Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
A man trying to redo his youth. Sometimes he teaches courage. Often he teaches the feud.
Johnny Lawrence is a useful mess: a man who was used by a teacher and is now in danger of becoming him. The early episodes understand that. A boy needs a man to show him he can be hit and get up. The series then cannot resist the war with Daniel, and every teenager in the valley is enlisted. Strength without a reason is the original mistake, repeated with better footage.
Older teens, maybe, with you willing to say when the sensei is wrong. Not a moral education by itself. The original film is the cleaner lesson.
Industry
6/10
A handyman and a sensei. Work is in his hands, and so is the shortcut.
Household
5/10
A son, an ex, a rival's family. The home is real and constantly recruited into the war.
Piety
3/10
Honor is a word on the wall. Mercy loses to the next tournament.
Courage
6/10
Kids stand up to bullies. Then the show makes the standing-up into a gang.
Republic
4/10
A valley full of parents who have handed their children to dojos instead of to themselves.
Temperance
3/10
Revenge is the renewal plan. The series knows it is poison and pours another round.
Truth
5/10
It tells the truth that the old villain had a life. It can't stop rehabilitating the cruelty.
Stewardship
5/10
What he wants to hand a boy is strength. He keeps handing him an enemy.
Live historicallyTeach a child one physical skill, and also the moment they are required to stop.
Wit as a vocation. The cost to the children is real and the show keeps choosing the mic.
Midge is funny, and the show is right that a gift can be real. It is also a long argument that the gift outranks the table. The parents are vivid. The children are the bill that keeps being deferred with a song cue.
Enjoy the sentences. Do not let them talk you into thinking a room of strangers is a higher calling than the people who know when you are late.
Industry
7/10
She works the clubs. The work is the point, and she gets better.
Household
4/10
A husband, parents, children. The children are often the thing she is late for.
Piety
3/10
The Upper West Side has synagogues. The show's altar is the set.
Courage
6/10
She gets on stage after the room has already decided.
Republic
4/10
Managers, clubs, a city. The civic life is the industry.
Temperance
4/10
The joke needs a target, and the target is often the room she lives in.
Truth
6/10
It is honest that talent and duty are pulling apart.
Stewardship
3/10
What she is building is an act. The house is what she spends.
Live historicallyDo the work you are good at, and be home when you said you would.
The best thing about it is that they become neighbors. The joke takes a while to allow that.
The Roses are useless on purpose at the start, and the town is the instrument that makes them specific. The show becomes gentle, which is why people love it, and the gentleness is earned by work behind a counter. Watch it for that turn. Do not adopt the early voice while you wait for the turn.
Industry
5/10
The motel, the store, the town work they cannot hire out anymore.
Household
6/10
They stay a family in one room. The staying changes them.
Piety
2/10
No creed. Kindness arrives as taste.
Courage
4/10
The courage is embarrassment, endured.
Republic
5/10
A small town that outlasts the people who mocked it.
Temperance
5/10
Early cruelty softens. The softening is the arc.
Truth
5/10
It is honest that money was their personality.
Stewardship
5/10
They end up belonging to a place. That is the right ending.
Live historicallyDo one shift of ordinary work you could otherwise pay someone else to do, and do not narrate it.
History, a marriage, and a great deal of appetite. The history is doing some real work.
The useful hours are the ones about medicine, a clan, and a war that was going to be lost. The hours the show is sold on are the ones in the bed. Adults can tell those apart. The trouble is the second marriage sitting on top of a first husband who is still alive in another year. The show wants the feeling to settle what the vow cannot.
Industry
6/10
Healing, farming, war, printing. The centuries have jobs.
Household
5/10
Two marriages, deeply felt, and the first is not cleanly honored.
Piety
4/10
Faith is in the period and sometimes in the people.
Courage
6/10
War, childbirth, a journey. The dangers are not theoretical.
Republic
5/10
Clans, a rising, a nation deciding.
Temperance
2/10
The romance is explicit and frequent. It is the marketing.
Truth
5/10
The past is particular. It is also a fantasy of being chosen there.
Stewardship
4/10
Children and a future century complicate the wish. Good. They should.
Live historicallyIf you watch it, do not let the feeling be your only brief on a promise.
The work is the joke. Jim and Pam are the part that takes a vow seriously.
Dunder Mifflin is a real kind of American room: ordinary work, a manager who confuses liking with leading, and people who stay because the health insurance is there. Jim and Pam's choice to marry and to stay is the story that earns its time.
The laugh is often at a person who cannot defend himself. That habit is the tax. Watch the marriage. Do not practice the meeting.
Industry
4/10
Paper is sold. The show's pleasure is how badly the boss does the job.
Household
7/10
A long courtship ends in a marriage, and the marriage is not the punchline.
Piety
2/10
The sacred is a meeting that should have been an email.
Courage
5/10
People endure a foolish boss and, sometimes, tell him the truth.
Republic
4/10
An office is a little republic of desks. The camera makes it a zoo.
Temperance
4/10
Cruelty is usually punished by awkwardness. Sometimes the awkwardness is the product.
Truth
6/10
The documentary frame pretends to record a workplace. It also arranges the workplace for the laugh.
Stewardship
5/10
What lasts is a marriage and a job that continues after the boss is gone.
Live historicallyThank someone at your actual work for a job they finished, with no joke attached.
A child is moved out of the chair. The moving is the whole idea, and then it should stop.
Danny Go! wants a child on his feet. On this row that is a virtue, because almost everything else wants the child still and wanting. It is also a brand of enthusiasm, and enthusiasm is not a life. One song, then the real room. If he is the afternoon, you have traded a walk for a host.
Industry
4/10
The body is used. It is not a trade.
Household
3/10
A host, not a house.
Piety
2/10
Enthusiasm is the only reverence.
Courage
3/10
He tries the next move. The risk is small.
Republic
4/10
Children are invited to do the same thing together.
Temperance
6/10
Loud, but it ends, and it asks for motion rather than another want.
Truth
6/10
It is a dance. It does not claim to be school.
Stewardship
4/10
A habit of moving is a decent thing to copy, once.
Live historicallyDo the last move once more with the screen off, then go on to something that is not him.
A satire of a heaven you subscribe to. The satire is right. The romance muddies it.
A heaven with in-app purchases is a good joke, and it is aimed at the right target: a culture that thinks money should decide even the end. The show then wants you to care about the romance inside the product. Care about the joke. Be wary of a story that kills the body and then asks you to find that romantic.
Industry
5/10
Tech support, a corporation, a product. Work is the living woman's life.
Household
3/10
Bodies are optional. That is the horror, played cute.
Piety
2/10
The afterlife is a tiered plan. The theology is the price list.
Courage
4/10
Nora asks questions that can get her fired.
Republic
5/10
A company as the state of the dead. The civic joke lands.
Temperance
4/10
The candy of the virtual world is the point and the critique.
Truth
6/10
It tells the truth about who gets the good death: the people who can pay.
Stewardship
3/10
Nothing is handed to children. There are no children in the plan.
Live historicallyDecide, without the show, what you think a person is. The upload only works if the answer is 'data.'
The dead are not a costume for a hitman's second act. The title is the confession.
Gregory Scarpa, in the account this film is sold on, is a violent man pointed at a righteous question: who killed the workers in Mississippi. A true question does not baptize the instrument. The bureau that will use a murderer, and the murderer who will be used, are both refusing the slow work of law. Yahya Abdul-Mateen's agent is the conscience in the room only if he will not let the means become the story.
The desk has the premise from the public account, not a license to invent the last reel. It is enough. If the film asks you to root for the hitman because the victims were holy, decline the rooting. Grieve the dead. Do not rent their killer as your hero.
Industry
4/10
Investigation is work. Assassination is the shortcut.
Household
2/10
Households are what the murders destroyed.
Piety
3/10
The cause is just. The piety is borrowed.
Courage
4/10
Nerve in the service of a dirty bargain.
Republic
3/10
A republic that outsources its justice to a criminal.
Temperance
2/10
The title blesses the excess.
Truth
6/10
The historical stain is real and should be told straight.
Stewardship
3/10
What it risks handing on is the phrase itself.
Live historicallyDo not praise a result that required you to hire the evil.
A true thing about a family that would rather be pleasant than honest. The glaze is still privilege.
The book, and the series after it, is about a family that keeps its comfort by refusing a sentence. The reveal matters only if you felt the cost of the refusal. If you only felt the island, you watched the brochure.
For older teenagers, with the question asked: what did they protect, and who paid.
Industry
2/10
Nobody works. The island is maintained by people the plot treats as weather.
Household
4/10
Cousins and a grandfather. Love is real and so is the control.
Piety
2/10
No creed but the family name.
Courage
3/10
The young people feel brave. The bravery is mostly against their own soft lives.
Republic
3/10
An inheritance fight is the politics.
Temperance
4/10
Beauty is the drug. The show knows it and still pours it.
Truth
6/10
The lie is the subject. That is the part that earns the hour.
Stewardship
3/10
What they steward is a house they do not deserve, and the ending says so.
Live historicallyName one pleasant story your own family tells that is missing a person or a fact.
A brand with a moral you could fit on a sticker. Skip it if the live films are already in the house.
Seabrook's zombies, werewolves, and humans return as a shorter, brighter loop of the same allegory: the out-group is us, the dance is the reconciliation, the parents are the obstacle until they aren't. Nothing new is risked. The songs are advertisements for the feeling of inclusion.
A child who likes the movies will like this and learn nothing they did not already hear. One episode will not harm a young child. A season will teach them that a social problem ends when the chorus does.
Industry
3/10
School as a set.
Household
4/10
Parents exist to be convinced by a number.
Piety
2/10
None.
Courage
3/10
The brave act is a solo.
Republic
4/10
A town of groups, simplified into teams.
Temperance
4/10
Cheer as the solution.
Truth
4/10
The metaphor is obvious and thin.
Stewardship
3/10
A franchise handing on a franchise.
Live historicallyIf the house already watched the films, do not add the cartoon. Go outside.
