Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
Not a cartoon for children, no matter the shapes. Sex, blasphemy, and a sneer. Off this morning's screen.
The 2016 film argued, between the sex jokes, that belief was a fraud invented to keep food in the package. The series keeps the argument and the jokes and adds a government, which does not mature it. Animated food is how it travels into a room with children. The animation is the trap.
A thirteen-year-old scrolling Prime will meet it under comedy, near shows that look like theirs. Say what it is before the art style says otherwise.
Industry
3/10
A society, sort of. The labor is a gag.
Household
1/10
Bodies, food, and coupling. No house.
Piety
1/10
Faith was the villain of the movie. The series did not repent of that.
Courage
2/10
Nothing brave. A lot of shock.
Republic
2/10
Politics as a filthy sketch.
Temperance
1/10
The product is the craving and the gross-out.
Truth
2/10
It thinks it is telling a hard truth about belief. It is telling a pub joke.
Stewardship
1/10
A child who finds this learns that sacred things are props. That is the damage.
Live historicallyIf it has been watched, say one sentence about what the show thinks of prayer, and whether you agree.
Grief is real. The show's answer is a conspiracy and a laugh.
Christina Applegate plays a woman whose husband is dead and whose anger is understandable. That performance is the only reason a serious person might press play. The series then decides the killer next door is the soulmate, and that hiding a death is the joke that binds them. Friendship is a real good. This is not what friendship is for.
Leave it. If you want a story about a widow who is allowed to be angry, you do not need one that rewards the lie.
Industry
4/10
Jen sells houses. The work is there so the lie has an address.
Household
3/10
A widow and two sons. The friendship that comforts her is the crime.
Piety
2/10
Mourning is a mood. Nothing is sacred enough to stop the next cover-up.
Courage
4/10
They take risks for each other. The risks are mostly how to stay uncaught.
Republic
3/10
The law is the thing they are outrunning, and the show is on their side.
Temperance
2/10
Wine, rage, and the body in the story are played for release.
Truth
3/10
The premise is a lie told to a grieving woman, and you are asked to ship the liars.
Stewardship
3/10
The sons inherit a house built on not saying what happened to their father.
Live historicallyTell a hard truth to a friend this week instead of helping them keep a secret that is eating them.
Charming, and the lie sits in the middle of the charm. Do not sigh past it.
Kathleen's shop is a real good: a room, a children's table, a person who knows the books. Joe's store is the wave that puts it out. The film wants both the wave and the kiss, so it makes him witty until the wreck looks like fate. The anonymous letters are the second theft. He knows who she is. She is telling the truth to a stranger who is not one.
You may still like the autumn and the dialogue. Like them with the light on. A small shop is not a quirk. The person who closed it does not get a full pardon for having good taste in books.
Industry
5/10
Her shop is honest work. His is scale.
Household
4/10
Courtship built on a concealment.
Piety
3/10
Sentiment, not reverence.
Courage
4/10
She fights the store, then is managed.
Republic
4/10
A neighborhood shop against a chain. The chain wins and is forgiven.
Temperance
5/10
Gentle, and evasive.
Truth
4/10
The lie is the engine. The film finds it sweet.
Stewardship
4/10
It hands on a sigh where a fact belonged.
Live historicallyDo not court anyone from behind a mask, including a kind one.
A light variety hour. The house is a clubhouse, and the songs are the reason.
The Monkees were a made band that became a real one, and the show is the made part: running, mugging, a song in the middle. There is no moral and no rot. A child can watch the songs. An adult can hear which ones were better than the premise.
Use it as music with pictures, not as a picture of a life.
Industry
5/10
They rehearse. The fiction that they don't is the joke. The records were the work.
Household
4/10
Roommates who like each other.
Piety
2/10
No creed. A cheerful noise.
Courage
3/10
They are willing to look foolish.
Republic
3/10
No town. A beach and a set.
Temperance
6/10
Joy without cruelty.
Truth
5/10
It is play, and it looks like play.
Stewardship
5/10
The songs outlived the bits.
Live historicallyPlay one song all the way through, without the bit, and see if it earns the repeat.
The work is real. The public judging of bodies is the product. Do not let a daughter take the cut list as a measure.
Making the Team shows hours of practice, which is more than the stadium shows. It also lines women up to be kept or discarded by a panel while you watch. One episode can teach a teenager that a performance is labor. A season can teach her that a panel is the judge of a body.
Prefer the practice. Refuse the panel as a household authority.
Industry
7/10
Rehearsal, stamina, a standard of execution. It is a job and they train.
Household
3/10
Families appear as support. The squad is the house the show cares about.
Piety
2/10
None.
Courage
5/10
They try out in public, which takes nerve and also takes a certain compliance.
Republic
3/10
A famous institution. The civic content is a brand.
Temperance
3/10
The gaze is the point of the uniform. The show does not apologize.
Truth
5/10
It is candid that most of them will be cut, and that the cut is a look as much as a kick.
Stewardship
3/10
What a girl might copy is the cut, not the discipline.
Live historicallyIf a girl in your house dances, praise the rehearsal. Never read her a list of who got cut.
Clever, and the cleverness is a lie told to good people. Do not let 'she's had a hard life' be the pardon.
Nickelodeon built a family comedy on a child deceiving a family, and then asked you to find her sympathetic because the adults in her past were worse. Some of that sympathy may be earned by the later chapters. The opening move is still a girl in a borrowed name eating someone else's food and letting them love her for it.
If it is on continue, you are already inside the con. Watch the next one together and ask whether a true injury gives you the right to counterfeit a daughter.
Industry
4/10
A con is a skill used against a kitchen table.
Household
5/10
The family is decent. That is what makes the trick ugly.
Piety
2/10
Hospitality is the thing being stolen.
Courage
3/10
Nerve, spent on a false name.
Republic
3/10
A neighbor's trust as a tool.
Temperance
5/10
Sitcom volume. The moral mess is bigger than the jokes.
Truth
3/10
The audience is in on the lie. That is the sour part.
Stewardship
3/10
Nothing you would hand a younger sibling as a way to enter a house.
Live historicallyTell a hard family fact under your own name, at the table.
Affection between the sides. The apocalypse is a premise, and Scripture is a prop.
Gaiman and Pratchett's joke is that the end of the world is being run by middle management and that a friendship might matter more. The friendship is sweet. The joke requires you to treat the apocalypse as a clerical error. A Christian house will feel the theft immediately. Others may only feel the sweetness and miss what was taken.
Industry
3/10
They have posts. They mostly shirk them, and the shirking is the charm.
Household
4/10
A long friendship is the real plot.
Piety
2/10
Heaven and hell are bureaucracies to be dodged. Worship is the joke.
Courage
4/10
They risk their posts for the world. That is the one serious beat.
Republic
3/10
Institutions are stupid on both sides, by design.
Temperance
5/10
Gentle, until it isn't, and the gentleness is the pleasure.
Truth
3/10
It needs the Bible the way a comedy needs a straight man, and it does not believe the straight man.
Stewardship
4/10
They want the world to continue. The reason is fondness, not promise.
Live historicallyIf you watch it, do not let it be the only picture of heaven the house owns.
The work is real. The house around it is predatory. Adults, and not as a dream poster.
Ballet is a real art, and this series knows what the art costs in hours. It also stacks abuse until the abuse is the reason to keep the episode on. A dancer in your house does not need this as the picture of the profession.
If you watch it, watch one hour for the work, then talk about a teacher who does not own the student. Do not binge the damage.
Industry
8/10
Class, rehearsal, feet. The craft is not faked.
Household
2/10
She leaves a damaging home and finds a company that is not a home.
Piety
1/10
The body is the only altar.
Courage
5/10
She stays in the room. Staying with an abuser is not yet courage.
Republic
2/10
A company is a tiny court. The city does not matter.
Temperance
2/10
Hunger, sex, and pain are the atmosphere, and they are not incidental.
Truth
6/10
It tells the truth that a beautiful line can be bought with a ruined person.
Stewardship
2/10
Nothing healthy is handed to the next girl in the corps.
Live historicallyAsk a young person what they are practicing, and who is allowed to shame them for it. Intervene if the answer is a person.
Beautiful and grave. The grave is dug toward spectacle.
Unlike American Horror Story, this one thinks damnation is about something. That earns it a measure instead of a dismissal. It still wants the doom to be gorgeous, and gorgeous doom is a poor teacher. Adults who already have a theology can see the argument. It should not be the place anyone acquires one.
Industry
4/10
Scholars, explorers, a theater. Work exists at the edges of the curse.
Household
3/10
Lonely people house-sharing with their damnation.
Piety
4/10
It is obsessed with God and with refusing him. The obsession is not cheap.
Courage
5/10
They face what is in them. Then they pose.
Republic
3/10
London as a hunting ground.
Temperance
2/10
The lushness is the temptation.
Truth
5/10
It takes evil personally, which is more than the splatter row does.
Stewardship
2/10
The future is not the point. The exquisite doom is.
Live historicallyIf you want the argument, read the Gospel scene it keeps circling. Do not let the velvet be the memory.
A friendship that survives the bit. The job is the joke, which is the limit.
Mordecai and Rigby are funny because the world escalates and they do not grow up. A teenager can take that as a half hour. A boy who is learning how to hold a job should not take it as a picture of work.
Benson, furious and still responsible for the park, is the character the show underpays. Notice him.
Industry
3/10
They are employed and they avoid the employment. Benson is the adult.
Household
4/10
Not a family. A crew of odd friends who do not abandon the bit or each other.
Piety
1/10
None.
Courage
4/10
They walk into the stupid danger. That is not the same as a necessary courage.
Republic
3/10
A park, a boss, a public that has to be kept safe from the employees.
Temperance
5/10
Cartoon destruction, reset by morning. The slacking is the habit it loves.
Truth
5/10
It is honest that they are slackers. It rarely thinks that is a problem.
Stewardship
3/10
Nothing to hand on except a joke you already heard.
Live historicallyIf you laughed at the slacker, do one chore he would have skipped. Finish it.
