Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
A family that stays a family while the address changes. Cheerful, and mostly earned.
Molly's optimism would be unbearable if the show did not give her a father, a mother, a brother, and a habit of landing in towns that did not ask for a project. Scratch the ghost is selfishness with a face. They reform each other slightly, which is the right size of change. The songs are extra. The house is the point.
Good for the middle years. Watch the episodes where her help makes a mess she has to clean. A good intention that will not hear 'no' is still a trespass.
Industry
5/10
Parents have work. Molly's projects are extra and sometimes useful.
Household
8/10
The family is intact and affectionate, which is rarer than it should be.
Piety
3/10
A ghost, not a soul. Cheer is the piety on offer.
Courage
5/10
She walks up to strangers. That is nerve and it is also a fault.
Republic
6/10
Towns, councils, a new block each time. She treats them as hers too fast.
Temperance
5/10
Positivity as an excess. The ghost is the brake.
Truth
6/10
The best episodes admit the improvement was for her.
Stewardship
6/10
A family handing a daughter the idea that a place can be loved quickly and then properly.
Live historicallyDo one improvement for the house that someone else will feel, and do not announce it.
A lie told against a corrupt office. The age costume is still a costume. TV-14, and it knows it.
The useful half is a woman who already has a profession going back into a greedy office in the clothes of a trainee, because the office will not confess to anyone wearing a badge. The cheap half is the thrill of passing for twenty. A thirteen-year-old is closer to the borrowed age than to the badge.
Not a start. If she finds it, the sentence to say is: the crime is the firm's, and the method is still a false name.
Industry
7/10
Finance as a job with rules somebody is breaking.
Household
3/10
She borrows a girl's age. That is not a household.
Piety
3/10
Duty to the law, not to a faith.
Courage
6/10
She walks into the building that would hurt her if it knew.
Republic
6/10
The point is a firm that has been robbing the public.
Temperance
4/10
Nostalgia and a caper. The show likes the wig.
Truth
5/10
The firm is lying. So is she. The show wants you to sort those lies.
Stewardship
5/10
A market somebody has to watch. A teenager is not the watchman.
Live historicallyAsk who, in any uniform, is supposed to tell the truth about money.
A larger toy, the same job. If the house already lives here, the measure does not change.
The shelf is selling a bigger Paw Patrol: the same team, prehistoric stakes, a new set of machines. The desk has the poster and the row, not a claim that a new species of story has arrived. Rescue, if it is still rescue, is a decent plot for a small child. Scale is not a virtue by itself.
Watch the one they already know first. If this one still lets the frightened dog do a real task, and does not feed the child only a catalog of vehicles, it can stay in the rotation. If it is a commercial with dinosaurs, turn it off without a negotiation.
Industry
6/10
Rescue is still the offered work. Vehicles are the bait.
Household
5/10
The same little household of a boy and his dogs.
Piety
2/10
None.
Courage
6/10
They are pointed at a larger danger. Courage here is showing up.
Republic
4/10
A team, not a city.
Temperance
5/10
More spectacle than the story needs.
Truth
5/10
The poster promises thrills. Judge the film by whether anyone is actually helped.
Stewardship
6/10
Useful only if a child leaves wanting to help, not only to own.
Live historicallyAsk what the new adventure is for. If it is only a new vehicle, wait.
Keep it. A life arranged for an audience is not a life. He is right to leave.
Truman Burbank is loved as a product. His wife delivers lines. His best friend is paid to stay. The film is gentle about the horror and exact about the point: a man who has been kept safe, famous, and false would rather risk the ocean than remain a character. Christof calls the cage a mercy. It is a studio.
Watch it with anyone old enough to feel the difference between being known and being viewed. The laugh at the commercials is allowed. The last walk is the scene to keep. A household is not a set, and a neighbor who is only there for the shot is not a neighbor.
Industry
5/10
He has a job and a route. Both were written for him. The real work starts when he stops hitting the mark.
Household
4/10
A marriage that is a contract with the network. His mother is a cue.
Piety
4/10
Awe at the edge of the dome, not a creed. The creator in the sky is a director, and the film does not bow.
Courage
9/10
He sails into the fear they built to keep him in.
Republic
7/10
A town of actors is a tyranny with good weather. He refuses the part.
Temperance
7/10
The appetite is the audience's, including yours. The film makes you notice you are watching.
Truth
9/10
The whole plot is a man demanding the truth about his own life.
Stewardship
8/10
What he wants to hand himself is an unrecorded day.
Live historicallyName one habit you perform because someone is watching, and do the true version once with the door shut.
Keep it. Grief needs dirt under the nails, not only a feeling.
Mary arrives unpleasant, which is honest, and becomes useful, which is the redemption. Colin's illness has been agreed upon by a grieving house. The garden is not magic in the cheap sense. It is sun, work, and a door that should not have been locked. Dickon is the picture of a person at home in a place. The house's sorrow is respected and then refused as a permanent government.
Watch it in a season when the house has been indoors too long. Then go outside. The film is a door, not a substitute for the door.
Industry
8/10
Weeding as a cure.
Household
7/10
Cousins, a father, a shut house reopened.
Piety
5/10
Reverence for a living place.
Courage
6/10
She opens the door everyone fears.
Republic
4/10
A manor, a moor.
Temperance
7/10
Self-pity is answered with a task.
Truth
7/10
The boy is not actually dying. The lie had to be faced.
Stewardship
9/10
It hands you a key and a job.
Live historicallyOpen one neglected living thing and tend it until it answers.
A small holiday special with a real table. Fine for children.
Arthur's neighborhood has always been better at ordinary friction than at myths. Thanksgiving here is cooking, guests, a snag, and a meal that still happens. That is more useful than a pageant. Gratitude that has not met a late aunt and a crowded kitchen is only a slogan.
It will not change a life. It may remind a room that the feast is the people who came, including the difficult ones. Put it on while you peel the potatoes.
Industry
6/10
The meal is work.
Household
8/10
The family is the story.
Piety
5/10
Thanks is the subject, lightly.
Courage
4/10
Little danger. Some social nerve.
Republic
5/10
A neighborhood feast.
Temperance
7/10
Appetite is for the meal, not a spree.
Truth
6/10
Honest about relatives.
Stewardship
7/10
It hands on a table, which is the right heirloom.
Live historicallyGive a child one job for the real meal.
A late start at a hard public job. The cases are television. The decision to begin is not.
John Nolan joins late, which is the interesting fact. A life can be re-aimed. The series around that fact is a competent cop show: a training officer, a mistake, a shooting, a romance. It believes the job is real and that the people who do it can be better at it. It also needs a crime every hour.
Fine for older teens who are starting to think about work. Not a documentary about a city. If you watch it, watch an episode about a mistake and the report, not only an episode about a chase.
Industry
8/10
Training, shifts, a chain of command. Competence is the suspense.
Household
6/10
A son, an ex-wife, a marriage he is trying to do better. The house is in the story.
Piety
3/10
Duty stands in for faith, and is sometimes enough and sometimes a slogan.
Courage
7/10
He is afraid and middle-aged and goes through the door anyway.
Republic
7/10
Policing as a debt to a city, argued by people who disagree about how to pay it.
Temperance
5/10
Crime is the weekly meal. It is not lingered over for pleasure, and it is constant.
Truth
6/10
Rookies lie to look sure. The show is usually against the lie.
Stewardship
6/10
A man starting over so his son sees a different ending.
Live historicallyIf you have been saying you are too old to start a useful thing, start the smallest version of it this week.
Grief, a craft, and a robot who is a sibling. Better than the team fights.
Hiro's brother is dead before the series starts, and Baymax remains as the care that was programmed and then became love. The series is a gadget-of-the-week with a team. The part that belongs here is a young person who would rather live in the lab than in the loss, and a machine that keeps putting a hand on the grief.
Fine for the middle years. Prefer the episodes where someone has to be cared for over the episodes where a villain wants a chip. Say that a robot's kindness was taught by a person. Persons are still the source.
Industry
8/10
Invention is the work. The school takes it seriously.
Household
7/10
An aunt, a dead brother, a robot who is the brother's last care.
Piety
3/10
Kindness as a program the show believes in.
Courage
6/10
They suit up. The braver scenes are Hiro admitting he is not fine.
Republic
5/10
A city they keep repairing.
Temperance
6/10
His temptation is to disappear into the next build.
Truth
6/10
Grief is allowed to stay true.
Stewardship
7/10
Baymax is what Tadashi handed on. The series remembers the giver.
Live historicallyLet a child build something that helps the house, and leave it in use.
The truest thing on the children's row. Short, funny, and fair.
Australian children, one recess, a problem the size of a sandwich or a game that went wrong. Little Lunch is unusual because it does not improve the children into lessons. It watches them. A teacher has authority. A slight is a slight. The funny part is that you remember being exactly this tall.
Excellent for a child, and for you beside them. Fifteen minutes is the right length. Talk about who was left out of the game. Then go outside.
Industry
6/10
The day has rules, bells, and a teacher who is doing a job.
Household
5/10
Parents wait at the gate. The children live in houses we hear about honestly.
Piety
4/10
Fairness and embarrassment are treated as if they mattered, which they do at that age.
Courage
5/10
They survive small social risks: a swap, a dare, a misunderstanding.
Republic
7/10
A schoolyard is a commons, and the show knows every child in it.
Temperance
7/10
Nobody is destroyed for a joke. The joke is recognition.
Truth
8/10
Children talk the way children talk. The show does not correct them into slogans.
Stewardship
6/10
It hands you a way of seeing a child's hour as a real hour.
Live historicallyAt the next meal, ask each child who they played with and who was left standing. Listen.
Same animals, a worse patron. They choose the work over the contract.
The sequel moves the ambition up a size, which usually ruins a small story. It survives because the villain is a magnate who wants a recluse's grief packaged as a show, and the troupe will not deliver a person against his will. Clay Calloway's mourning is treated as real. The show is not entitled to it.
Louder than the first. The same moral, one floor up: a bigger stage is not a better promise.
Industry
6/10
They rehearse. The city wants a product.
Household
5/10
A company that has become a household.
Piety
3/10
A mourner's silence is respected.
Courage
6/10
They walk out on the man who can blacklist them.
Republic
4/10
A city of deals.
Temperance
6/10
Ambition is checked by a person's grief.
Truth
7/10
You cannot program a widow's song out of him.
Stewardship
6/10
They would rather have a smaller true show.
Live historicallyDo not take a patron who believes he owns the people.
