Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
A city, told as work. Grim, adult, and one of the few that believes in a town.
The Wire's argument is that a city is a set of institutions, and a person inside them can be brave and still lose. It does not offer a hero who fixes the block. It offers the block, the shift, and the lie a bureaucracy tells so it can post a number. That is a republican picture, even when every office is failing.
It is also long, violent, and full of a language you do not want in a child's mouth. Watch it as a civic document, not as a cool crime show. The cool is how it gets misused. The use is the question it leaves: what does your town actually count?
Industry
8/10
Police work, stevedoring, teaching, reporting. The jobs are specific.
Household
4/10
Households are damaged by the corners and by the overtime. They are not the subject.
Piety
3/10
A few people act from conscience. The institutions have none left.
Courage
7/10
Individuals risk the career. The system does not reward it.
Republic
9/10
The city is the protagonist. Duty to it is the only adult idea in the room.
Temperance
5/10
The drugs are the economy. The show is sick of them, which is not the same as glamorous.
Truth
8/10
The stat is the lie. The show will not let the lie stand.
Stewardship
7/10
The question of every season is what the city hands the children in it.
Live historicallyGo to one public meeting in your own town. Sit through it.
A polity with a sheriff, a generator, and a lie at the top. The machine is the interesting part.
Silo works when it is about how a closed society keeps the lights on and who is served by the rule against looking. The sheriff, the generator, and the janitor are the story. The conspiracy is only good if it keeps returning to those jobs. Watch it for the jobs.
Industry
8/10
Mechanics, porters, farmers, a sheriff. The silo runs on jobs.
Household
5/10
Couples and children inside the levels. The law reaches into the rooms.
Piety
3/10
The pact is a scripture they are afraid to test.
Courage
6/10
Someone is always willing to climb the stairs and ask.
Republic
6/10
Law, relics, a janitor who knows the machine. Civic life is the show.
Temperance
6/10
Restrained. The mystery is not a gore reel.
Truth
7/10
The forbidden question is the right question.
Stewardship
7/10
The whole drama is whether they will hand the children the lie or the repair.
Live historicallyLearn which machine your own building depends on, and who knows how to fix it.
Brothers, and a child who is not a weapon. The war is still the diet. Older kids.
The Batch are soldiers bred for special tasks who discover the Republic they served has been replaced. Omega is a child the laboratory also made. The story that matters is whether they will keep her as a sister or as an asset. The show is uneven and fond of a firefight. Its good hours are the ones where the squad chooses the girl over the mission.
Not for the very young. The clones are a tragedy about people who were never given a childhood, raising one. That is the part to watch. The rest is the costume.
Industry
6/10
Soldiers between employers. The skill is real. The master is the question.
Household
7/10
A squad learning to be brothers, and a girl who needs them to be.
Piety
3/10
Orders were their creed. They are between creeds.
Courage
7/10
They desert a wrong order. That is the courage.
Republic
6/10
An empire assembling itself in the offices they used to salute.
Temperance
5/10
Violence is the fluent language. The show speaks it too easily.
Truth
7/10
The chip in the head is a literal lie. Removing it is the plot.
Stewardship
7/10
Omega is the future they were not supposed to have a say in.
Live historicallyIf someone in your care is being sorted as a tool, get them out of that room.
The prison may be unjust. The deal is still a deal. Do not call the gold a father's love.
Samuel Murphy wants Penny out of the path of a foster door. That want is the right want. Clancy prices it: carry the gold, buy the years back. A bogus charge does not make the smuggling clean. It makes the temptation intelligible. The desk will not invent whether the mine lets him out. The offer was already the moral, and the offer was a father spending other men's risk to purchase his child.
Hawke plays the weight. Crowe plays the man who owns the scale. Watch it, if you watch it, for the argument, and stop the room before anyone says he had no choice. He had a worse choice and a longer one.
Industry
6/10
A mine, a prison, a man's labor sold back to him.
Household
7/10
The daughter is the true stake.
Piety
4/10
No chapel. A man under a sentence.
Courage
6/10
He faces the mine. Courage bent toward a theft.
Republic
4/10
A warden is the law, and the law is for sale.
Temperance
4/10
Desperation is allowed to bargain.
Truth
7/10
The false charge is named as false. The deal is not prettied.
Stewardship
5/10
A child is the reason. She is also the excuse.
Live historicallyRefuse one shortcut that would get you home faster and dirtier.
The original measure stands: a child is not only a weapon. This poster has not earned a new score.
Aang, in the story people love, runs from a duty and then picks it up without becoming cruel. Friends are not a squad. The enemy is an empire, and the answer is not a prettier empire. A new picture with his name on it can keep that or spend it. The tile shows the name and a Paramount mark.
Do not give the new film the old affection for free. Watch twenty minutes. If the boy is a brand and the bending is the product, you already have the series, which did the harder thing. If he is still the one who will not win by murder, stay.
Industry
5/10
Mastery was the old story's work.
Household
6/10
A found family is the inheritance.
Piety
5/10
A spiritual order, often honored, sometimes costume.
Courage
6/10
The legend is that he goes back.
Republic
6/10
A world under occupation.
Temperance
5/10
Power with a limit, if they remember the limit.
Truth
5/10
Unproven in this new telling.
Stewardship
5/10
The good to hand on is the refusal to be only a weapon.
Live historicallyIf you know the tale, tell the part where he refuses the easy victory.
Loyalty among the young. Parents who fail, then show up. Keep the talk after.
A boy vanishes, his friends refuse the official story, and a government lab has been opening a door it cannot close. The part worth keeping is simple and old: they do not leave their own behind. A lot of expensive television never clears that bar.
The part to watch awake is the parents. Some of them are furniture until the plot needs a rescue. Do not let a child learn that adulthood is absence with a car. The Upside Down is a thrill. The standard is whether your house would notice a missing kid before the lights flicker. Watch it together. Talk about who you call, and about courage that is not a costume.
Industry
5/10
The kids work at the mystery. The adults' jobs are mostly scenery.
Household
6/10
Households crack. Several adults eventually choose the children anyway.
Piety
4/10
The supernatural is a threat, not a reverence.
Courage
8/10
Children ride into the dark for a friend. That still counts.
Republic
6/10
A town, a lab that lied, and kids who will not abandon one of their own.
Temperance
5/10
The scare and the nostalgia are both products. Neither is vicious.
Truth
6/10
The institution lies. The friends, when it matters, do not.
Stewardship
5/10
Friendship is the inheritance. A future beyond the door is thinner.
Live historicallyKnow the friends of the young people in your house by name. Ask one of them how they actually are.
A soldier and a child. The duty is simple. The shooting is the rest.
The film knows the only plot that matters: a man who can leave and does not, because the child cannot. That is an old and good story. It is also an action movie that enjoys the rifle more than the walking. The balance tips toward the rifle often enough that you should notice.
Adults. A teenager who wants a rescue picture can watch it with you and then be asked the question the firefights try to outshout: what do you owe a child who is not yours and not convenient?
Industry
6/10
Soldiering is the skill. The film is prouder of it than it needs to be.
Household
6/10
The whole stake is a child who has no one else in the valley.
Piety
3/10
Prayer is absent. The duty is not.
Courage
8/10
He stays. That is the courage, when the film remembers.
Republic
3/10
A war. Not a town. The people of the valley are mostly targets or victims.
Temperance
4/10
The gunfight is the texture, and there is too much of it.
Truth
5/10
The mission is plain. The politics around it are a sketch.
Stewardship
6/10
Getting one child out is a true stewardship, if the film will let it be the ending.
Live historicallyIf a child is in your care on a hard day, the errand is the child, not your story about it.
Charlie is the point. The factory is a test of children, and it is a fair test.
Each child is a vice with a parent who has given up correcting it: greed, gum, television, spite. The tour removes them without killing them, and the songs are the indictment. Charlie is poor, polite, and tempted, and he puts the gobstopper back. That return is the whole film. Wonka is a moralist disguised as a showman, which is better than a showman disguised as a friend.
Some of the boat ride is truly frightening. Sit with a small child. Do not apologize for the lesson. The lesson is that a poor boy with a grandfather can outrank a rich child with no limit.
Industry
7/10
A factory of actual craft. Charlie's family has real poverty and real work.
Household
8/10
Grandparents in one bed, a mother, a boy who brings the paycheck home.
Piety
4/10
A moral test in the shape of a tour.
Courage
8/10
He gives the candy back, alone, when he could sell it.
Republic
5/10
A factory as a little kingdom of rules.
Temperance
9/10
Each eliminated child is an appetite. Charlie's restraint is the victory.
Truth
8/10
Wonka tells them the truth about themselves. They hate him for it.
Stewardship
8/10
The factory is handed to the boy who would not steal it.
Live historicallyOne piece of candy is not worth a promise. Practice that before you need it.
Home is the good. The wizard is a man behind a curtain. Keep it.
Dorothy is not recruited for Oz. She is tried by it, and the trial ends when she would rather have the farm than the emerald city. That is a rare ending. Most fantasies punish the child who wants to leave the magic.
The scarecrow, the tin man, and the lion already had the thing they were shopping for. The wizard's gift is a diploma, a testimonial, and a medal. Worth noticing. Courage, mind, and heart are not purchased. They are used. The wicked witch is wicked. The film does not ask you to understand her into harmlessness. A house can watch this once a year and come out more loyal to its own kitchen.
Industry
6/10
A farm is work. Oz is a spectacle that does not feed anyone.
Household
8/10
Aunt Em and the farm are the true destination, not the consolation prize.
Piety
5/10
Awe is everywhere. Worship is not. The wizard is exposed as a man.
Courage
8/10
She faces the witch to save a friend, then asks to go home.
Republic
6/10
The city is a court of humbug. The farm is a neighborhood.
Temperance
7/10
Wanting is tested against belonging. Wanting loses.
Truth
8/10
The curtain comes back. Power that will not show its face is a fraud.
Stewardship
9/10
The charge of the story is to get the child home unchanged in her loyalties.
Live historicallyTell a child the difference between a wish and a way home, then walk them there.
Austen's argument, kept: sense has to answer sensibility, or a girl is ruined.
The 2008 series gives the Dashwoods their reduced cottage and their actual waiting. Marianne is allowed to be glorious and wrong. Elinor is allowed to be the one who keeps everyone fed while her own hope is privately buried.
Watch this one, not a poster of dresses. Then ask which sister your house has been rewarding.
Industry
5/10
The women have no profession the age allows. Managing a reduced house is the work.
Household
9/10
The whole plot is which marriage a sister can survive.
Piety
5/10
Conduct stands where a sermon might. Marianne's excess is not blessed.
Courage
7/10
Elinor carries the secret and does not make the room pay for it.
Republic
6/10
A neighborhood still has an opinion, and the opinion can save or sink them.
Temperance
8/10
Willoughby is charm with an appetite. The story sends him the bill.
Truth
8/10
The first feeling is not the last fact. Elinor waits for the fact.
Stewardship
7/10
What the mother can leave her daughters is the only fortune that remains.
Live historicallyIf a feeling is spending the family's name, say so before the feeling spends the youngest.
