Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
A larger toy, the same job. If the house already lives here, the measure does not change.
The shelf is selling a bigger Paw Patrol: the same team, prehistoric stakes, a new set of machines. The desk has the poster and the row, not a claim that a new species of story has arrived. Rescue, if it is still rescue, is a decent plot for a small child. Scale is not a virtue by itself.
Watch the one they already know first. If this one still lets the frightened dog do a real task, and does not feed the child only a catalog of vehicles, it can stay in the rotation. If it is a commercial with dinosaurs, turn it off without a negotiation.
Industry
6/10
Rescue is still the offered work. Vehicles are the bait.
Household
5/10
The same little household of a boy and his dogs.
Piety
2/10
None.
Courage
6/10
They are pointed at a larger danger. Courage here is showing up.
Republic
4/10
A team, not a city.
Temperance
5/10
More spectacle than the story needs.
Truth
5/10
The poster promises thrills. Judge the film by whether anyone is actually helped.
Stewardship
6/10
Useful only if a child leaves wanting to help, not only to own.
Live historicallyAsk what the new adventure is for. If it is only a new vehicle, wait.
Keep it. A life arranged for an audience is not a life. He is right to leave.
Truman Burbank is loved as a product. His wife delivers lines. His best friend is paid to stay. The film is gentle about the horror and exact about the point: a man who has been kept safe, famous, and false would rather risk the ocean than remain a character. Christof calls the cage a mercy. It is a studio.
Watch it with anyone old enough to feel the difference between being known and being viewed. The laugh at the commercials is allowed. The last walk is the scene to keep. A household is not a set, and a neighbor who is only there for the shot is not a neighbor.
Industry
5/10
He has a job and a route. Both were written for him. The real work starts when he stops hitting the mark.
Household
4/10
A marriage that is a contract with the network. His mother is a cue.
Piety
4/10
Awe at the edge of the dome, not a creed. The creator in the sky is a director, and the film does not bow.
Courage
9/10
He sails into the fear they built to keep him in.
Republic
7/10
A town of actors is a tyranny with good weather. He refuses the part.
Temperance
7/10
The appetite is the audience's, including yours. The film makes you notice you are watching.
Truth
9/10
The whole plot is a man demanding the truth about his own life.
Stewardship
8/10
What he wants to hand himself is an unrecorded day.
Live historicallyName one habit you perform because someone is watching, and do the true version once with the door shut.
Keep it. Grief needs dirt under the nails, not only a feeling.
Mary arrives unpleasant, which is honest, and becomes useful, which is the redemption. Colin's illness has been agreed upon by a grieving house. The garden is not magic in the cheap sense. It is sun, work, and a door that should not have been locked. Dickon is the picture of a person at home in a place. The house's sorrow is respected and then refused as a permanent government.
Watch it in a season when the house has been indoors too long. Then go outside. The film is a door, not a substitute for the door.
Industry
8/10
Weeding as a cure.
Household
7/10
Cousins, a father, a shut house reopened.
Piety
5/10
Reverence for a living place.
Courage
6/10
She opens the door everyone fears.
Republic
4/10
A manor, a moor.
Temperance
7/10
Self-pity is answered with a task.
Truth
7/10
The boy is not actually dying. The lie had to be faced.
Stewardship
9/10
It hands you a key and a job.
Live historicallyOpen one neglected living thing and tend it until it answers.
A small holiday special with a real table. Fine for children.
Arthur's neighborhood has always been better at ordinary friction than at myths. Thanksgiving here is cooking, guests, a snag, and a meal that still happens. That is more useful than a pageant. Gratitude that has not met a late aunt and a crowded kitchen is only a slogan.
It will not change a life. It may remind a room that the feast is the people who came, including the difficult ones. Put it on while you peel the potatoes.
Industry
6/10
The meal is work.
Household
8/10
The family is the story.
Piety
5/10
Thanks is the subject, lightly.
Courage
4/10
Little danger. Some social nerve.
Republic
5/10
A neighborhood feast.
Temperance
7/10
Appetite is for the meal, not a spree.
Truth
6/10
Honest about relatives.
Stewardship
7/10
It hands on a table, which is the right heirloom.
Live historicallyGive a child one job for the real meal.
A late start at a hard public job. The cases are television. The decision to begin is not.
John Nolan joins late, which is the interesting fact. A life can be re-aimed. The series around that fact is a competent cop show: a training officer, a mistake, a shooting, a romance. It believes the job is real and that the people who do it can be better at it. It also needs a crime every hour.
Fine for older teens who are starting to think about work. Not a documentary about a city. If you watch it, watch an episode about a mistake and the report, not only an episode about a chase.
Industry
8/10
Training, shifts, a chain of command. Competence is the suspense.
Household
6/10
A son, an ex-wife, a marriage he is trying to do better. The house is in the story.
Piety
3/10
Duty stands in for faith, and is sometimes enough and sometimes a slogan.
Courage
7/10
He is afraid and middle-aged and goes through the door anyway.
Republic
7/10
Policing as a debt to a city, argued by people who disagree about how to pay it.
Temperance
5/10
Crime is the weekly meal. It is not lingered over for pleasure, and it is constant.
Truth
6/10
Rookies lie to look sure. The show is usually against the lie.
Stewardship
6/10
A man starting over so his son sees a different ending.
Live historicallyIf you have been saying you are too old to start a useful thing, start the smallest version of it this week.
Grief, a craft, and a robot who is a sibling. Better than the team fights.
Hiro's brother is dead before the series starts, and Baymax remains as the care that was programmed and then became love. The series is a gadget-of-the-week with a team. The part that belongs here is a young person who would rather live in the lab than in the loss, and a machine that keeps putting a hand on the grief.
Fine for the middle years. Prefer the episodes where someone has to be cared for over the episodes where a villain wants a chip. Say that a robot's kindness was taught by a person. Persons are still the source.
Industry
8/10
Invention is the work. The school takes it seriously.
Household
7/10
An aunt, a dead brother, a robot who is the brother's last care.
Piety
3/10
Kindness as a program the show believes in.
Courage
6/10
They suit up. The braver scenes are Hiro admitting he is not fine.
Republic
5/10
A city they keep repairing.
Temperance
6/10
His temptation is to disappear into the next build.
Truth
6/10
Grief is allowed to stay true.
Stewardship
7/10
Baymax is what Tadashi handed on. The series remembers the giver.
Live historicallyLet a child build something that helps the house, and leave it in use.
The truest thing on the children's row. Short, funny, and fair.
Australian children, one recess, a problem the size of a sandwich or a game that went wrong. Little Lunch is unusual because it does not improve the children into lessons. It watches them. A teacher has authority. A slight is a slight. The funny part is that you remember being exactly this tall.
Excellent for a child, and for you beside them. Fifteen minutes is the right length. Talk about who was left out of the game. Then go outside.
Industry
6/10
The day has rules, bells, and a teacher who is doing a job.
Household
5/10
Parents wait at the gate. The children live in houses we hear about honestly.
Piety
4/10
Fairness and embarrassment are treated as if they mattered, which they do at that age.
Courage
5/10
They survive small social risks: a swap, a dare, a misunderstanding.
Republic
7/10
A schoolyard is a commons, and the show knows every child in it.
Temperance
7/10
Nobody is destroyed for a joke. The joke is recognition.
Truth
8/10
Children talk the way children talk. The show does not correct them into slogans.
Stewardship
6/10
It hands you a way of seeing a child's hour as a real hour.
Live historicallyAt the next meal, ask each child who they played with and who was left standing. Listen.
Same animals, a worse patron. They choose the work over the contract.
The sequel moves the ambition up a size, which usually ruins a small story. It survives because the villain is a magnate who wants a recluse's grief packaged as a show, and the troupe will not deliver a person against his will. Clay Calloway's mourning is treated as real. The show is not entitled to it.
Louder than the first. The same moral, one floor up: a bigger stage is not a better promise.
Industry
6/10
They rehearse. The city wants a product.
Household
5/10
A company that has become a household.
Piety
3/10
A mourner's silence is respected.
Courage
6/10
They walk out on the man who can blacklist them.
Republic
4/10
A city of deals.
Temperance
6/10
Ambition is checked by a person's grief.
Truth
7/10
You cannot program a widow's song out of him.
Stewardship
6/10
They would rather have a smaller true show.
Live historicallyDo not take a patron who believes he owns the people.
A people, a wall, and a story that starts as courage and ends as a war crime. Adults. Stop early if you must.
The opening is a genuine terror and a genuine question: what does a people owe the person who will stand on the wall. Eren, Mikasa, and Armin are a household of three. The training is a craft. The survey corps is a picture of duty that gets its members killed and does not pretend otherwise. That much is serious television.
The later seasons ask the audience to follow a logic of annihilation and call the following complexity. It is not complexity. It is a boy who was wronged being handed the largest weapon in the story. Adults who start this should agree in advance where they will get off. A teenager should not ride it to the end and be told it was deep.
Industry
7/10
Soldiering is a training and a grave. The early show respects both.
Household
5/10
The trio is a household. Actual families are mostly already eaten.
Piety
3/10
The walls are a civic religion. The show is right to examine it.
Courage
8/10
They ride outside. The courage is attached, at first, to a people.
Republic
7/10
A city, a corps, a government that lies. The political hour is real.
Temperance
3/10
The horror becomes the scale of the violence, and the scale is the problem.
Truth
6/10
The official history is a lie. Telling that truth is the show's best hour, not its last.
Stewardship
3/10
What the ending hands on is a justification. Do not take it.
Live historicallyIf you watch past the first shock, say what the show is now asking you to justify.
The ice is real work. The lie that pays for the rink is the part the show loves.
The Russo sisters can actually skate, and a father is trying to keep a rink that is failing. That is a story. Finding Her Edge cannot leave it alone. Adriana takes a new partner and pretends to love him so a sponsor will pay, while the old partner waits in the wings. A house under money pressure is a real test. A fake romance as the solution teaches a girl that her affection is a tool.
An older teen will understand the crush and miss the ledger. If you watch an episode, watch the practice and the bills. Turn it off when the lie becomes the reason to press play.
Industry
7/10
Skating is practiced in front of you. The body keeps the score, not a speech.
Household
6/10
A widower, three daughters, and a family business. Then the triangle eats the table.
Piety
3/10
No reverence beyond the big moment on the ice.
Courage
5/10
She gets up after the fall. The brave act the show prefers is pretending to be in love.
Republic
4/10
A rink is a small commons. The show is not interested in the town.
Temperance
4/10
A sponsorship bought with a false couple is the engine, and it is filmed as sparkle.
Truth
4/10
The lie is confessed on a delay, which is how this genre pretends to be honest.
Stewardship
5/10
They are trying not to lose what their mother left. The method is a costume.
Live historicallyTell a young person in the house which of your agreements are real, and which you only perform.
