds Christopher Moltisanti (Michael Imperioli) and Little Carmine (Ray Abruzzo) traveling to Los Angeles to help cast for Cleaver, the fake movie-within-the-show the pair produced. “Logline: The Ring meets The Godfather,” Little Carmine tells Sir Ben Kingsley (playing himself) of the project, just before Lauren Bacall shows up, also as herself. It’s all a hoot and even prescient about the industry: Little Carmine hopes they’ll be able to find the next James Wan, future Aquaman director who had, at the time, merely directed torture porn slasher Saw. “Did you see that?” Christopher asks Kingsley. “Fucking brutal.”

The Wire

Season Three, Episode 11, “Middle Ground”

A warning: Don’t start here without watching, oh, the entire show from the beginning. But the penultimate episode of season three, when—spoiler alert— Stringer Bell (Idris Elba) meets his shocking end is often cited as the single best episode of what might be the best television show of all time. Even the crew thinks this episode rules: Novelist and writer George Pelecanos, who cowrote the episode and many others in the show’s run, called “Middle Ground” his “favorite ever.”

“My favorite scene I’ve ever written is the goodbye between Stringer Bell and Avon [Wood Harris] on the rooftop,” Pelecanos told critic Alan Sepinwall in a 2010 interview. “I do take credit for the writing, but that’s also the direction of Joe Chappelle. he just killed it.”

Succession

Season One, Episode Six, “Which Side Are You On?”

“My son, that was your best shot,” Logan Roy (Brian Cox) barks at his number one boy, Kendall (Jeremy Strong), at the conclusion of “Which Side Are You On?” in season one of Succession. “You lost.” This is the episode that leveled Succession up from a widely entertaining show to the heir apparent to Golden Age staples like Mad Men, Breaking Bad, and the aforementioned HBO classics The Wire and The Sopranos. Written by Susan Soon He Stanton, “Which Side Are You On?” focuses on Kendall’s attempts to rally the Waystar Royco board to give Logan a vote of no confidence, thus ending his reign. It goes poorly, leaving Kendall fired and adrift, and sets the stage for his tragic season-ending arc. “Go on, cry me a river,” Logan says as a final kiss-off. “Get the fuck out.”

Veep

Season Seven