Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
History, a marriage, and a great deal of appetite. The history is doing some real work.
The useful hours are the ones about medicine, a clan, and a war that was going to be lost. The hours the show is sold on are the ones in the bed. Adults can tell those apart. The trouble is the second marriage sitting on top of a first husband who is still alive in another year. The show wants the feeling to settle what the vow cannot.
Industry
6/10
Healing, farming, war, printing. The centuries have jobs.
Household
5/10
Two marriages, deeply felt, and the first is not cleanly honored.
Piety
4/10
Faith is in the period and sometimes in the people.
Courage
6/10
War, childbirth, a journey. The dangers are not theoretical.
Republic
5/10
Clans, a rising, a nation deciding.
Temperance
2/10
The romance is explicit and frequent. It is the marketing.
Truth
5/10
The past is particular. It is also a fantasy of being chosen there.
Stewardship
4/10
Children and a future century complicate the wish. Good. They should.
Live historicallyIf you watch it, do not let the feeling be your only brief on a promise.
The work is the joke. Jim and Pam are the part that takes a vow seriously.
Dunder Mifflin is a real kind of American room: ordinary work, a manager who confuses liking with leading, and people who stay because the health insurance is there. Jim and Pam's choice to marry and to stay is the story that earns its time.
The laugh is often at a person who cannot defend himself. That habit is the tax. Watch the marriage. Do not practice the meeting.
Industry
4/10
Paper is sold. The show's pleasure is how badly the boss does the job.
Household
7/10
A long courtship ends in a marriage, and the marriage is not the punchline.
Piety
2/10
The sacred is a meeting that should have been an email.
Courage
5/10
People endure a foolish boss and, sometimes, tell him the truth.
Republic
4/10
An office is a little republic of desks. The camera makes it a zoo.
Temperance
4/10
Cruelty is usually punished by awkwardness. Sometimes the awkwardness is the product.
Truth
6/10
The documentary frame pretends to record a workplace. It also arranges the workplace for the laugh.
Stewardship
5/10
What lasts is a marriage and a job that continues after the boss is gone.
Live historicallyThank someone at your actual work for a job they finished, with no joke attached.
A child is moved out of the chair. The moving is the whole idea, and then it should stop.
Danny Go! wants a child on his feet. On this row that is a virtue, because almost everything else wants the child still and wanting. It is also a brand of enthusiasm, and enthusiasm is not a life. One song, then the real room. If he is the afternoon, you have traded a walk for a host.
Industry
4/10
The body is used. It is not a trade.
Household
3/10
A host, not a house.
Piety
2/10
Enthusiasm is the only reverence.
Courage
3/10
He tries the next move. The risk is small.
Republic
4/10
Children are invited to do the same thing together.
Temperance
6/10
Loud, but it ends, and it asks for motion rather than another want.
Truth
6/10
It is a dance. It does not claim to be school.
Stewardship
4/10
A habit of moving is a decent thing to copy, once.
Live historicallyDo the last move once more with the screen off, then go on to something that is not him.
A satire of a heaven you subscribe to. The satire is right. The romance muddies it.
A heaven with in-app purchases is a good joke, and it is aimed at the right target: a culture that thinks money should decide even the end. The show then wants you to care about the romance inside the product. Care about the joke. Be wary of a story that kills the body and then asks you to find that romantic.
Industry
5/10
Tech support, a corporation, a product. Work is the living woman's life.
Household
3/10
Bodies are optional. That is the horror, played cute.
Piety
2/10
The afterlife is a tiered plan. The theology is the price list.
Courage
4/10
Nora asks questions that can get her fired.
Republic
5/10
A company as the state of the dead. The civic joke lands.
Temperance
4/10
The candy of the virtual world is the point and the critique.
Truth
6/10
It tells the truth about who gets the good death: the people who can pay.
Stewardship
3/10
Nothing is handed to children. There are no children in the plan.
Live historicallyDecide, without the show, what you think a person is. The upload only works if the answer is 'data.'
The dead are not a costume for a hitman's second act. The title is the confession.
Gregory Scarpa, in the account this film is sold on, is a violent man pointed at a righteous question: who killed the workers in Mississippi. A true question does not baptize the instrument. The bureau that will use a murderer, and the murderer who will be used, are both refusing the slow work of law. Yahya Abdul-Mateen's agent is the conscience in the room only if he will not let the means become the story.
The desk has the premise from the public account, not a license to invent the last reel. It is enough. If the film asks you to root for the hitman because the victims were holy, decline the rooting. Grieve the dead. Do not rent their killer as your hero.
Industry
4/10
Investigation is work. Assassination is the shortcut.
Household
2/10
Households are what the murders destroyed.
Piety
3/10
The cause is just. The piety is borrowed.
Courage
4/10
Nerve in the service of a dirty bargain.
Republic
3/10
A republic that outsources its justice to a criminal.
Temperance
2/10
The title blesses the excess.
Truth
6/10
The historical stain is real and should be told straight.
Stewardship
3/10
What it risks handing on is the phrase itself.
Live historicallyDo not praise a result that required you to hire the evil.
A true thing about a family that would rather be pleasant than honest. The glaze is still privilege.
The book, and the series after it, is about a family that keeps its comfort by refusing a sentence. The reveal matters only if you felt the cost of the refusal. If you only felt the island, you watched the brochure.
For older teenagers, with the question asked: what did they protect, and who paid.
Industry
2/10
Nobody works. The island is maintained by people the plot treats as weather.
Household
4/10
Cousins and a grandfather. Love is real and so is the control.
Piety
2/10
No creed but the family name.
Courage
3/10
The young people feel brave. The bravery is mostly against their own soft lives.
Republic
3/10
An inheritance fight is the politics.
Temperance
4/10
Beauty is the drug. The show knows it and still pours it.
Truth
6/10
The lie is the subject. That is the part that earns the hour.
Stewardship
3/10
What they steward is a house they do not deserve, and the ending says so.
Live historicallyName one pleasant story your own family tells that is missing a person or a fact.
A brand with a moral you could fit on a sticker. Skip it if the live films are already in the house.
Seabrook's zombies, werewolves, and humans return as a shorter, brighter loop of the same allegory: the out-group is us, the dance is the reconciliation, the parents are the obstacle until they aren't. Nothing new is risked. The songs are advertisements for the feeling of inclusion.
A child who likes the movies will like this and learn nothing they did not already hear. One episode will not harm a young child. A season will teach them that a social problem ends when the chorus does.
Industry
3/10
School as a set.
Household
4/10
Parents exist to be convinced by a number.
Piety
2/10
None.
Courage
3/10
The brave act is a solo.
Republic
4/10
A town of groups, simplified into teams.
Temperance
4/10
Cheer as the solution.
Truth
4/10
The metaphor is obvious and thin.
Stewardship
3/10
A franchise handing on a franchise.
Live historicallyIf the house already watched the films, do not add the cartoon. Go outside.
The monster is a man with a motive. That is the right lesson, repeated gently.
The formula is the virtue. A frightening thing has a human explanation and a human beneficiary, and friends do not leave the coward behind. A child can learn both and suffer nothing. Later movies wink the formula to death. Stay with the original shape.
Industry
4/10
They investigate. The method is simple and sound.
Household
5/10
A little company that does not ditch the frightened one.
Piety
3/10
Superstition is the thing to be unmasked.
Courage
5/10
They walk into the house.
Republic
4/10
The crime is usually greed: a land deal, a theft, a fraud.
Temperance
7/10
Mild, repeatable, done in half an hour.
Truth
8/10
The ghost is a lie. Someone is under it, and they want something.
Stewardship
5/10
A pattern a child can learn and then outgrow.
Live historicallyWhen something online is dressed as a monster, ask who benefits. Then leave it.
A marriage that survives the scheme. The scheme is that a woman's hunger is a joke.
Lucy wants to be seen, Ricky wants the act contained, and the laugh is that neither gets the week they planned. Under the laugh is a marriage that resets instead of leaving. That reset is the part worth keeping. The part to argue with is the idea that a wife's ambition can only arrive as a disaster.
Watch it as play. If a child asks why Lucy isn't allowed on the show, answer the question. Don't let the laugh answer it.
Industry
4/10
Ricky works the club. Lucy works at getting into the club.
Household
7/10
The marriage is the fact that does not break. The neighbors are in and out of the kitchen.
Piety
3/10
No piety. The apartment is the world.
Courage
5/10
She risks looking like a fool every week. He risks the public eye he already has.
Republic
4/10
A building, a friendship, a job. Small civic life.
Temperance
6/10
The excess is a costume and a plan, not a cruelty.
Truth
6/10
The plots are absurd and labeled absurd by the ending.
Stewardship
6/10
It lasted. People still know the beat.
Live historicallyOne episode. Then let someone in the house do the thing they are actually good at, on purpose.
Light, and the light is practice. Harmless. Not a substitute for doing the thing yourself.
K-On! is about girls who joined a club for a reason that was almost accidental and then became responsible for a song. The tea is most of the screen. The song is the part that keeps it from being only a mood.
Fine for a child who likes music, in short measure. Then hand them the instrument. The show already told you the instrument is the point.
Industry
6/10
They learn instruments badly, then less badly. The club is a craft in miniature.
Household
5/10
A club that functions as a little house: tea, after school, someone always late.
Piety
2/10
None. School festivals are the feast.
Courage
4/10
Playing in front of people is the scary part, and they do it.
Republic
3/10
A school. The stakes are a club that might close.
Temperance
8/10
Kind, slow, no cruelty. The laziness is gentle and still has a recital.
Truth
6/10
It admits they are not a famous band. The festival is enough.
Stewardship
5/10
A habit of showing up for the people in the room.
Live historicallyPractice one piece of music, or one page of anything, longer than is comfortable. Stop when it is better.
