Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
A costume party of villains, framed as a takeover. Harmless at that size, and not a story to build a week on.
The villains are invited in and then they run the show, which is a small parable a child will not hear unless you say it. Jafar, Cruella, the rest: they are funny because the house already knows they are not the heroes. Mickey's job is the host's job. He notices the guests have taken the keys. The cartoons stitched between are older shorts, some of them better than the frame.
Fine for a Halloween hour with a child who already knows these faces from the real films. Do not let this be the only time they meet a villain, or the villain will only be a costume. Afterward, pick one of the old shorts and tell them who made it and why the wolf is not a friend.
Industry
3/10
A party, not a craft.
Household
5/10
Mickey's house is the stake. Friends are the household.
Piety
2/10
Magic as a gag.
Courage
5/10
He has to take the house back.
Republic
5/10
A commons seized by people who were let in.
Temperance
6/10
The scare is dress-up.
Truth
5/10
The villains say what they are. The film believes them.
Stewardship
4/10
It hands on the old cartoons, which is the part worth keeping.
Live historicallyIf the costume is the whole evening, add one true thing the character would have done.
Tidy morals inside a toy commercial. A short is harmless. Do not let it be the only girl on the shelf.
The episodes tell a girl to be a good friend, and then they show her a house no family has. The advice is not wicked. It is weightless, and the set is doing a job for the toy. A small child will not be harmed by one. She will be misshapen by a diet of them, because every problem yields and every room is already perfect.
Put it on only if you are in the room, and follow it with a story where a girl has to do something that does not sparkle.
Industry
4/10
Someone fixes a thing. The fix is easy, and the house does the dazzling.
Household
5/10
Sisters share a roof. The conflicts resolve before dinner, on schedule.
Piety
3/10
Kindness is the slogan.
Courage
3/10
The stakes are a party, a pet, a mix-up.
Republic
4/10
A neighborhood of friends. No one is in real need.
Temperance
6/10
It is not cruel. It is not serious.
Truth
4/10
The lesson is true and weightless.
Stewardship
3/10
What it hands a girl is a brand with a smile.
Live historicallyAfter any episode, give the child a real, slightly hard job. Let the house be ordinary.
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Mariah Carey's All I Want for Christmas Is YouPrime Video · 2017 · Film
Mariah Carey's All I Want for Christmas Is You
The song is the product. The people already in the house are the point, if the film remembers.
The wish is for spectacle: the voice, the lights, the famous want. A Christmas film for small children is allowed to be sweet. It is not allowed to teach that the holiday is a celebrity arriving. The useful version of this story is the one where the dog, the parent, and the ordinary room turn out to be the gift that was already there.
Put it on only as a small thing, and say the quiet line yourself if the movie will not. We do not need the famous person in order to keep the feast. The song can stay in the kitchen. It does not get to be the feast.
Industry
3/10
Little work. A wish.
Household
6/10
A family Christmas is the right setting.
Piety
4/10
The feast is the subject. The star is the temptation.
Courage
3/10
Wanting is not bravery.
Republic
4/10
A neighborhood of lights.
Temperance
4/10
The want is large and commercial.
Truth
4/10
Honest that it is a song tied to a brand.
Stewardship
4/10
It can point a child home, or at a poster.
Live historicallyAsk a child what would still be Christmas if the song were off.
A big family that stays a family. The boy learns to manage them, not to love the noise.
The Loud House likes a big family and then plays the big family as an obstacle course. Lincoln is not cruel. He is strategic, and the strategy is how to get his way inside a house that will not thin out. A child from a full house may feel seen. Do not let the seeing become permission to treat brothers and sisters as traffic.
Industry
3/10
Parents work. The children treat the house as a puzzle to beat.
Household
6/10
Eleven children and two parents under one roof. Nobody is written out.
Piety
2/10
Nothing above the household except the next plan.
Courage
3/10
The risks are social and small.
Republic
4/10
A full house is a public. He would rather it were private.
Temperance
4/10
Chaos is the fuel, reset every episode.
Truth
5/10
It is honest that a middle child is tired. It is less honest that a scheme is the remedy.
Stewardship
5/10
They will still be siblings. That is the credit.
Live historicallyGive the child one job that makes the house easier for someone else.
Science as a gadget ad. Harmless at nine. Thin at thirteen. Not a reason to sneer, and not a reason to stay.
The girls are allowed to be clever, which was not nothing in 2015, and the cleverness is aimed at a lunchbox. A thirteen-year-old still clicking it is attached to a younger self. Let her finish the episode she started. Do not queue the next.
If a younger child is in the room, it will not frighten anybody. It will also not teach the patience of an actual experiment.
Industry
5/10
Experiments, of a sort. The result is a mission, not a finding.
Household
4/10
Friends. Adults are handlers.
Piety
2/10
Wonder, packaged.
Courage
4/10
They take the assignment.
Republic
3/10
A secret agency, which is the opposite of a town.
Temperance
7/10
Bright, short, no cruelty.
Truth
4/10
The science is real-ish and then it serves the plot.
Stewardship
3/10
What it hands a child is a product line.
Live historicallyDo one experiment that does not come with a character you can buy.
The deductions are the pleasure. The later series fall in love with his exception.
The early cases are a delight because Watson is decent and the crime is a problem with pieces. Then the show becomes a story about how extraordinary Sherlock is, which is the part to decline. Watch the first series. Let Watson be the reason, not the fan at the genius's elbow.
Industry
6/10
Observation as a trained art. The early cases are puzzles with rules.
Household
3/10
Watson is the household he borrows. He does not build one.
Piety
2/10
Other minds are data.
Courage
5/10
He goes toward the danger. So does Watson, which matters more.
Republic
3/10
Scotland Yard is a feed for his gift.
Temperance
4/10
The early austerity gives way to spectacle.
Truth
6/10
The best episodes play fair with the clues.
Stewardship
3/10
A genius who forms no one and needs the world to stay bewildered.
Live historicallyAdmire a clear deduction. Do not admire the contempt that came with it.
A live room, a deadline, and a joke that is often cheaper than the target. Portions.
The valuable part is the work. A show goes on at a clock, with a band, a host, and sketches that were rewritten until the afternoon. That is industry of a particular American kind. The rest is a fashion. Some weeks the fashion punches up. Many weeks it punches whoever the room has agreed is safe to punch, and calls the agreement courage.
Adults know how to take a sketch and leave the next one. A child will take the impersonation as the truth. Watch it the way you watch a newspaper cartoon, not the way you watch a friend.
Industry
7/10
Live television is a craft with a deadline. The flop is public.
Household
2/10
No household. The cast is a company that turns over.
Piety
2/10
The sacred is the favorite target, and not only when it deserves it.
Courage
5/10
Going live is a risk. The target is often easy.
Republic
4/10
It comments on the republic. It is also a clique with a camera.
Temperance
4/10
The meanness is the product on the bad nights.
Truth
4/10
A good sketch tells a truth. A cheap one only tells you who the room dislikes.
Stewardship
3/10
What it hands on is a style of joke. The style has a bill.
Live historicallyMake one joke this week that does not need a person to be humiliated.
A household as a company, and a company as a wound. Brilliant, and not for the house.
The dialogue is the best television writing of its decade, and it is spent on people who cannot tell the truth without a joke that cuts. Logan's empire is a picture of a republic captured by a mood. The children are what a house becomes when love is a performance review.
Watch it, if you are grown, as a warning about inheritance. Do not watch it for the insults. The insults are the trap the show sets and then lives inside. When it is over, the useful sentence is the one it almost will not say: a fortune is not a father.
Industry
6/10
They work, in the sense that a court works. The product is influence.
Household
4/10
The family is the whole plot, and it is incapable of a meal that is only a meal.
Piety
1/10
Nothing is revered except the father's attention.
Courage
4/10
They risk humiliation. They rarely risk a real good.
Republic
3/10
A media company is treated as a private mood with a stock price. The public is the mark.
Temperance
3/10
The pleasure is the cruelty, perfectly phrased.
Truth
5/10
Everyone is lying, and the show is honest that the lie is the family style.
Stewardship
2/10
What they are handing on is the company, and it has already eaten them.
Live historicallySeparate one family argument from the money, and have it without an audience.
A serious picture of what hunger and shame will talk a person into. It lingers on the rot.
The question is old and worth asking: what does a company of the young owe one another when the rules have crashed with the plane? The show asks it and then seasons the answer until the question is hard to see. Adults can bear that. A household looking for a story about courage should look at the camp chores, not the altar.
Not for the age of the team on the screen.
Industry
4/10
They hunt, butcher, and keep a camp. The skills arrive through ruin.
Household
3/10
Teams, parents, daughters. The bonds curdle.
Piety
2/10
Worship shows up as madness. The show is not sure there is another kind.
Courage
5/10
Survival takes nerve. The nerve is then spent on the wrong altar.
Republic
3/10
The adult timeline is a set of lives that never rejoined the town.
Temperance
2/10
The horror is the point it will not leave.
Truth
6/10
It believes the wilderness did not make them innocent.
Stewardship
2/10
What they hand their own children is the secret.
Live historicallyIf you watch it, stop at the episode where you start rooting for the worst idea, and say that you did.
The lie is the premise, and the show thinks the lie is charming. It isn't, once you say it plainly.
Liza needs the job. That part is easy to pity, and the show wants the pity to cover the rest: a younger man, an office, a daughter who has to keep the story straight. Publishing, in the rare scenes that remember it, is a craft. The series is not about the craft. It is about getting away with a face.
Not for thirteen. If it is already in the row because the account watched it, say what the show will not: a love that requires a false birthday is not a love.
Industry
6/10
Publishing is shown as labor: reads, covers, a boss who decides.
Household
4/10
A daughter is part of the secret. A romance is built on the fake age.
Piety
2/10
Nothing is owed except the brand.
Courage
4/10
Starting over takes nerve. She spends it on a costume.
Republic
3/10
An office as a mating ground.
Temperance
3/10
TV-14. Sex is the recurring joke and the recurring plot.
Truth
2/10
Every good thing in it depends on people not knowing who she is.
Stewardship
2/10
What it hands a girl is a permission to invent an age.
Live historicallyTell the truth about your own age and your own work to one person who has only seen the polished version.
