Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
A father who loves his children by locking the door. Worth a family evening, then the talk about what the cave was for.
Grug thinks the cave is love. Eep thinks the light is life. Both are trying to keep the family alive, and the film is honest that a father's fear can be a form of care and still be too small. When the ground breaks, the rule that saved them becomes the rule that would bury them.
Watch it with the children who will ask for it this weekend. Then ask what in your own house is a cave: a rule that once kept someone safe and now only keeps them in. The picture is fit for a family. It is not a sermon, and it does not need to be.
Industry
7/10
They hunt, carry, and invent a way through. Work is how they eat.
Household
8/10
The family is the unit. They argue and they do not split up.
Piety
5/10
Wonder at a new world. No church. The cave is treated as the only safety.
Courage
8/10
Leaving the cave, when staying would kill them, is the brave act.
Republic
6/10
A band of one family learns it cannot be the only people left.
Temperance
7/10
Adventure, not appetite. The fear is of the dark, not of missing a thrill.
Truth
7/10
The father's rules are half true. The story lets the daughter be right too.
Stewardship
7/10
A way of living is handed to the children, and then it has to change.
Live historicallyName one rule in the house that was for safety. Say whether it still is.
Keep it. Being outgrown is not the same as being thrown away. The incinerator is the test of whether they stay.
The fear under every one of these films is that love ends when usefulness does. Andy is not cruel. He is seventeen, and the room has to be emptied, and the toys cannot be told that in a way that does not feel like death. Lotso is what happens when that fear becomes a system: he was replaced, so everyone else will be. Woody's answer is to keep faith with the others even when the faith looks stupid.
A whole house can watch it, and many houses should, once. The ending is a father watching a son give his childhood to a smaller child without a speech. If you cry, good. Then actually hand something on, this year, to someone younger, and do not keep the best of it in a box you call keeping.
Industry
7/10
Play is the work. Lotso runs a shop floor. Woody still believes the job is the child.
Household
8/10
Andy's leaving is a real household event. The mother, the sister, the room being packed.
Piety
4/10
No creed. The hand-holding over the fire is the nearest thing to a prayer, and it is loyalty.
Courage
8/10
They go back for each other. Woody comes back when he could have gone on to college in a box.
Republic
5/10
A day care as a polity with a warden. Small, and true.
Temperance
6/10
The peril is intense for a family film. It is in service of not abandoning each other.
Truth
8/10
Lotso's story about being replaced is a lie he tells to stay king. The film exposes it.
Stewardship
9/10
Andy gives them to a child who will play. Handing on is the whole ending, and it is right.
Live historicallyGive one loved object to a younger person this month, and let them use it.
Competence inside a family. The medicine is the gift. The parents are the point. Keep it for teens.
Lahela is a prodigy physician and a teenager with a mother who is also her boss and a father who surfs and stays. The show's good instinct is that being right about a diagnosis does not make you right about a family, a friend, or a limit. Hawaii is a place here, not a postcard only, though the postcard is present.
Teenagers. Watch the episodes where she is overruled by a person who loves her and is not impressed. Brilliance that cannot be a daughter is only a résumé.
Industry
8/10
Medicine as a craft she has to practice inside the rules of a hospital.
Household
8/10
Parents, siblings, a house that does not dissolve because she is gifted.
Piety
3/10
Care for the sick. Little named beyond it.
Courage
6/10
She makes the hard call and sometimes the wrong one.
Republic
5/10
A hospital and a town. She owes both.
Temperance
6/10
The teen plots are ordinary. The show usually does not make them the boss.
Truth
7/10
Being young and right is not the same as being complete. The series admits it.
Stewardship
7/10
A gift used on patients, under adults who can still tell her no.
Live historicallyIf a young person is exceptional at a skill, do not let the skill exempt them from the ordinary duties of the house.
Candor is a virtue. The sport of humiliation is not. We won't fake a set list.
We have not line-noted the set, and this desk will not invent jokes it did not hear. The title is the brief: I know you lying. Candor is part of the standard. A man should hate a fraud. The trouble is the pleasure. An hour built on catching people usually leaves the room a little crueler than it found it, and cruelty laughs easily.
If the set turns the knife on the comic's own vanity and then stops, it may be worth the hour. If it is a clinic in contempt, leave it. You will not become braver by rehearsing someone else's embarrassment. Truth spoken to a friend's face still beats truth performed for a crowd.
Industry
4/10
An hour of talk is labor. The labor here is exposure, not a craft you can hand down.
Household
3/10
A special with this title is rarely kind to the people at home.
Piety
3/10
Confession, if it shows up, is a bit. Reverence is not the product.
Courage
5/10
Standing up and saying the unsayable takes nerve. So does a cheap shot.
Republic
3/10
Laughter that makes you meaner about your neighbor fails the town.
Temperance
3/10
The appetite is for the gotcha. That appetite does not get full.
Truth
5/10
The title worships catching a lie. It does not obviously worship telling one less.
Stewardship
2/10
Nothing in the premise is for the people after you.
Live historicallyTell one hard truth this week to a person who can answer you. Not to an audience.
A job, a landscape, and a woman who will not be managed. Keep the case. Skip the binge.
Vera Stanhope is good at the work and bad at the life, and the show is honest enough to let both be true. The murders are in real kinds of places: a quarry, a cul-de-sac, a family that has agreed not to say the thing. She makes them say it. The team is a workplace, not a found family sitting on a couch.
One episode is the right serving. A season in a weekend turns a serious job into wallpaper. Adults. The dead are the reason for the hour, not a puzzle box you are owed.
Industry
8/10
Detection is a grind. She is better at it than she is at being liked.
Household
3/10
Her own house is a ruin she inherited. Other people's houses are the cases.
Piety
3/10
No creed. A stubborn sense that the dead are owed the truth.
Courage
6/10
She walks into rooms that do not want her.
Republic
6/10
A region, a force, a public that has to live with the answer.
Temperance
7/10
The crimes are ugly and then over. She does not fondle them.
Truth
9/10
The whole method is refusing the convenient account.
Stewardship
5/10
What she hands on is a closed case and a team that knows the standard.
Live historicallyFinish one task you have been decorating with busyness.
A man who wants a real household. A show that often treats the holy as a meet-cute.
A rabbi who actually wants a home is pointed in a direction the standard recognizes. A podcast about other people's disasters is a thinner vocation, and the show knows it, sometimes. The charm is real. Charm is not a measure. The measure is whether belief survives contact with a romance plot, or gets edited into a quirk the love interest can tease.
Do not sneer at either of them. A man trying to keep a tradition and a woman trying to be known are both serious projects. Watch whether the show lets those projects stay serious after the kiss. If it turns his calling into furniture, you have your answer. If it lets them tell the truth about what a shared table would cost, stay for that part.
Industry
5/10
He has a vocation. She has a brand. The collision is the comedy.
Household
6/10
They are at least arguing about whether this becomes a marriage.
Piety
5/10
Faith is present and specific. It is also asked to be charming on demand.
Courage
5/10
Crossing a family's disapproval takes some nerve.
Republic
4/10
A community with expectations is played as the obstacle, which is half-right.
Temperance
4/10
Sex and banter lead. Restraint is the guest star.
Truth
5/10
The better scenes are two people being honest about what they will not fake.
Stewardship
5/10
The question of children and a shared future is allowed on screen.
Live historicallyBe plain, early, about the obligations you will not drop for a romance. Say them before the third evening.
Keep it. The name is the point. Older children can bear it if you stay for the talk.
Proctor is not a saint at the start. He is a man with a real sin, which is why the court thinks it owns him. The girls' pretence becomes a government. Neighbors bring their grudges dressed as righteousness. The last good is small and absolute: he will not blacken other people to save himself, and he will not hand them a lie with his signature on it. The film understands that a name is a public trust.
Watch it when a room you belong to is rewarding accusations. Say the plain thing afterward. Piety that needs a victim is not piety. Courage is sometimes only the refusal to write.
Industry
6/10
A farm, a court, a man's work with his hands.
Household
5/10
A marriage wounded and then told the truth.
Piety
6/10
False worship is exposed. Conscience remains.
Courage
9/10
He will not sign.
Republic
8/10
A town that has handed the law to a panic.
Temperance
6/10
His earlier failure is not prettied.
Truth
10/10
The whole film is about a sentence that is not true.
Stewardship
9/10
It hands you your name back, with instructions.
Live historicallyDo not sign a sentence you know is false, even if the room is tired.
Keep it. The songs are the door. The leaving is the test of the house.
Maria brings music back to children who were being managed like a crew. That is a real good, and the film is not foolish to dwell on it. The captain's thaw is a father's thaw, which matters more than the romance. Then the third act remembers there is a regime. Collaboration is offered as politeness. They climb instead. A family film that ends on a mountain border is telling the truth that joy is not an escape from history.
Watch the whole thing, not only the gazebo. The gazebo is sweet. The mountain is why the sweetness was worth defending.
Industry
6/10
A household reordered, then a flight that takes work.
Household
9/10
Children restored to a father.
Piety
7/10
The abbey is real, not a postcard, when it counts.
Courage
8/10
They leave rather than comply.
Republic
8/10
A nation asking good people to look away.
Temperance
6/10
Sentiment, mostly in the service of the right things.
Truth
7/10
The offer to stay and cooperate is shown as a trap.
Stewardship
8/10
It hands on a family that can sing and can also refuse.
Live historicallySing in the house, and know when the house has to go.
Keep it. Office is a duty even when the public would rather you leave quietly.
Will Kane could go. Everyone with a speech about community finds a reason to be elsewhere when the outlaws are actually arriving. The film's anger is at respectable people. Amy's pacifism is treated seriously and then brought to a choice, which you may argue with, but the picture of a town that wants law without the noon hour is exact. Clocks have rarely been used so honestly.
Watch it when your own group is full of good reasons. The good reason is sometimes fear. Name it, and then look at the clock.
Industry
7/10
The office is the work.
Household
6/10
A marriage begun under a threat.
Piety
4/10
Conscience against respectability.
Courage
10/10
He walks the street alone.
Republic
9/10
A town that will not keep its own peace.
Temperance
7/10
No swagger. Fear, governed.
Truth
8/10
The speeches of the townsmen are exposed.
Stewardship
8/10
It hands on a picture of staying in office.
Live historicallyDo the job you were sworn to, especially if the room has gone convenient.
Keep it. A made thing can have a duty, and a duty can change without becoming a betrayal.
The old worry of these films is abandonment. This one is better than that. Woody has been a faithful servant of a child's imagination, and the faithful next act is to stop clutching the job when the child has other hands. Forky's panic — I am not a toy, I am trash — is the most honest religious feeling in a film that has no church: the fear that you are only what you were made from.
A whole house can watch it. Ask, after, whether holding a role forever is loyalty or fear. Woody's answer is late and it is right.
Industry
7/10
Woody's work is the child's play. Forky is garbage until someone gives him a job.
Household
8/10
Bonnie is a real child. Woody's love is parental and has to grow up.
Piety
4/10
No creed. Conscience is a pull-string that still means something.
Courage
7/10
He goes into the antique store for a toy who does not want to be saved.
Republic
5/10
A fair, a shop, a kindergarten. The public is small and true.
Temperance
7/10
The fear of being thrown out is named, then answered without a scream.
Truth
8/10
Forky tells the truth that he is trash. Being loved does not require the lie.
Stewardship
8/10
Woody hands the room to Jessie. Leaving is the stewardship, not the failure.
Live historicallyHand one job you love to someone else in the house, and do not take it back the same day.
