Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
Beautiful, and a warning. The feud spends the children. Do not call the ending a love to copy.
Luhrmann makes the play a gunfight in a bright city, which tells the truth that the old feud is modern whenever cousins inherit it. The language is still Shakespeare's, which is a gift if anyone in the room will listen past the style. The lovers are sincere and uncounseled. Sincerity without a household that will slow them down is how the young get spent. The story is a tragedy about the houses, not a vow for a bedroom wall.
Older teens can watch it beside the play. Say the unromantic line. A feeling at a party is not a marriage, and a feud is a sin of the parents before it is a fate of the children.
Industry
3/10
Heirs, not workers.
Household
2/10
The households are the destroyers.
Piety
3/10
Beauty, little obedience.
Courage
5/10
They are bold and unwise.
Republic
3/10
A civic feud.
Temperance
2/10
Passion writes the law.
Truth
7/10
The play tells the truth that this ruins everyone.
Stewardship
4/10
Hand on the warning, not the poster of the kiss.
Live historicallyRefuse one family fight that is asking the young to finish it.
A farce about corruption. Clever, adult, and not impressed by the guests.
Everyone in the house has a public face and a private leverage. The comedy is the speed of the doors. The moral, under the slapstick, is that blackmail is a kind of government and the people in it have already agreed to live there. The multiple endings are a stunt. The consistent fact is that nobody in the dining room is clean except the staff they keep suspecting.
Fun for adults who like a board game. Do not look here for a model of wit that a child should copy. The wit is panic.
Industry
4/10
A staff that actually runs the house while the guests scheme.
Household
2/10
Marriages are the blackmail material.
Piety
2/10
None.
Courage
3/10
They mostly accuse. Few of them are brave.
Republic
5/10
Blackmail as a private government. The film thinks it is sordid, which is correct.
Temperance
4/10
Lust and panic run the evening.
Truth
6/10
Everyone is lying. The plot is the unpacking.
Stewardship
3/10
Nothing is handed on but a punchline.
Live historicallyIf someone gathers you to share a secret guilt, leave before the lights go out.
Friendship is real. So is the affair, and the show cannot quit the affair.
Wisteria Lane is a picture of women who keep each other and do not keep their promises. The keeping of the friend is the part that feels like a life. The discarding of the vow is the part the commercials were cut around. You can see both. Do not pretend you came for the friendship if you came for the affair.
Industry
4/10
Some of them work. The street is the career for the rest.
Household
4/10
Children and husbands exist. They are often the obstacle to the plot.
Piety
2/10
A narrating dead woman instead of a judgment.
Courage
4/10
They will do a hard thing for a friend. They will also do a selfish one for a thrill.
Republic
4/10
A street where people still know each other's business. That cuts both ways.
Temperance
2/10
The secret romance is the ration.
Truth
4/10
It enjoys the reveal and then replaces the secret with a new one.
Stewardship
3/10
The children grow up inside the gossip.
Live historicallyIf a friendship in your life runs on someone else's marriage, step back from it.
Noise at a lake. Authority is the punchline. Not the one to choose.
A camp is one of the last places a child practices being useful away from home: a fire, a younger camper, a rule that keeps people off the rocks. Bunk'd knows the setting and spends it on pranks and counselors who cannot be trusted with a canoe. It is mild. Mild is not the same as good.
If the children want camp, read them a chapter or tell them about a real one. This does not have to be the picture.
Industry
3/10
Camp is a job for the counselors. The show thinks the job is a costume.
Household
3/10
Parents are offscreen. The cabin is a sleepover that never ends.
Piety
2/10
Nothing is treated as worth keeping still for.
Courage
3/10
Pranks stand in for nerve.
Republic
3/10
A camp could be a small commons. This one is a set.
Temperance
4/10
Mean is usually corrected by the tag. The middle of the episode enjoyed it.
Truth
3/10
The lesson is announced. The prank was the point.
Stewardship
3/10
Nothing is handed on except a catchphrase.
Live historicallyTell a child one true camp rule and why it exists. A rule with a reason is an education.
The marriage is what is at risk. The show is more interested in the crossing. Adults, and not as a manual.
A suburb is a place where people were supposed to be conducting households. This series treats that as a lid to lift. The crime plot is there so the affair can feel like a thriller instead of a decision.
You do not need it. If a marriage in your house is bored, this is not the counsel.
Industry
3/10
Jobs are scenery. The intrigue is the occupation.
Household
3/10
Two marriages. The plot is how to get out of the promises.
Piety
1/10
No law above the want.
Courage
2/10
They risk a scandal, which is not courage.
Republic
2/10
A cul-de-sac is not a community. It is a set of windows.
Temperance
2/10
The invitation is the pleasure. The show sells the boundary.
Truth
4/10
It can say the want makes a mess. It says it after you have been asked to enjoy the mess.
Stewardship
2/10
Nothing a child, or a marriage, should inherit.
Live historicallyIf you are curious about the neighbors' marriage, be curious about your own. Close the laptop.
Friendship is advertised. The structure is a collection that never ends.
Ash is loyal to a few creatures and careless of every place he sleeps. The show teaches courage of a kind and a hunger that has no bottom, because the game it was built to sell has no bottom. A child deep in it does not need a lecture about merchandise. He needs the episode to end and a reason to go outside that is not a hunt for more.
Industry
4/10
He trains. The training is for the next badge, not for a living.
Household
3/10
He leaves home in the first episode and the road replaces it.
Piety
2/10
The creatures are bound to him. Wonder is a roster.
Courage
5/10
He will stand in front of a friend. He will also send the friend into the fight.
Republic
4/10
Every town is a gym. No town is stayed in.
Temperance
3/10
Gotta catch them all is the ethic, and it is an appetite.
Truth
4/10
Loyalty is real inside an episode. The series cannot let the journey end.
Stewardship
3/10
What it hands on is the next one.
Live historicallyStop at the end of a town. Do not start the next badge tonight.
A perfect farce about a proud man. The laugh requires his humiliation, and it is earned.
Basil Fawlty wants to be thought a gentleman more than he wants to run a decent hotel. Every episode punishes exactly that. Sybil, Manuel, and Polly are the people the work actually depends on. The farce is cruel and it is accurate. Adults only, because the cruelty is the instrument, but it is aimed at the snob rather than at the weak. Twelve episodes. Do not ask for a revival.
Industry
4/10
A hotel is work. Basil will do any amount of scheming to avoid the honest part.
Household
3/10
A marriage of contempt and dependence. Sybil is right and unloved.
Piety
1/10
No piety. Class embarrassment is the religion.
Courage
2/10
Cowardice, brilliantly played.
Republic
3/10
A small business that is also a social order.
Temperance
4/10
Twelve episodes. The limit is part of the excellence.
Truth
7/10
Pretension is exposed. That is the moral, and it never softens.
Stewardship
4/10
It has been handed down carefully, because there are so few of them.
Live historicallyNotice, this week, one job you think is beneath you that the room depends on. Do it.
A real political and religious break, told through the bed.
Henry's reign is the family crisis of a country: a marriage, a church, a daughter declared a bastard, men who died over a oath. That story can be told. This telling keeps returning to the body because it does not trust you to care about the oath. If you care about the oath, read a chapter of a history and watch only the scenes you can check.
Industry
4/10
A court is work. The show prefers the chamber.
Household
2/10
Marriage is a political tool and a grave.
Piety
4/10
The break with Rome is in the story and under-served.
Courage
3/10
Courage belongs to the people who will not sign, and they are side characters.
Republic
4/10
A kingdom's succession is the stake, which is the right stake.
Temperance
2/10
The body is the advertisement.
Truth
4/10
The events are roughly the events. The motives are modern.
Stewardship
3/10
What he hands down is a schism and a son. The show is more interested in the schism's costumes.
Live historicallyKnow why More would not sign. The series will not make that the memorable part unless you bring it.
A real discipline, used as a fame machine. The rehearsal is better than the vote.
Ballroom is a craft with a hold, a count, and a partner you can injure if you are careless. The show knows this in the rehearsal hall and forgets it on the night, when the costume and the cheer and the celebrity story take the camera. The pros are the workers. The stars are the product. Once in a while a person actually learns, and you can see the difference between effort and exposure.
Adults, as light fare. If a child watches, point at the practice, not the score. A dance is a cooperation. A spotlight is not.
Industry
6/10
Rehearsal is work. The pros carry it.
Household
2/10
Pairs for the season. No house.
Piety
2/10
None.
Courage
4/10
Performance nerves. Little else.
Republic
2/10
A voting public.
Temperance
3/10
Glitter is the point of the broadcast.
Truth
4/10
The training is true. The tearful package is optional and often not.
Stewardship
3/10
A skill flashes and leaves with the trophy.
Live historicallyTake one lesson from someone who can do the thing, and do the homework before you perform it.
A father is in the house. The film would like you to forget him.
The father is the most grown person in the picture, and the picture is bored by him. He makes dinner. He asks where she has been. He is treated as an obstacle to a romance that requires a girl to leave her name, her friends, and her pulse behind. Intensity is not fidelity. A man who will not grow old with you is not a promise. He is a refusal of time.
Enjoy the weather if you must. Do not take the lesson. A love that asks you to hide from the people who would notice if you vanished is not a love a house can live on.
Industry
1/10
School is scenery. Nobody's work matters except the hunting.
Household
1/10
A father cooks and worries. His daughter treats the house as a waiting room.
Piety
1/10
Death is offered as a boyfriend. That is not awe. It is an appetite with better lighting.
Courage
1/10
She walks toward danger. She walks toward it for a crush.
Republic
1/10
The world shrinks to a couple. A town is only the place they hide.
Temperance
1/10
Wanting him is the whole virtue the film recognizes.
Truth
1/10
She lies to her father to protect the secret. The lie is filmed as love.
Stewardship
1/10
Nothing is left for a child except the instruction to abandon your life for a feeling.
Live historicallyEat one meal this week with the person in your house you have been treating as scenery.
