Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
A weekly mockery. Sometimes it hits a liar. Often it teaches that nothing is serious.
At its best the show is a boy who will not clap for the obvious fraud, and a town of adults who already have. That instinct is worth something. At its usual it is a dare: say the cruelest version fast enough and you cannot be answered. Children are the mascots of a disgust that belongs to the writers.
Adults who know the difference can take a particular episode that told the truth about a particular cant. Do not leave it on. A house that marinates in the stance that every institution is a joke will not have one left when it needs one.
Industry
2/10
The adults' jobs are setups. The boys do not have to learn one.
Household
2/10
Parents are fools or villains. The boys are the only real people, which is the lie.
Piety
1/10
Reverence is the enemy, including the reverence a child is owed.
Courage
4/10
They will say the rude true thing. They will also say the rude false one.
Republic
3/10
A town is the set. Every office is presumed corrupt, and the presumption is the comfort.
Temperance
1/10
The pleasure is the violation. The show has never put it down.
Truth
5/10
Now and then the target is a real lie, and the episode earns the watch.
Stewardship
1/10
What it hands a boy is a tone. The tone is older than he is, and meaner.
Live historicallyIf you laugh at this, say out loud what the joke was willing to leave standing.
The desk does not smile at an adult stationed among minors. The brother is the human part.
Josie wants a second chance at being young, which is understandable and already a little dishonest. The paper wants the disguise, which is worse. The teacher who draws close to a student, even one who is secretly grown, is the film's idea of a happy ending and this house's idea of a category error. The classroom is not a dating pool. Her brother's kindness to the actual boys is the part that knows what a school is for.
You can skip it. If it is already a fond memory, retire the fondness for that pairing. Keep, if anything, the embarrassment of having been cruel at seventeen, and the decision not to repeat it.
Industry
4/10
Reporting, corrupted by the assignment.
Household
4/10
A brother who shows up.
Piety
2/10
No reverence for the classroom.
Courage
3/10
The daring is the disguise.
Republic
2/10
A school misused.
Temperance
4/10
Soft comedy, wrong target.
Truth
3/10
The lie is the premise and the romance depends on it.
Stewardship
2/10
It hands on a confusion about who the adults are.
Live historicallyDo not send an adult into a child's world as a disguise.
Jokes about movies. Fine for people who already have a better myth. Not a myth.
Brooks is mocking a merchandise empire, and the mockery is often accurate. Dark Helmet is a fool. The princess can shoot. There is a desert and a last-minute save. None of it asks you to become anything. A parody is a dessert. A house that only eats dessert starts to think sincerity is the joke.
Adults who know the film being teased can enjoy the hour. Do not put it in the chair where a story about duty was supposed to sit.
Industry
3/10
A crew, a winnebago, a bit of flying.
Household
3/10
A princess and a last-minute match.
Piety
1/10
Reverence is the target.
Courage
4/10
They go back for her.
Republic
3/10
A planet of air, played as a gag about greed.
Temperance
4/10
The greed is mocked. So is everything else.
Truth
4/10
It tells the truth about merchandise. It tells few others.
Stewardship
2/10
Nothing to hand a child except punchlines.
Live historicallyLaugh, if you want. Do not hand a boy this in place of a real story.
Desire without a limit, pictured as a theology. Adults. Do not own the box, even as a joke.
Frank is not curious. He is hungry, and the box is built for the hungry. The cenobites are not gods. They are what a life looks like when pleasure and pain have been allowed to become the same word. Kirsty refuses the bargain. That refusal is the only clean act in the film, and the film is more interested in the bargain.
Adults who already know it do not need a second viewing to prove they can take it. A puzzle you are dared to open is a cheap picture of temptation. Real temptation does not need pins. It needs a quiet evening and a yes.
Industry
2/10
No craft except the box and the flesh.
Household
3/10
A family house corrupted by a brother's return.
Piety
2/10
Counterfeit religion. Pain as worship.
Courage
6/10
Kirsty will not trade herself.
Republic
2/10
No common good. A private hell.
Temperance
1/10
The whole subject is appetite unbound.
Truth
6/10
It tells the truth that wanting can become a door.
Stewardship
1/10
The souvenir is the box. Throw the idea out with it.
Live historicallyName one appetite in the house that has started to pretend it is a right.
Stylish about betrayal. It enjoys the betrayal.
Each story asks what a wife does when the marriage has already become a lie, and answers with style and a corpse. The style is the problem. A real betrayal is ugly and small. This one is a campaign for the pleasure of getting even.
Adults who want that pleasure will find it. A house that wants to stay married should not take notes.
Industry
3/10
The houses are decorated. The work is the scheme.
Household
2/10
Marriage is the scene of the crime, on purpose.
Piety
1/10
Vows are props.
Courage
3/10
They are bold in the service of spite.
Republic
2/10
No town. Only the couple and the lover.
Temperance
2/10
Appetite, revenge, and the wardrobe.
Truth
4/10
It is not confused about what the women are doing.
Stewardship
1/10
The future is a body.
Live historicallyDo not watch it as a couple on a hard week.
Fear as a hobby, portioned small so you can take another. Not for this morning.
The account has stopped on an episode called Plant Life. You do not need the plot of that half hour to know the offer: ordinary rooms, a twist, a feeling you can describe at school tomorrow. Anthologies are how a fright becomes a snack.
Take it off the continue row. A thirteen-year-old who wants a ghost can be given one story with an end and a reason. Not a dispenser.
Industry
2/10
No work. A premise.
Household
3/10
Families appear so the scare has a door to open.
Piety
1/10
The sacred is a prop.
Courage
3/10
People endure. The show is not interested in the endurance.
Republic
2/10
No common good. A victim and a viewer.
Temperance
2/10
The appetite is the scare, and the title brags about how little it needs.
Truth
4/10
It is honest that it is a machine for dread.
Stewardship
1/10
Nothing to hand on but the next sentence.
Live historicallyTell one frightening true thing that happened to your family, and how someone acted.
Leave it. A real ache in a teenager is not a reason to film the ache as a style.
There are teenagers in real houses who are using, and who are being used, and who need an adult who will not look away. This show looks, and it looks like a luxury advertisement for the emergency. The lighting is the tell. Nothing that loves a needle this much is trying to get a child out of the room where the needle is.
Do not watch it. Do not let a teenager watch it and call it representation. If a young person in this house is in that kind of trouble, the answer is a person and a limit, not a season. Representation that trains the eye to enjoy the wreck is a second wreck.
Industry
2/10
School is a rumor. The work of the show is the high and the scene.
Household
2/10
Parents are failures or absences. The house is what they escape to do the damage.
Piety
1/10
No reverence. The body is the liturgy.
Courage
3/10
There is nerve in telling a secret. The nerve is spent on the exposure.
Republic
2/10
A town of teenagers with no adult the show trusts. That is a fantasy of abandonment.
Temperance
1/10
The appetite is the point. You are meant to find the ruin beautiful.
Truth
3/10
Some of the pain is true. The gaze makes the truth into a product.
Stewardship
1/10
What it leaves a young viewer is a way to be looked at: suffer, and be gorgeous.
Live historicallyIf a young person here is in real trouble, get a real adult involved this week. Do not make a story of it.
Damnation as a fandom. Bright, filthy, and a neighbor of the cartoons. Not for thirteen, and not a satire that saves itself.
Charlie's hotel is an old and serious idea — that a soul might change — dressed so that the idea cannot be heard. Prime has placed it in the row with Invincible and a kids' shelf one swipe away. The songs travel. The contempt for the very notion of reform travels with them.
If it is already a favorite, do not confiscate a phone in silence. Watch a song together and ask whether anyone in the hotel is actually sorry, or only sorry they got caught being boring.
Industry
3/10
A project, of a kind: she is trying to run the hotel. The hotel is a bit.
Household
2/10
Found family in hell. The word family is doing too much.
Piety
1/10
Redemption is the premise and the punchline.
Courage
3/10
She persists. The persistence is into a joke.
Republic
2/10
Hell as a nightlife district.
Temperance
1/10
Sex, gore, and a song about both.
Truth
3/10
It claims to care whether a soul can change. Watch what it lingers on.
Stewardship
1/10
A child who likes musicals will be recruited. That is the risk on this row.
Live historicallyTalk about repentance as a real event, with an example that is not a cartoon.
Real events, delivered in a way that makes the telling a stunt.
Some of the episodes are about people who deserve a sober telling: a builder, a soldier, a movement. The show's idea is that you will only listen if the teller is falling down. That is an insult to the subject and to you. Read the paragraph instead.
Industry
2/10
The historians did the work offscreen. The narrator's condition is the bit.
Household
1/10
None.
Piety
1/10
The past is a bar story.
Courage
2/10
The courage belongs to the dead, and it is slurred.
Republic
3/10
Civic stories are the material.
Temperance
1/10
Intoxication is the format.
Truth
4/10
The events are often actually true. The frame teaches you not to stand up straight while hearing them.
Stewardship
2/10
A poor way to hand a story on.
Live historicallyLook up one story they would have sloshed, and read it in a clear voice.
A vigilante the show wants you to miss. Do not.
The pitch is that a monster can be pointed at worse monsters and therefore be your monster. That pitch is old, and it flatters the viewer who would like a shortcut past judge and jury. The sister who believes in the job is the conscience. The show keeps her in the dark so the audience can feel clever.
You do not need this one. The argument is simple enough to refuse without sitting through the seasons.
Industry
5/10
He is good at the day job. The night job is murder with a rubric.
Household
3/10
A sister, a girlfriend, a child. He endangers all three and calls it love.
Piety
1/10
The code is a father's training in killing. It is not a law.
Courage
2/10
Nerve spent on being the secret executioner.
Republic
1/10
The courts exist so he can sneer at them.
Temperance
1/10
The appetite is the kill. The code is the costume.
Truth
4/10
It tells you what he is. Then it asks you to hope he gets away.
Stewardship
1/10
A son is raised beside the lie.
Live historicallyDo not start it. If it is started, stop before you are hoping he isn't caught.
