Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
Home is the good. The wizard is a man behind a curtain. Keep it.
Dorothy is not recruited for Oz. She is tried by it, and the trial ends when she would rather have the farm than the emerald city. That is a rare ending. Most fantasies punish the child who wants to leave the magic.
The scarecrow, the tin man, and the lion already had the thing they were shopping for. The wizard's gift is a diploma, a testimonial, and a medal. Worth noticing. Courage, mind, and heart are not purchased. They are used. The wicked witch is wicked. The film does not ask you to understand her into harmlessness. A house can watch this once a year and come out more loyal to its own kitchen.
Industry
6/10
A farm is work. Oz is a spectacle that does not feed anyone.
Household
8/10
Aunt Em and the farm are the true destination, not the consolation prize.
Piety
5/10
Awe is everywhere. Worship is not. The wizard is exposed as a man.
Courage
8/10
She faces the witch to save a friend, then asks to go home.
Republic
6/10
The city is a court of humbug. The farm is a neighborhood.
Temperance
7/10
Wanting is tested against belonging. Wanting loses.
Truth
8/10
The curtain comes back. Power that will not show its face is a fraud.
Stewardship
9/10
The charge of the story is to get the child home unchanged in her loyalties.
Live historicallyTell a child the difference between a wish and a way home, then walk them there.
Austen's argument, kept: sense has to answer sensibility, or a girl is ruined.
The 2008 series gives the Dashwoods their reduced cottage and their actual waiting. Marianne is allowed to be glorious and wrong. Elinor is allowed to be the one who keeps everyone fed while her own hope is privately buried.
Watch this one, not a poster of dresses. Then ask which sister your house has been rewarding.
Industry
5/10
The women have no profession the age allows. Managing a reduced house is the work.
Household
9/10
The whole plot is which marriage a sister can survive.
Piety
5/10
Conduct stands where a sermon might. Marianne's excess is not blessed.
Courage
7/10
Elinor carries the secret and does not make the room pay for it.
Republic
6/10
A neighborhood still has an opinion, and the opinion can save or sink them.
Temperance
8/10
Willoughby is charm with an appetite. The story sends him the bill.
Truth
8/10
The first feeling is not the last fact. Elinor waits for the fact.
Stewardship
7/10
What the mother can leave her daughters is the only fortune that remains.
Live historicallyIf a feeling is spending the family's name, say so before the feeling spends the youngest.
Keep it for the father and the boy. Do not turn it into a promise that the market will catch everyone who hustles.
Chris is good at the work and buried by a bad bet, a tax, a wife at the end of her strength, and a city that has no bed for the two of them. The film is right about the dignity of refusing to hand the boy off, and about the humiliation of a shelter line. It is thinner about the people who do the same things and are not chosen at the end. Watch it for the particular pair, not as a gospel that wanting plus suffering equals a firm.
The scene in the subway bathroom is as much as a house needs to see of that kind of night. If you are dry and housed, let it make you specific toward someone who is not, not proud of an ending.
Industry
9/10
The internship is grueling and real.
Household
9/10
He will not be separated from his son.
Piety
4/10
Little faith on screen. A fierce fidelity.
Courage
8/10
He keeps showing up.
Republic
5/10
A city of closed doors.
Temperance
6/10
Want, governed by the child.
Truth
7/10
The hardship is not prettied.
Stewardship
7/10
It hands on a father's staying, not a slogan about happiness.
Live historicallyDo not let a child in your care sleep anywhere you would not explain to them honestly.
Keep it. Love that will not let go must learn to let the child swim.
Marlin's grief is not a joke, and his overprotection is not a mystery. The film understands both. Dory's forgetfulness is played for laughs and then revealed as a form of faithfulness: she keeps the errand when she cannot keep the facts. Nemo is not cargo. The last act works because the boy has to do the dangerous thing himself while the father trusts him.
A family that has been scared can watch this and talk about the difference between care and a grip. The ocean is big. The promise is not that it is safe. The promise is that you go.
Industry
7/10
The crossing is an exhausting job.
Household
9/10
A father and a son, repaired.
Piety
4/10
Wonder, little worship.
Courage
9/10
Both of them do the frightening part.
Republic
5/10
A reef, a tank, a company of the lost.
Temperance
6/10
Fear is the vice he repents.
Truth
7/10
He was wrong about the boy, and says so.
Stewardship
8/10
It hands a parent the open water and the child.
Live historicallyGive a child one risk that belongs to them, and stay near without clutching.
A small masterpiece for a household. They need to get home, and home is the good.
Wirt has to stop performing his own sadness and get his brother home before the cold finishes them. That is a complete moral education in a little more than an hour, told with songs and animals and no contempt. Put it on in October. Sit with them. It does not need a speech afterward, but it can bear one.
Industry
4/10
A woodsman's work. The boys have only the journey.
Household
8/10
An older brother responsible for a younger. That duty is the story.
Piety
5/10
A pilgrim tale in a folk key. Death is in the woods and is not a joke.
Courage
7/10
They are frightened and they keep walking.
Republic
4/10
The towns in the wood are temptations to settle for less than home.
Temperance
8/10
Ten short chapters. No waste.
Truth
8/10
It means the symbols. The beast is a lie about despair.
Stewardship
8/10
The whole plot is getting the children back to a house where they are known.
Live historicallyWatch the whole thing in one evening. Then make sure the youngest person in the house knows you are the one who gets them home.
The subject is the right subject. A show still has to kneel or it is only a show.
Mary and Joseph on a road, a dangerous king, a birth that is not a career. If the songs serve that, this is a legitimate way for a house that likes music to approach the feast. If the songs make Mary a lead and Herod a theater villain only, the feast has been borrowed. The desk's test is simple and old. Does the child remain the center when the number ends.
Watch it with the text nearby. The text is short. The film does not get to be longer than the text in authority, however bright the road.
Industry
4/10
A journey.
Household
7/10
A betrothed pair and a child.
Piety
7/10
The aim is worship in a popular key.
Courage
6/10
They go, under a threat.
Republic
5/10
A king who is a danger to children.
Temperance
5/10
Gentle.
Truth
6/10
Depends on whether the birth stays true.
Stewardship
7/10
The right heirloom is the text, with the film as a door.
Live historicallyRead the second chapter of Luke after the songs, out loud.
A thriller about refusing the shortcut. Uneven, and the refusal is the part to keep.
It is a Christian film that decided to be a science-fiction chase, and the chase is only sometimes in control of itself. Under the machinery the offer is old. Take the version of your life where you did not suffer, and hand the tempter the right to write the rest. The man will not. That no is worth more than the effects.
Older teenagers can watch it. Tell them the plot device is an illustration, not a cosmology. The charge is to notice the small version of the offer: the easier life that requires you to drop a vow, a child, or a truth. Say no at that size.
Industry
4/10
His old life was work and a marriage. The other worlds are temptations, not jobs.
Household
7/10
He wants his wife back. The film's question is whether he will buy her with a lie.
Piety
7/10
The tempter is named as such. Prayer is a tactic, not a garnish.
Courage
7/10
He keeps saying no in rooms where yes would end the pain.
Republic
4/10
Worlds, not a town. The public stake is a soul.
Temperance
6/10
The offer is appetite: comfort, a cleaner timeline, a self without the scar.
Truth
6/10
The rules of the worlds wobble. The moral rule does not.
Stewardship
6/10
What he is protecting is one real life, not the best of the possible ones.
Live historicallyRefuse one shortcut this week that would make you smoother and less true.
A small town and a long friendship. The gossip is thicker than it needs to be. The loyalty is real.
Three women who decided in girlhood not to abandon one another is a good spine, and Sweet Magnolias does not betray it for a twist. The marriages around them are in worse shape, and the show is at its best when a child is confused and an adult has to be plain. It is soapy. You can feel the next revelation being arranged.
Fine for a mother and an older daughter. Skip the episodes that are only a festival and a new man. Keep the ones about telling a son the truth.
Industry
6/10
A doctor, a cook, a town hall. People have posts.
Household
7/10
Divorce is treated as a wound, not a glow-up. Children are in the blast radius and the show admits it.
Piety
4/10
Church is in the scenery of a Southern town more than in the decisions.
Courage
5/10
They tell each other the hard thing, eventually.
Republic
7/10
Serenity is a place with a memory, a diner, and a ballfield.
Temperance
6/10
Romance is plentiful. It is not the only hunger.
Truth
6/10
Secrets are the plot, and friendship is the pressure to end them.
Stewardship
6/10
What they are keeping is a town and each other's children.
Live historicallyKeep a standing evening with the friend who has known you long enough to contradict you.
A building as a small town. Charming, and a little too pleased to treat death as a hobby.
Three lonely people in a New York building decide a dead neighbor is their project and, accidentally, that they are each other's. The friendship is the part the standard likes: different ages, shared table, somebody waiting on the landings. A city that still has that has not entirely come apart.
The limit is the hobby. A murder should not be the most charming thing that happens to you. The show knows this in flickers and then cues the theme. Delightful in small doses. Do not let a podcast about a corpse become your picture of what neighbors are for. Neighbors are for casseroles, arguments, and showing up. The mystery is optional.
Industry
5/10
They work the case. It is also a performance.
Household
5/10
Friendship across age. A real tenderness, and no lasting house.
Piety
3/10
Death is a puzzle box. Reverence is occasional.
Courage
5/10
They take risks for each other more than for justice.
Republic
6/10
A building full of neighbors is the closest thing to a polis on this shelf.
Temperance
6/10
Light on the vices. The appetite is whimsy.
Truth
6/10
A mystery still believes facts matter.
Stewardship
4/10
The inheritance is another season of the podcast.
Live historicallyKnock on one actual neighbor's door with a small, practical offer. Not a post. A door.
Not for five. A squirrel does a brave thing. The humor is rude, fast, and aimed past her.
Sandy is loyal and she is brave, and those are not small things. The film spends them on a chase and a run of jokes about bodies, panic, and being loud. A ten-year-old who already knows the show can sort that. A five-year-old just absorbs the speed.
Leave it on the row if you must, and do not press play for Kiki. If an older child wants it, watch it with them and be ready to say which joke was only a joke.
Industry
5/10
Sandy has a job and she does not quit it. The film is more interested in the gag.
Household
4/10
Friendship is the engine. The house is a cartoon town.
Piety
2/10
Nothing is reverent, and a few jokes spend their time on the body.
Courage
6/10
She crosses the country for her neighbors. That part is real courage, in a silly key.
Republic
5/10
A town is worth saving. The town is mostly a backdrop for the bit.
Temperance
4/10
The pace and the gross-out are a diet. Five does not need that diet.
Truth
4/10
It is honest that it is nonsense. The nonsense is still the teacher.
Stewardship
5/10
Bikini Bottom remains. She will not remember why.
Live historicallySkip it for her. If it plays in the house, name one joke that was mean and say so.
