Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
Hospitality with a limit the story respects. Small and sound.
The witch does not collect animals as accessories. Each one helps, each one is a burden, and she says yes until the broom itself objects. That is hospitality with physics. The dragon is a real threat, not a misunderstanding. They answer it together.
It is a short film and it does not pretend to be a scripture. It is a picture of a woman whose power is used to carry others, and of a company that carries her back. A small child can watch it. So can a tired adult who has started to think kindness is only a brand.
Industry
6/10
The broom is a tool. It breaks when it is overloaded. The story admits that.
Household
7/10
A traveling household, assembled on purpose.
Piety
4/10
Magic is a kettle and a kindness, not a religion.
Courage
7/10
They go back for her.
Republic
6/10
A little company against a predator.
Temperance
8/10
Greed is the dragon's. Theirs is sharing.
Truth
7/10
No one is a secret villain in a soft voice.
Stewardship
8/10
It leaves a child the habit of making room.
Live historicallyMake room for one extra person at a real table this week.
Fear faced by understanding, not by a spear. Good for a child who can take a ghost.
Norman is bullied for a gift that is mostly the willingness to hear. The town prefers a mob and a story about a witch. The film's turn, that the cursed child was a frightened child and the curse was the town's, is the right turn. It does not ask you to pretend the dead are cute from the first minute. It asks you to stop the torch.
Some of the jokes are ruder than the fable needs. The fable holds. A house can watch it near Halloween and come out less eager to chant at the odd boy. That is a rare result for a cartoon with zombies.
Industry
5/10
He treats the seeing as a task.
Household
6/10
A family that does not understand him, and a sister who comes anyway.
Piety
5/10
The dead are taken seriously. The mob's ritual is exposed.
Courage
8/10
He walks toward the person everyone else stones.
Republic
7/10
A town's panic is the villain.
Temperance
6/10
Fear is answered, not fed.
Truth
8/10
The witch story was incomplete, and he completes it.
Stewardship
8/10
It hands a child mercy before the pitchfork.
Live historicallyAsk who in your town is feared because no one asked what happened.
A city, told as work. Grim, adult, and one of the few that believes in a town.
The Wire's argument is that a city is a set of institutions, and a person inside them can be brave and still lose. It does not offer a hero who fixes the block. It offers the block, the shift, and the lie a bureaucracy tells so it can post a number. That is a republican picture, even when every office is failing.
It is also long, violent, and full of a language you do not want in a child's mouth. Watch it as a civic document, not as a cool crime show. The cool is how it gets misused. The use is the question it leaves: what does your town actually count?
Industry
8/10
Police work, stevedoring, teaching, reporting. The jobs are specific.
Household
4/10
Households are damaged by the corners and by the overtime. They are not the subject.
Piety
3/10
A few people act from conscience. The institutions have none left.
Courage
7/10
Individuals risk the career. The system does not reward it.
Republic
9/10
The city is the protagonist. Duty to it is the only adult idea in the room.
Temperance
5/10
The drugs are the economy. The show is sick of them, which is not the same as glamorous.
Truth
8/10
The stat is the lie. The show will not let the lie stand.
Stewardship
7/10
The question of every season is what the city hands the children in it.
Live historicallyGo to one public meeting in your own town. Sit through it.
A polity with a sheriff, a generator, and a lie at the top. The machine is the interesting part.
Silo works when it is about how a closed society keeps the lights on and who is served by the rule against looking. The sheriff, the generator, and the janitor are the story. The conspiracy is only good if it keeps returning to those jobs. Watch it for the jobs.
Industry
8/10
Mechanics, porters, farmers, a sheriff. The silo runs on jobs.
Household
5/10
Couples and children inside the levels. The law reaches into the rooms.
Piety
3/10
The pact is a scripture they are afraid to test.
Courage
6/10
Someone is always willing to climb the stairs and ask.
Republic
6/10
Law, relics, a janitor who knows the machine. Civic life is the show.
Temperance
6/10
Restrained. The mystery is not a gore reel.
Truth
7/10
The forbidden question is the right question.
Stewardship
7/10
The whole drama is whether they will hand the children the lie or the repair.
Live historicallyLearn which machine your own building depends on, and who knows how to fix it.
Brothers, and a child who is not a weapon. The war is still the diet. Older kids.
The Batch are soldiers bred for special tasks who discover the Republic they served has been replaced. Omega is a child the laboratory also made. The story that matters is whether they will keep her as a sister or as an asset. The show is uneven and fond of a firefight. Its good hours are the ones where the squad chooses the girl over the mission.
Not for the very young. The clones are a tragedy about people who were never given a childhood, raising one. That is the part to watch. The rest is the costume.
Industry
6/10
Soldiers between employers. The skill is real. The master is the question.
Household
7/10
A squad learning to be brothers, and a girl who needs them to be.
Piety
3/10
Orders were their creed. They are between creeds.
Courage
7/10
They desert a wrong order. That is the courage.
Republic
6/10
An empire assembling itself in the offices they used to salute.
Temperance
5/10
Violence is the fluent language. The show speaks it too easily.
Truth
7/10
The chip in the head is a literal lie. Removing it is the plot.
Stewardship
7/10
Omega is the future they were not supposed to have a say in.
Live historicallyIf someone in your care is being sorted as a tool, get them out of that room.
The prison may be unjust. The deal is still a deal. Do not call the gold a father's love.
Samuel Murphy wants Penny out of the path of a foster door. That want is the right want. Clancy prices it: carry the gold, buy the years back. A bogus charge does not make the smuggling clean. It makes the temptation intelligible. The desk will not invent whether the mine lets him out. The offer was already the moral, and the offer was a father spending other men's risk to purchase his child.
Hawke plays the weight. Crowe plays the man who owns the scale. Watch it, if you watch it, for the argument, and stop the room before anyone says he had no choice. He had a worse choice and a longer one.
Industry
6/10
A mine, a prison, a man's labor sold back to him.
Household
7/10
The daughter is the true stake.
Piety
4/10
No chapel. A man under a sentence.
Courage
6/10
He faces the mine. Courage bent toward a theft.
Republic
4/10
A warden is the law, and the law is for sale.
Temperance
4/10
Desperation is allowed to bargain.
Truth
7/10
The false charge is named as false. The deal is not prettied.
Stewardship
5/10
A child is the reason. She is also the excuse.
Live historicallyRefuse one shortcut that would get you home faster and dirtier.
The original measure stands: a child is not only a weapon. This poster has not earned a new score.
Aang, in the story people love, runs from a duty and then picks it up without becoming cruel. Friends are not a squad. The enemy is an empire, and the answer is not a prettier empire. A new picture with his name on it can keep that or spend it. The tile shows the name and a Paramount mark.
Do not give the new film the old affection for free. Watch twenty minutes. If the boy is a brand and the bending is the product, you already have the series, which did the harder thing. If he is still the one who will not win by murder, stay.
Industry
5/10
Mastery was the old story's work.
Household
6/10
A found family is the inheritance.
Piety
5/10
A spiritual order, often honored, sometimes costume.
Courage
6/10
The legend is that he goes back.
Republic
6/10
A world under occupation.
Temperance
5/10
Power with a limit, if they remember the limit.
Truth
5/10
Unproven in this new telling.
Stewardship
5/10
The good to hand on is the refusal to be only a weapon.
Live historicallyIf you know the tale, tell the part where he refuses the easy victory.
Loyalty among the young. Parents who fail, then show up. Keep the talk after.
A boy vanishes, his friends refuse the official story, and a government lab has been opening a door it cannot close. The part worth keeping is simple and old: they do not leave their own behind. A lot of expensive television never clears that bar.
The part to watch awake is the parents. Some of them are furniture until the plot needs a rescue. Do not let a child learn that adulthood is absence with a car. The Upside Down is a thrill. The standard is whether your house would notice a missing kid before the lights flicker. Watch it together. Talk about who you call, and about courage that is not a costume.
Industry
5/10
The kids work at the mystery. The adults' jobs are mostly scenery.
Household
6/10
Households crack. Several adults eventually choose the children anyway.
Piety
4/10
The supernatural is a threat, not a reverence.
Courage
8/10
Children ride into the dark for a friend. That still counts.
Republic
6/10
A town, a lab that lied, and kids who will not abandon one of their own.
Temperance
5/10
The scare and the nostalgia are both products. Neither is vicious.
Truth
6/10
The institution lies. The friends, when it matters, do not.
Stewardship
5/10
Friendship is the inheritance. A future beyond the door is thinner.
Live historicallyKnow the friends of the young people in your house by name. Ask one of them how they actually are.
A soldier and a child. The duty is simple. The shooting is the rest.
The film knows the only plot that matters: a man who can leave and does not, because the child cannot. That is an old and good story. It is also an action movie that enjoys the rifle more than the walking. The balance tips toward the rifle often enough that you should notice.
Adults. A teenager who wants a rescue picture can watch it with you and then be asked the question the firefights try to outshout: what do you owe a child who is not yours and not convenient?
Industry
6/10
Soldiering is the skill. The film is prouder of it than it needs to be.
Household
6/10
The whole stake is a child who has no one else in the valley.
Piety
3/10
Prayer is absent. The duty is not.
Courage
8/10
He stays. That is the courage, when the film remembers.
Republic
3/10
A war. Not a town. The people of the valley are mostly targets or victims.
Temperance
4/10
The gunfight is the texture, and there is too much of it.
Truth
5/10
The mission is plain. The politics around it are a sketch.
Stewardship
6/10
Getting one child out is a true stewardship, if the film will let it be the ending.
Live historicallyIf a child is in your care on a hard day, the errand is the child, not your story about it.
Charlie is the point. The factory is a test of children, and it is a fair test.
Each child is a vice with a parent who has given up correcting it: greed, gum, television, spite. The tour removes them without killing them, and the songs are the indictment. Charlie is poor, polite, and tempted, and he puts the gobstopper back. That return is the whole film. Wonka is a moralist disguised as a showman, which is better than a showman disguised as a friend.
Some of the boat ride is truly frightening. Sit with a small child. Do not apologize for the lesson. The lesson is that a poor boy with a grandfather can outrank a rich child with no limit.
Industry
7/10
A factory of actual craft. Charlie's family has real poverty and real work.
Household
8/10
Grandparents in one bed, a mother, a boy who brings the paycheck home.
Piety
4/10
A moral test in the shape of a tour.
Courage
8/10
He gives the candy back, alone, when he could sell it.
Republic
5/10
A factory as a little kingdom of rules.
Temperance
9/10
Each eliminated child is an appetite. Charlie's restraint is the victory.
Truth
8/10
Wonka tells them the truth about themselves. They hate him for it.
Stewardship
8/10
The factory is handed to the boy who would not steal it.
Live historicallyOne piece of candy is not worth a promise. Practice that before you need it.
