Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
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.
A clever plan is not a justice. The romance with the thief is the whole con, including the one on you.
The Professor is the fantasy of the decade in a clean form: a man who has done the reading, who is gentle with his thieves, and who is therefore allowed to hold innocent people at gunpoint while the audience debates the monetary system. The system may deserve a debate. It does not deserve this alibi. A hostage is not a symbol you may spend because your speech is about the banks.
It is entertaining on purpose. That is the problem, not a defense. Adults who watch it should say, out loud, the name of the person in the room who is not in on the joke. If you cannot, you have joined the crew.
Industry
6/10
The plan is work: timings, a press strategy, a discipline. The discipline serves a theft.
Household
3/10
Lovers inside a crime. The tenderness is real and it is used to make the crime feel like a family.
Piety
1/10
The Dalí masks are the only icon. No reverence except for the clever man.
Courage
5/10
They take hostages and call the risk courage. Some of it is nerve. The cause is the money and the myth.
Republic
3/10
He claims to be robbing a system. He is robbing a building full of workers and calling the workers the system.
Temperance
2/10
You are asked to want them to get away with it, for years.
Truth
3/10
The political speech is the costume of the heist. The show loves the costume.
Stewardship
2/10
What it leaves is a red jumpsuit and the idea that a brilliant theft is a kind of honesty.
Live historicallyDo not call a clever advantage a justice. Say who is on the wrong end of it.
The stop was the only moral event in his life. The series undoes it and calls the undoing a reunion.
New Blood had one good idea: a man who quit, living where nobody needs a monster. The arrival of his son could have been the bill. Instead the bill is another body, and the son is invited to understand.
If you already watched Dexter, you do not owe this the reunion. The true ending was the years he did not do it. This show is embarrassed by that ending.
Industry
4/10
A clerk in a shop, a local police job nearby. Ordinary work is the disguise.
Household
4/10
A son he left, and a woman who does not know the man. The household is built on the lie.
Piety
1/10
The code is back, which was always a private permission.
Courage
3/10
He is brave only about his own ritual.
Republic
2/10
A town's police force is a complication, not an authority he will accept.
Temperance
2/10
The kill, again, is the pleasure the audience was brought back for.
Truth
5/10
It knows he should have stayed stopped. It will not let him.
Stewardship
2/10
What the son inherits is the method.
Live historicallyDo not reopen a thing you quit so a child can meet the old version of you.
Friendship and a dead father, spent on gold and a body count.
John B and his friends are allowed to be poor, which is the one honest note, and then the series decides poverty is cured by a legendary hoard and a lot of running. Loyalty inside the little gang is real. It is also the justification for every crime. A dead father deserves a better story than a map.
Not for the young teens. It teaches that the exciting life is the unlawful one, and that the people with boats had it coming.
Industry
3/10
They work only when the work is a heist.
Household
3/10
A missing father is the wound. The show keeps it open so the plot can climb in.
Piety
2/10
No conscience that survives a payday.
Courage
5/10
They risk themselves for each other. Also for the money, which is the louder reason.
Republic
3/10
Rich and poor are cartoon teams. A town is not a team.
Temperance
2/10
Sex, drink, and the chase.
Truth
3/10
Every season revises the truth so the treasure can move.
Stewardship
2/10
They are trying to inherit a fortune, not a place.
Live historicallyTell the true story of how your household's money, if you have any, was actually made.
A stunt. Nobody is formed by it, and nobody pretends otherwise.
Floor Is Lava is a game. It is not a story and it is not a teacher. A family can laugh at one episode and lose nothing except the time. The danger is only mistaking a course for an evening. It does not belong in the same breath as a film. Put it on or don't. There is nothing in it to discuss.
Industry
3/10
Bodies are used. The use is a course, not a craft.
Household
3/10
Teams of friends or families. The family is a strategy.
Piety
1/10
The prize is the point.
Courage
4/10
They do cross. The risk is a televised sprain.
Republic
2/10
Competitors.
Temperance
4/10
Empty calories, honestly empty.
Truth
5/10
It is a game show and it says so.
Stewardship
1/10
Nothing is handed on but a clip.
Live historicallyOne episode is the serving. Then do something that is not a game.
A romance whose plot is appetite with a team jacket on.
The books this comes from are hockey romance: a rented house, a roster of men, and a girl who is supposed to be the one who changes him. Competence on the ice is the alibi. The hour is about possession.
A teenager will understand the alibi. Do not leave it on a profile that still needs a picture of what a promise is.
Industry
3/10
The sport is real work. The show is more interested in the after.
Household
2/10
Housemates, not a family. Parents are a phone call at most.
Piety
1/10
Nothing is owed to anything older than the weekend.
Courage
3/10
They are bold about beds, not about duty.
Republic
2/10
A campus with no common good but the team and the couple.
Temperance
2/10
The engine is sex and status. Both are fed.
Truth
3/10
It is honest that they want each other. It calls the wanting a love story too fast.
Stewardship
2/10
Nothing here is for the people who come after the semester.
Live historicallyIf it is already in the row, take it off the shared profile. Romance can wait until it includes a future.
Humiliation with a scoreboard. The prize does not make it a virtue.
The skill on display is not building, judging, or keeping faith. It is wanting a number badly enough to do the next thing the format requires, while a crowd watches you want it. That is an old vice with a larger set.
Do not put it on for children as if ambition and this were the same word.
Industry
4/10
The production is enormous. The contestants' work is obedience.
Household
2/10
Alliances instead of households. People are eliminated in front of their people.
Piety
1/10
The host is the providence.
Courage
3/10
Nerve, spent on a televised dare.
Republic
2/10
A crowd trained to cheer a cut.
Temperance
1/10
Greed is the announced motive, and the show is proud of the announcement.
Truth
4/10
It does not pretend to be about anything but the money.
Stewardship
1/10
Nothing is built. Someone leaves with a sum and a clip.
Live historicallyIf the house wants a contest, make it a game in the room, with a prize you would not be ashamed to explain.
A commercial that moves. Speed is the only virtue it knows.
Hot Wheels Let's Race is a toy line that learned to talk. The racing is bright and empty, and a child who loves cars will love it for the reason the company hopes. You can allow a short one if cars are already the interest. You should not pretend it is a story. There is nothing to discuss except which car was faster, and that is the design.
Industry
3/10
Mechanics appear as a way to win, not as a craft you could live by.
Household
2/10
No house. A garage of racers.
Piety
1/10
The car is the idol, and it is also for sale.
Courage
4/10
They take the dangerous line. The danger is a track.
Republic
2/10
Competitors, not neighbors.
Temperance
2/10
Wanting the faster car is the lesson.
Truth
3/10
It does not pretend to be about anything but the race and the toy.
Stewardship
1/10
What it hands on is a catalog.
Live historicallyIf cars are the interest, open the hood of a real one with an adult instead of starting the next race.
