Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
Ambition pointed at a monster, then corrected toward a person. Better than the poster.
Igors are supposed to be servants of evil scientists. This one wants the credit, which starts as vanity and turns into responsibility when his invention wakes up as a girl with a conscience. The evil science fair is a joke about a culture that rewards harm. The film picks the girl.
It is macabre in a cartoon way. Older children, not the nursery. The useful line is that a maker answers for what stands up and calls him by name.
Industry
7/10
Invention is the plot. So is the credit, honestly wanted.
Household
5/10
He becomes a guardian of what he made.
Piety
3/10
A mockery of mad science, not a creed.
Courage
6/10
He tells the truth in front of the fair.
Republic
5/10
A kingdom that applauds the wrong experiment.
Temperance
6/10
The will to be famous is checked by a person.
Truth
7/10
The monster is a person. Pretending otherwise is the sin.
Stewardship
7/10
He keeps her. That is the stewardship.
Live historicallyIf you make something, ask whether it can live with you, not whether it can win.
A vow is a real thing. The film knows it, then spends too long in the underworld's party.
Victor's trouble starts because he treats the words of a marriage as a rehearsal he can mutter in a wood. The dead hear him. That is the right metaphysics for a comedy: a vow is not a draft. Emily is pitiable and she is also wrong to hold a living man to a mistake. The film lets her release him. That release is the decent ending.
The land of the dead is more fun than the land of the living, and the living wedding is a transaction between anxious parents. Count that. A marriage in this story is saved by mercy, not by the party downstairs. Watch it with older children. Do not let the skeletons outvote the vow.
Industry
5/10
A pianist, a wedding as a contract. Work is mostly nerves.
Household
6/10
Marriage is the subject. The parents treat it as a merger.
Piety
5/10
The dead have a claim because words were spoken. Then the claim is surrendered.
Courage
6/10
He tells the truth and goes back upstairs.
Republic
4/10
The town is a set of grasping families.
Temperance
6/10
The underworld's joke is appetite. He does not stay for it.
Truth
8/10
A mistaken vow is confessed, not hacked into a happy theft.
Stewardship
6/10
He returns to a living marriage. She lets the living go.
Live historicallySay your promises out loud before you make them, and only to the living person you mean.
A nanny who grows up, a girl who is allowed to be a girl. Better than the poster.
Molly has money and no skill. Ray is a child who manages her mother's illness by becoming a tyrant of neatness. The film sees both clearly. The work of watching a child is the thing that makes Molly real, and the thing that lets Ray put down the clipboard. A father-figure rock star is the weak part. The apartment and the girl are the strong part.
Watch it for the correction: charm is not care. Care is showing up when the child is impossible.
Industry
6/10
She has to learn a job she thought was beneath her.
Household
8/10
A neglected girl, a sick mother, a woman who becomes responsible.
Piety
2/10
None.
Courage
6/10
She stays after it stops being cute.
Republic
3/10
A private world of lofts.
Temperance
6/10
Molly's excess is childishness. It costs her, then she quits it.
Truth
7/10
The girl is not a quirky accessory. She is frightened.
Stewardship
8/10
The charge is a child who needed one reliable adult.
Live historicallyIf you are the adult in the room, do the job. Do not make the child hold your collapse.
A comedy that believes moral improvement is real. It borrows the philosophy and misplaces the judge.
Almost no sitcom thinks you should become a better person and then shows the homework. This one does, with flashcards. The hole is the judge. A point system is not a god, and a self-improvement arc is not repentance. Still, it aims at the good, and television rarely does.
Watch it, then supply the judge it is missing. The show will not.
Industry
5/10
Study is the plot. They read. They practice.
Household
6/10
A made family of people who were failures on earth.
Piety
4/10
It wants the afterlife and will not say whose. The points system is the tell.
Courage
6/10
Becoming decent is treated as hard, which is the brave part.
Republic
5/10
Ethics as a civic problem: what we owe other people.
Temperance
6/10
The joke is at their vices, and the vices are supposed to shrink.
Truth
6/10
It is serious about the question and light about the homework.
Stewardship
5/10
The hope is that a person can be handed back better. The ending argues about who gets to decide.
Live historicallyPick one concrete habit the flashcards would actually name, and do it for a week.
Filthy, and on the side of staying. The marriage is the work. The language is not for the house at large.
Sharon and Rob are funny because they are specific, not because marriage is a prison sketch. The series follows them into the years when a couple tells the truth badly and still does not pack. That is rarer on television than another detective.
Adults only. If the filthy talk is all anyone quotes the next day, you watched it wrong.
Industry
6/10
Two jobs, a flat, the logistics of a baby. Adulthood is not styled away.
Household
8/10
They did not plan the family. They refuse to abandon it. That is the whole show.
Piety
2/10
No altar. The vow, once made, is the thing they keep failing and keeping.
Courage
7/10
Staying, after the romance, is the brave act.
Republic
3/10
Friends, a city. The public world is scenery.
Temperance
3/10
The talk is obscene on purpose. The drinking is not a phase.
Truth
8/10
It will not pretend the marriage is easy or that leaving would be cleaner.
Stewardship
6/10
A child is the reason the joke has to end somewhere serious.
Live historicallySay one true, unkind thing you have been saving, kindly, and then stay in the room.
A scare for children that still believes they should be brave and close the book.
Stine's monsters are fiction that becomes fact because a boy will not leave a locked manuscript alone. The film enjoys the creatures and then asks the children to get them back in the books. Hannah is more than a twist. The neighborhood is worth saving. The scares are sized for a late-elementary audience, not for a dare.
A fair October film if you sit in the room. The lesson under the slime: curiosity is not a right to open every lock, and a story you cannot close should not have been opened.
Industry
5/10
A writer, a school, a night of actual work putting things back.
Household
6/10
A mother next door, a girl, a father-figure who is the author.
Piety
2/10
None.
Courage
7/10
The boy stays and finishes it.
Republic
5/10
A town being overrun, and they defend it.
Temperance
6/10
Meddling is how it starts.
Truth
6/10
The manuscripts were locked for a reason.
Stewardship
6/10
They spend the night protecting the neighbors.
Live historicallyFear is a story. Finish it, and put it back on the shelf.
A small, cheap, neighborly picture. The dog does the job.
This is not a work of art and it does not pretend to be one. A family, a dog, a holiday, a thief. The children are not the joke. The parents are not fools for having a dog or a street. The threat is ordinary crime in a costume, which is the right size of threat for this kind of film.
Put it on if the house wants Halloween without a butcher shop. The craft is television. The loyalty is real.
Industry
5/10
A dog with a job. A family with a house.
Household
7/10
Parents, children, a home that is worth guarding.
Piety
2/10
A holiday, not a creed.
Courage
5/10
The dog goes toward the trouble.
Republic
6/10
A street where neighbors' Halloween is the common good.
Temperance
6/10
Greed wears a costume. It is still greed.
Truth
6/10
The scare is a lie. The theft is the fact.
Stewardship
6/10
What is kept is a family's door.
Live historicallyKnow the houses on your street well enough to notice a new van.
A comedy about the business of pictures. The pictures are not the point. The deal is.
It is funny about a real workplace: notes, openings, a star, a number that has to be hit on Friday. Anyone who has sat in a room where the work was talked about more than done will recognize the sweat. The show loves that room. It is less sure it loves a movie.
Adults in the business, or near it, can take it as a roast. A house looking for a story will not find one. The charge, if you watch it, is to notice how little of the hour is spent on the thing the audience came for, and then to go make the thing.
Industry
7/10
Studio work is logistics, fear, and taste under a calendar.
Household
2/10
Home is what he misses because of the premiere.
Piety
1/10
The sacred object is the opening weekend.
Courage
4/10
He risks the job. The risk is status.
Republic
3/10
A company is not a town. The audience is a demographic.
Temperance
4/10
The excess is the industry's. The show laughs and does not leave.
Truth
5/10
It tells the truth that most of the meetings are about fear.
Stewardship
2/10
Nothing is handed to an audience except the campaign.
Live historicallyMake one thing this month that does not need a meeting to exist.
The child is not a subplot. Going home is the repair. A quiet keep.
Birdee's marriage is ended on television, which is a modern cruelty the film understands. The useful move is not the new man, though he is kind. It is the mother, the old house, and the daughter who has to watch her parent become a person again. Humiliation is not a personality. Work and a child will do more than a speech about believing in yourself.
It is sentimental, and the sentiment is mostly aimed right. Watch it when someone in the house has been made a spectacle. Then be ordinary with them on purpose.
Industry
6/10
She has to learn a job again.
Household
8/10
Three generations under one roof.
Piety
4/10
Comfort, not a creed.
Courage
6/10
She stays in the town that saw her fall.
Republic
4/10
A small town as a refuge.
Temperance
6/10
Grief without a spree.
Truth
6/10
The public shame is shown as shame, not as content.
Stewardship
7/10
It hands a child a parent who came back to earth.
Live historicallyIf you are the one who was shamed, take the child with you into a real kitchen, not into a performance.
Finish what you started. A good peril-picture for a family that can take a stampede.
Alan is a fatherless adventure that becomes a caution: the game does not care that you are bored of it. The children learn that a fun thing with rules is still a vow. There is noise, and there are creatures, and the ending puts the children back in a life where the work is ordinary. That return is the moral. A fantasy that will not give the child back is a theft. This one gives them back.
Some images are too much for the very small. For everyone else, the lesson is plain enough to say over the credits. You do not quit a dangerous thing in the middle and shut the closet.
Industry
6/10
The game is a task that must be completed.
Household
6/10
A lost son, a friendship, a return.
Piety
3/10
Magic with rules, not worship.
Courage
7/10
They stay at the table.
Republic
5/10
A town damaged by an abandoned game.
Temperance
6/10
The thrill is governed by an ending.
Truth
7/10
Consequences are not optional.
Stewardship
7/10
It hands a child back to an ordinary afternoon.
Live historicallyDo not leave a mess in the house for the next child to inherit.
