Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
A Saturday-morning kindness. The monsters' children are the neighbors. Fine for a young house, thin for anyone else.
Shaggy takes a job he is not qualified for, which is the joke, and then he stays, which is the only moral the picture has room for. The girls are not a twist to be unmasked. They are students. Their fathers are the old monster names, played as worried parents rather than as a hunt. Revolta is the actual villain, and she is a villain because she would use the girls.
It is television animation from a cheaper decade. The songs are filler. The idea is sound enough for a child who is learning that a strange classmate is still a classmate. Do not pretend it is a story you discuss at supper. Put it on, then go meet someone.
Industry
4/10
A job accepted, mostly by accident, and then actually done.
Household
5/10
Fathers who come for their daughters. A found crew that does not bolt.
Piety
2/10
Magic as the furniture. No reverence.
Courage
5/10
They stay when the school gets dangerous.
Republic
5/10
A school is the unit, and the plot is about not handing the students over.
Temperance
6/10
Mild. The scare is a costume.
Truth
5/10
The girls are what they say they are. The fraud is the woman who flatters them into a trap.
Stewardship
5/10
It hands a child a first practice in hospitality.
Live historicallyLet a child be polite to someone the room has already decided is frightening.
Competence against a real enemy, played as a sitcom. The sitcom is the problem and the pleasure.
The show is funny because the prisoners are capable and the commandant is vain. Those are allowable comic facts. It is not an allowable picture of the camps if it is the only one a person has. Laugh at Klink if you already know what the war was. If you do not, this is the wrong first teacher.
Industry
7/10
Tunnels, radios, a plan. The work of resistance is the joke's machinery.
Household
4/10
A unit that functions as a household.
Piety
2/10
The evil is too foolish to fear, which is a distortion.
Courage
6/10
They risk the camp every episode.
Republic
5/10
A chain of command that still holds in a camp.
Temperance
5/10
Light, on a subject that was not.
Truth
4/10
The incompetence of the enemy is the fiction. The existence of the resistance is not.
Stewardship
4/10
It kept a memory, in a form that cannot be the only memory.
Live historicallyPair it, if you watch it, with a sober account. A Small Light is on this same row.
Brotherhood is real. The world is a roadside, and heaven is another monster.
Dean and Sam will not abandon each other, and the show means it. That loyalty is the reason people stayed. Around it, every town is a graveyard they pass through, and every higher order is a disappointment. A courage that never joins a place becomes a style.
Watch a few if the loyalty is what you came for. Do not let the road become the picture of a good life.
Industry
5/10
They have a craft: research, salt, a sawed-off. It is not a living that builds anything.
Household
6/10
The brothers are the household. Everyone else is a motel.
Piety
2/10
Angels and demons arrive, and both are bureaucracies. Worship is not on offer.
Courage
7/10
They go into the house. That is not nothing.
Republic
3/10
Towns are saved and left. No one stays to be a neighbor.
Temperance
4/10
Fifteen seasons of apocalypse. The appetite is the next end of the world.
Truth
5/10
The family secret is the plot, and they do tell it to each other.
Stewardship
3/10
They save strangers and leave no successor but the car.
Live historicallyAfter an episode, stay. Do one thing for the block you actually live on.
A costume party of villains, framed as a takeover. Harmless at that size, and not a story to build a week on.
The villains are invited in and then they run the show, which is a small parable a child will not hear unless you say it. Jafar, Cruella, the rest: they are funny because the house already knows they are not the heroes. Mickey's job is the host's job. He notices the guests have taken the keys. The cartoons stitched between are older shorts, some of them better than the frame.
Fine for a Halloween hour with a child who already knows these faces from the real films. Do not let this be the only time they meet a villain, or the villain will only be a costume. Afterward, pick one of the old shorts and tell them who made it and why the wolf is not a friend.
Industry
3/10
A party, not a craft.
Household
5/10
Mickey's house is the stake. Friends are the household.
Piety
2/10
Magic as a gag.
Courage
5/10
He has to take the house back.
Republic
5/10
A commons seized by people who were let in.
Temperance
6/10
The scare is dress-up.
Truth
5/10
The villains say what they are. The film believes them.
Stewardship
4/10
It hands on the old cartoons, which is the part worth keeping.
Live historicallyIf the costume is the whole evening, add one true thing the character would have done.
Tidy morals inside a toy commercial. A short is harmless. Do not let it be the only girl on the shelf.
The episodes tell a girl to be a good friend, and then they show her a house no family has. The advice is not wicked. It is weightless, and the set is doing a job for the toy. A small child will not be harmed by one. She will be misshapen by a diet of them, because every problem yields and every room is already perfect.
Put it on only if you are in the room, and follow it with a story where a girl has to do something that does not sparkle.
Industry
4/10
Someone fixes a thing. The fix is easy, and the house does the dazzling.
Household
5/10
Sisters share a roof. The conflicts resolve before dinner, on schedule.
Piety
3/10
Kindness is the slogan.
Courage
3/10
The stakes are a party, a pet, a mix-up.
Republic
4/10
A neighborhood of friends. No one is in real need.
Temperance
6/10
It is not cruel. It is not serious.
Truth
4/10
The lesson is true and weightless.
Stewardship
3/10
What it hands a girl is a brand with a smile.
Live historicallyAfter any episode, give the child a real, slightly hard job. Let the house be ordinary.
06
Mariah Carey's All I Want for Christmas Is YouPrime Video · 2017 · Film
Mariah Carey's All I Want for Christmas Is You
The song is the product. The people already in the house are the point, if the film remembers.
The wish is for spectacle: the voice, the lights, the famous want. A Christmas film for small children is allowed to be sweet. It is not allowed to teach that the holiday is a celebrity arriving. The useful version of this story is the one where the dog, the parent, and the ordinary room turn out to be the gift that was already there.
Put it on only as a small thing, and say the quiet line yourself if the movie will not. We do not need the famous person in order to keep the feast. The song can stay in the kitchen. It does not get to be the feast.
Industry
3/10
Little work. A wish.
Household
6/10
A family Christmas is the right setting.
Piety
4/10
The feast is the subject. The star is the temptation.
Courage
3/10
Wanting is not bravery.
Republic
4/10
A neighborhood of lights.
Temperance
4/10
The want is large and commercial.
Truth
4/10
Honest that it is a song tied to a brand.
Stewardship
4/10
It can point a child home, or at a poster.
Live historicallyAsk a child what would still be Christmas if the song were off.
A big family that stays a family. The boy learns to manage them, not to love the noise.
The Loud House likes a big family and then plays the big family as an obstacle course. Lincoln is not cruel. He is strategic, and the strategy is how to get his way inside a house that will not thin out. A child from a full house may feel seen. Do not let the seeing become permission to treat brothers and sisters as traffic.
Industry
3/10
Parents work. The children treat the house as a puzzle to beat.
Household
6/10
Eleven children and two parents under one roof. Nobody is written out.
Piety
2/10
Nothing above the household except the next plan.
Courage
3/10
The risks are social and small.
Republic
4/10
A full house is a public. He would rather it were private.
Temperance
4/10
Chaos is the fuel, reset every episode.
Truth
5/10
It is honest that a middle child is tired. It is less honest that a scheme is the remedy.
Stewardship
5/10
They will still be siblings. That is the credit.
Live historicallyGive the child one job that makes the house easier for someone else.
Science as a gadget ad. Harmless at nine. Thin at thirteen. Not a reason to sneer, and not a reason to stay.
The girls are allowed to be clever, which was not nothing in 2015, and the cleverness is aimed at a lunchbox. A thirteen-year-old still clicking it is attached to a younger self. Let her finish the episode she started. Do not queue the next.
If a younger child is in the room, it will not frighten anybody. It will also not teach the patience of an actual experiment.
Industry
5/10
Experiments, of a sort. The result is a mission, not a finding.
Household
4/10
Friends. Adults are handlers.
Piety
2/10
Wonder, packaged.
Courage
4/10
They take the assignment.
Republic
3/10
A secret agency, which is the opposite of a town.
Temperance
7/10
Bright, short, no cruelty.
Truth
4/10
The science is real-ish and then it serves the plot.
Stewardship
3/10
What it hands a child is a product line.
Live historicallyDo one experiment that does not come with a character you can buy.
The deductions are the pleasure. The later series fall in love with his exception.
The early cases are a delight because Watson is decent and the crime is a problem with pieces. Then the show becomes a story about how extraordinary Sherlock is, which is the part to decline. Watch the first series. Let Watson be the reason, not the fan at the genius's elbow.
Industry
6/10
Observation as a trained art. The early cases are puzzles with rules.
Household
3/10
Watson is the household he borrows. He does not build one.
Piety
2/10
Other minds are data.
Courage
5/10
He goes toward the danger. So does Watson, which matters more.
Republic
3/10
Scotland Yard is a feed for his gift.
Temperance
4/10
The early austerity gives way to spectacle.
Truth
6/10
The best episodes play fair with the clues.
Stewardship
3/10
A genius who forms no one and needs the world to stay bewildered.
Live historicallyAdmire a clear deduction. Do not admire the contempt that came with it.
A live room, a deadline, and a joke that is often cheaper than the target. Portions.
The valuable part is the work. A show goes on at a clock, with a band, a host, and sketches that were rewritten until the afternoon. That is industry of a particular American kind. The rest is a fashion. Some weeks the fashion punches up. Many weeks it punches whoever the room has agreed is safe to punch, and calls the agreement courage.
Adults know how to take a sketch and leave the next one. A child will take the impersonation as the truth. Watch it the way you watch a newspaper cartoon, not the way you watch a friend.
Industry
7/10
Live television is a craft with a deadline. The flop is public.
Household
2/10
No household. The cast is a company that turns over.
Piety
2/10
The sacred is the favorite target, and not only when it deserves it.
Courage
5/10
Going live is a risk. The target is often easy.
Republic
4/10
It comments on the republic. It is also a clique with a camera.
Temperance
4/10
The meanness is the product on the bad nights.
Truth
4/10
A good sketch tells a truth. A cheap one only tells you who the room dislikes.
Stewardship
3/10
What it hands on is a style of joke. The style has a bill.
Live historicallyMake one joke this week that does not need a person to be humiliated.
