Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
A vow used as a twist. Courtship replaced by a format. Leave it.
The experiment claims to rescue love from looks and then sells the wedding as a coin-flip. Now and then two people actually choose each other and try. The format will use that sincerity as seasoning. Do not confuse the seasoning with the meal.
A vow is a heavy instrument. It is how a household starts, how property and children and care get a legal and moral shape. Turning it into a episode ending trains you to feel the shape without bearing the weight. If you are lonely, this will not cure it. Call someone. Court someone slowly. Refuse to let a producer be the third person in the room.
Industry
2/10
The work is being on television.
Household
3/10
Marriage is the prop. A few couples sometimes mean it anyway.
Piety
1/10
Nothing is reverent. The altar is a set.
Courage
3/10
Vulnerability on camera is not the same as courage at a kitchen table.
Republic
2/10
Other people are contestants, including the fiancé.
Temperance
2/10
Romance as binge. The appetite is the schedule.
Truth
2/10
Editing is the author. You are not hearing the whole word anyone gave.
Stewardship
2/10
What it models for the young is a wedding as a reveal.
Live historicallyIf you want to be married, practice the boring part now: a standing plan, a kept time, a phone put away.
A contest in lying. Well made, and it trains the skill. Leave it.
The faithful have to notice the tell. The traitors have to be charming while they nominate a friend for elimination. The show is honest about the mechanic and dishonest about the cost, because the cost is the entertainment. A house that watches this for the cleverness is practicing the cleverness.
Adults can see it as a parlor game. Do not put it on as a family hour and then wonder why the children enjoy a setup. The prize is money. The method is betrayal performed for a crowd.
Industry
3/10
No job but the game. The work is the performance of innocence.
Household
1/10
Friendship is the material. It is spent.
Piety
1/10
Nothing is revered. A chapel would be a set.
Courage
4/10
They risk the money and the embarrassment. Not a duty.
Republic
2/10
A group that votes is not a town. It is a jury with a prize.
Temperance
3/10
Greed is the announced motive, and it is not questioned.
Truth
1/10
The lie is the talent. The faithful are the punchline when they trust.
Stewardship
1/10
Nothing is left but the winner and a clip.
Live historicallyPlay one game with your people in which the lie is not the point.
The bear is patient. The show thinks the girl's havoc is the charm. Watch it with them and say so.
Masha is little and loud and the bear loves her anyway, which is a true thing about caring for a child. The series cannot resist making her wreckage the entertainment. A child who watches a pile of these will learn that the laugh arrives when the careful person sighs. That is the wrong lesson from a kind premise.
Fine in a small dose, beside you. Say out loud that the bear is the one to copy. Then go outside, where poking the animal is not a cartoon.
Industry
4/10
The bear does the work of putting the house back. She undoes it for the laugh.
Household
5/10
A found household: someone large keeps someone small. The small one does not learn the keeping.
Piety
3/10
Kindness is shown, mostly by the animal.
Courage
4/10
She is fearless. Fearlessness without care is just noise.
Republic
3/10
The forest is a playground, not a place with neighbors.
Temperance
3/10
Mischief is the product. Obedience is the joke.
Truth
4/10
The mess has a consequence for the bear. Rarely for her.
Stewardship
4/10
He keeps a home. She is not being taught to keep one.
Live historicallyWhen a child makes a mess, have them help put it back before the next episode.
Curiosity is not care. Adults. The twist is a warning against meddling, not a puzzle to savor.
Caroline thinks she is the shrewd one in a fading house. The film punishes the shrewdness. That can be a fair moral, and it is also a gothic machine that uses a region's religion as atmosphere. Believe the human part: a caregiver who makes the patient a case file has already left the work. Do not believe every shadow the movie hangs on the wall.
One viewing tells you the trick. You do not need it twice, and you do not need to explain the trick to a child as if it were folklore from your own people.
Industry
5/10
Caregiving is the job she half-does.
Household
3/10
A house of old people used as a mechanism.
Piety
3/10
Folk practice as a plot device.
Courage
4/10
She stays, for the wrong reason.
Republic
3/10
No commons. A trap.
Temperance
4/10
Nosiness is the vice.
Truth
5/10
The film does tell her she was not the exception.
Stewardship
3/10
The souvenir is a twist.
Live historicallyDo not open a door in someone else's house just because it is locked.
Curiosity is not a duty. Adults. Do not make the tape a party game.
Rachel investigates because that is her job and her compulsion, and a child is pulled in behind her, which is the part the film is most honest about. The well is a grave treated as a puzzle. Solving it does not put the dead to rest. It spreads the grave. That is a true and unpleasant moral, and the film is still a machine for a particular image it wants you to carry into the hall.
You do not need the image. You need the sentence. Looking something up is not the same as helping, and a deadline from a curse is a bad reason to involve your son.
Industry
5/10
Reporting, bent into obsession.
Household
4/10
A mother and son endangered by her errand.
Piety
2/10
A ghost as a technology.
Courage
5/10
She goes toward it. For a story.
Republic
3/10
The public is an audience for the tape.
Temperance
3/10
The itch to see is the vice.
Truth
6/10
It admits that understanding does not heal this.
Stewardship
2/10
The picture is what it leaves, and the picture is a harm.
Live historicallyDo not dare anyone to watch a thing you would not want in the house.
A gag about a skill. The skill is not respected and the fight is the bit.
Karate Sheep is a sketch that found a series. A child may laugh and will not learn a thing about karate or about a farm. Harmless in the way empty things are harmless, until empty is the diet. You can skip it without depriving anyone.
Industry
3/10
Karate appears as a costume, not as practice you could repeat.
Household
3/10
A farmyard. No one is raising anyone.
Piety
1/10
Nothing is serious enough to revere.
Courage
3/10
He fights. The fight is a sketch.
Republic
3/10
A farm that needs a punchline more than a shepherd.
Temperance
4/10
Short and silly, and the silliness is the hitting.
Truth
3/10
It does not claim to teach the art.
Stewardship
2/10
Nothing to hand on but the kick.
Live historicallySkip it. If the child wants the kicks, take him to a real class with a teacher who bows.
A first love, filmed as a destiny. The mother is the adult and the show knows it, then looks away.
Susannah's house and the mothers' friendship are the life in it. The triangle is the candy, and the candy teaches a girl that being chosen by one of two brothers is the summer's meaning. Older teenagers will watch it anyway. Sit near enough to say that a feeling is not a vow and that the sick mother is the actual story.
Industry
2/10
Summer is the job.
Household
5/10
Mothers, brothers, a house they return to. The house is doing a lot of the loving.
Piety
1/10
The feeling is the authority.
Courage
2/10
The risks are romantic.
Republic
2/10
A private beach.
Temperance
3/10
Longing is the diet.
Truth
4/10
It is sincere about a teenage heart. It overrates the heart.
Stewardship
3/10
The house is an inheritance. The plot spends it on a kiss.
Live historicallyIf it is on in your house, ask what the mothers are carrying. Do not ask who she should pick.
A charming criminal in a cowboy hat. The charm is the danger.
Sylvester Stallone can still make a weary man interesting, and the first conversations with his daughter have a pulse. The series does not know what to do with that pulse except interrupt it with a beating that you are meant to enjoy. A city is not redeemed because a gangster learns the slang.
Leave it. The household does not need another fluent villain.
Industry
4/10
He is industrious about crime. The show admires the industry.
Household
3/10
A daughter he neglected. The reunion is real and constantly put second to the score.
Piety
2/10
No law above the crew but loyalty to a boss, which is not piety.
Courage
4/10
Physical nerve in the service of a shake-down.
Republic
2/10
Tulsa is a market to be opened, not a town to be joined.
Temperance
2/10
Violence, cash, and a wink.
Truth
3/10
It tells you he is a criminal and then asks you to root for his quarterly growth.
Stewardship
2/10
What he would hand his daughter is a cleaner version of the same dirt.
Live historicallyNotice, the next time a story makes you like a criminal, which of his crimes you have agreed to stop counting.
A pretty commercial. A bad account of work, love, and a place.
Emily Cooper is not wicked. She is empty in a way the show has mistaken for fizz. A job that exists to inflame wanting, a city used as a backdrop, and a trail of half-attachments presented as a life. It is bright, short, and instructive only as a negative.
Do not give it to a daughter as a picture of going abroad. Going abroad is for learning a place. This is for being looked at in one.
Industry
4/10
She works in advertising, which the show thinks is a charming talent.
Household
3/10
Romance is a rotation. No one is building a Wednesday.
Piety
2/10
The sacred objects are outfits.
Courage
3/10
Social boldness, spent on brand strategy.
Republic
3/10
Paris is a set. The French exist to be instructed or seduced.
Temperance
2/10
More is the only setting.
Truth
3/10
The job is to make people want things. The show finds this innocent.
Stewardship
2/10
Nothing left behind but posts.
Live historicallyThe next time you travel, even across town, learn one thing the people there already knew.
A game of alliance and hunger. Not a model of a town. Adults, sparingly.
The show is a pressure cooker for a particular American talent: reading a room and making a deal. That talent is real. The frame is the problem. Food is scarce on purpose. Friendship is a tactic. The jury is a score-settling. A republic is not a group of hungry people voting their grudges for a million dollars.
Watch an hour if you want to see how fast charm becomes strategy. Do not watch a season as company. The people are hungry and filmed. You are not obligated to be the audience for that.
Industry
5/10
Camp craft is real for a few days, then the game eats it.
Household
1/10
Bonds are made to be spent at tribal council.
Piety
2/10
No reverence. A prayer would be a confession of weakness.
Courage
5/10
They endure the island. The endurance is for a prize.
Republic
3/10
Voting is the ritual. The polity is a television set.
Temperance
4/10
Hunger is the producer. The show does not pretend otherwise, and still sells it.
Truth
4/10
Alliances are lies with a timetable. The show calls this gameplay.
Stewardship
1/10
The winner leaves with money. The island is unchanged, and so is the lesson.
Live historicallyEat one meal this week with people you cannot vote off the island.
