What to Stream Right Now



  • Ozark: “There’s a lot going on in “Ozark” that does work. Laura Linney is, predictably, brilliant as Wendy Byrde, who transitions quickly from shocked exasperation to gritty determination… The show is never boring, and doesn’t have the usual mid-season lull you tend to find in a lot of these Netflix shows.” [RT: 63%, MC: 67]
  • GLOW: “GLOW may be a just about perfect comedy-drama series. Seriously. There isn’t a character here that’s not idiosyncratic, interesting and unexpected. There’s not a comic scenario explored that doesn’t build to some kind of funny, but also sort of sweet, pay-off.” [RT: 94%, MC: 81]
  • Castlevania: “A gory, silly, very fun 100-minute animated movie based on the classic video game series.” [RT: 85%, MC: 71]
  • The Keepers: “‘The Keepers’ is nothing if not compelling, and though some of the episodes feel so overburdened with sad memories, it’s hard to think of it as ‘entertainment,’ necessarily, it’s sure to scratch the itch of anyone who loved ‘The Jinx’ and ‘Making a Murderer’ and ‘Serial’ who can’t wait to delve into some fresh case files.” [RT: 95%, MC: 78]
  • Master of None: “It’s a great-looking show that will really sneak up on you, and one of the best of all the Netflix original comedy series.” [RT: 100%, MC: 91]
  • BoJack Horseman: “It uses odd, almost ugly animation to sneak up on you, make you think you’re watching some goofball talking animal comedy, and then invite you to gaze into the black void at the center of modern life. This is the rare show that asks HUGE UNANSWERABLE questions about the world, and then make you just sit with the lack of answers.” [RT: 86%, MC: 89]
  • Riverdale: “It’s an otherworldly ‘Every Modern American Era In One’ setting that has more in common with Dark City than actual 2017 America. And it works, keeping a series that’s frequently absurd and darkly funny somehow also at least semi-grounded, enough to care about whether Betty and Veronica get over their differences in time to work together on this homicide investigation.” [RT: 89%, MC: 68]


  • Patriot: “I’ve never seen a TV series precisely like ‘Patriot,’ which makes it a bit tricky to review with any kind of real clarity. But I think ‘If ‘Homeland’ was a dark comedy…’ kind of gets you there, or maybe ‘If the Coen Brothers wrote a spy show.’” [RT: 83%, MC: 68]
  • Mr. Robot: “Season 1 was a smart, occasionally goofy techno-thriller about well-intentioned but troubled hacker Elliot (Rami Malek), who got in a bit over his head with the underground organization fsociety, and wound up devising a plan to bring down the world economy.” [RT: 96%, MC: 79]
  • Fleabag: “Waller-Bridge’s perplexed, snarky, gleefully amoral, frustrated, kleptomaniac central character, identified only as the titular bag of fleas, comes to full, three-dimensional, florid life over the course of Season 1’s six episodes, doing more with 2 and a half hours than most TV series manage in 13+.” [RT: 100%, MC: 88]


  • The Handmaid’s Tale: “…the writers, directors and crew of “Handmaid’s Tale,” have perfectly fused this 30 year old book and 2017 Peak TV into a show that’s not only coherent, but kind of fascinating, and even exciting to watch.” [RT: 99%, MC: 92]
  • Dirk Gently’s Holistic Detective Agency: “Max Landis’s frenetic, brazen mystery show walks a delicate balance between cleverly arch and irritating.” [RT: 72%, MC: 62]
  • Legion: “…what’s most remarkable is that “Legion” doesn’t feel heady and cerebral and self-serious. It’s actually a pretty fun show, filled with classic rock songs and a steady stream of unexpected, whimsical flourishes.” [RT: 90%, MC: 82]
  • Rick and Morty: “Justin Roiland and Dan Harmon have created one of the few sci-fi comedies where the sci-fi gets as much attention and care as the comedy.” [RT: 100%, MC: 85]
  • Top of the Lake: “…an ideal balance of thoughtful, meditative slow-burn — about the long-term impact and consequences of sexual violence — and a riveting crime thriller.” [RT: 87%, MC: 87]


  • The Leftovers: “It’s hard to think of any series that has so effectively taken the toolkit of ‘premium’ 2017 TV shows and used them to explore the deepest, darkest, metaphysical questions we all have about the nature and meaning of life on Earth.” [RT: 90%, MC: 65]
  • Big Little Lies: “The characters have time to get to know one another and establish boundaries, we get a real sense of their relationships and day-to-day lives and the tony beachside community of Monterey, California, gets thoroughly explored and established rather than whooshing by outside car windows.” [RT: 92%, MC: 75]
  • Game of Thrones [RT: 95%, MC: 80]
  • Veep [RT: 91%, MC: 72]


  • Okja: “Bong takes a number of wildly eccentric, over-the-top characters and places them in a bizarre, absurdist scenario, but keeps the relationships naturalistic and grounded, making fantasy films with real emotion, relevance and pathos.” [RT: 85%, MC: 76]
  • Take Me: “The movie is so entirely on Ray’s side, so completely convinced in his essential goodness and the rightness of his strategy, that we get pulled along with it, embroiled in the scenario just as deeply as him and Anna.” [RT: 68%, MC: 56]
  • I Don’t Feel At Home In This World Anymore: “…what begins as a rather genial ‘fish out of water’ comedy takes a startling, violent turn at around the halfway mark.” [RT: 88%, MC: 75]
  • Personal Shopper: “The resulting film borrows heavily from the horror movie tool bag, and plot-wise sort of flirts with the paranoia or psychological thriller. But at heart, ‘Personal Shopper’ isn’t a genre film at all. It’s a look at Maureen at this moment in her life, at a crossroads but unable to motivate on taking either path ahead of her.” [RT: 79%, MC: 77]
  • Paterson: “…an intimate exploration of stillness, and the ways that everyone has to make sense of the world on their own terms, in their own heads.” [RT: 96%, MC: 90]
  • The Love Witch: “‘The Love Witch’ is so full of ideas and observations and sly witticisms and just weird, fascinating flourishes (like a profoundly confusing scene in which other witches perform a Renaissance play), it’s hard to pin down PRECISELY what Biller is trying to say for you in this capsule review…” [RT: 96%, MC: 82]
  • The Girl with All the Gifts: “…reinvents the zombie genre just enough, keeping all the familiar elements fans enjoy while adding fun, creative touches around the margins to circumvent expectations.” [RT: 84%, MC: 67]


  • Oh, Hello on Broadway: “2 hours of guys pretending to be old guys and riffing on life in New York and Broadway tropes may not sound like an ideal evening’s entertainment, but ‘Oh, Hello on Broadway’ is one of the funniest comedy specials on Netflix right now, as clever and insightful as it is goofy and absurd.”
  • Norm MacDonald: Hitler’s Dog, Gossip & Trickery: “Watching him tease and play with the crowd at Boston’s Wilbur Theatre like a virtuoso is ceaselessly entertaining.”
  • Sarah Silverman: A Speck of Dust: “Sarah Silverman can make jokes about staying in fancy hotels and getting text messages from your celebrity boyfriend somehow feel universal. It’s a gift.”
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