Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
Competence and a messy vow. The republic needs adults. It also needs homes.
A capable woman is sent to London and discovers that the job and the marriage are the same kind of problem: two people, a shared story, and a pile of incentives to lie. The show respects competence. That alone puts it above most political television, which respects only the own.
What it shrugs at is the household. A republic of talented, faithless adults will win briefings and lose the century. Enjoy the chess. Do not take the marriage as a model, and do not take cynicism as sophistication. The standard is older: can you keep a post and a promise in the same week? The show is interesting because its people mostly cannot.
Industry
8/10
The work of statecraft is taken seriously. People are good at hard jobs.
Household
4/10
The marriage is a second front. Duty to the post outruns duty to the vow.
Piety
3/10
Almost no one here believes in anything they would not put in a memo.
Courage
7/10
She walks into rooms that can start wars. That is courage of a kind.
Republic
7/10
Allies, law, and the burden of a powerful country are the subject.
Temperance
5/10
Ambition is the drink. It is not played as harmless.
Truth
5/10
Everyone manages the truth. The show knows that is dangerous.
Stewardship
5/10
The future at stake is public. The private future is an afterthought.
Live historicallyKeep one promise this week that nobody is grading — to your house, not to your job.
A moral fable in modern dress. Luxury, then the invoice. Gory, and pointed the right way.
A dynasty that got rich hurting people watches its heirs die in the shape of their own appetites. Poe would have recognized the floor plan. So would any preacher who ever spoke about luxury. The show is graphic, and the graphicness is the risk: a fable can become a tasting menu of the sins it claims to hate.
Take the judgment and leave the leer. What it gets right is the old sequence — a fortune without a duty, children raised as brands, a word broken at the root, and no one left to inherit anything but the story. If that is useful in your house, one sitting will do. You do not need to savor it.
Industry
4/10
The family fortune is built on a public harm. That is not industry.
Household
3/10
Heirs, not a household. Blood here is a business unit.
Piety
6/10
Judgment is the structure. Every vice meets a consequence.
Courage
5/10
A few people tell the truth at cost. Most do not.
Republic
7/10
It is a picture of what happens when a republic can be bought.
Temperance
4/10
The vices are punished and also displayed at length. Both are true.
Truth
8/10
A deal with a lie is the family's foundation. The lie collects.
Stewardship
6/10
Posterity is the punchline: there will not be one.
Live historicallyLook at one luxury you fund without thinking. Cancel it or justify it out loud to someone you respect.
Keep it. A gun that refuses to be only a gun. Watch the last choice with the lights up.
Hogarth is lonely, funny, and sometimes a bad influence on a giant who copies him. The film is honest about that. The government man wants a threat because a threat makes him necessary. The giant's line, that he is not a gun, is earned by a death the story does not cheat. Souls, in this picture, are real enough to matter. You do not need the theology spelled further. You need the refusal.
Older children can bear it. Small ones may need a hand at the end. Give the hand, and do not skip the end to keep everyone cheerful. The cheer is on the other side of the choice.
Industry
5/10
A beatnik artist, a boy, a machine learning a limit.
Household
6/10
A single mother and a boy who needed someone large to care for.
Piety
6/10
A soul is the question, and it is not laughed off.
Courage
10/10
He stays up so the town can live.
Republic
7/10
A panic that would rather destroy than understand.
Temperance
7/10
Power refused.
Truth
8/10
You are what you choose, even if you were built otherwise.
Stewardship
9/10
The sentence to keep is the refusal.
Live historicallyTell a child they are not sentenced to the worst thing they can do.
Keep it. Vocation is not breed. Kindness gets the sheep to move.
Farmer Hoggett is a quiet man who bets his reputation on a pig. That bet is the film's courage, and it is not loud. Babe's method, asking rather than biting, is a picture of authority that does not need humiliation. The sheep are not props. The cat is a snob and the film knows it. There is a darkness under the charm, the way a farm is actually a place where animals die, and the story does not fully hide it.
A child can watch this and understand competence as a form of love. When Hoggett says the kind sentence to the pig, the room should be quiet. That sentence is worth more than a speech about believing in yourself.
Industry
9/10
The work of herding, practiced.
Household
7/10
An odd household that decides to keep him.
Piety
5/10
A farm reverence, almost biblical and never preachy.
Courage
7/10
He goes into the ring.
Republic
6/10
A community of animals with unjust rules.
Temperance
8/10
Gentle authority.
Truth
8/10
Politeness works because it tells the sheep the truth.
Stewardship
8/10
It hands on a way of leading without a bite.
Live historicallyLet someone unusual try the work, and judge them by the work.
A lesson at the end, on purpose. The family can bear the lesson. So can yours.
These stories were built to be read aloud and then obeyed a little, and the television version keeps that shape. Papa is vain and wrong fairly often, and he is still the father. Mama is not a punchline. Brother and Sister are selfish in the ordinary way and are asked to repair it before the sun goes down. A child can feel managed by the moral. Being managed toward a virtue is not an insult at five.
Good for Kiki. Watch beside her and do the thing the episode named before the evening is over.
Industry
6/10
Papa has a shop. Mama keeps the house. The cubs have chores they try to skip.
Household
9/10
The tree house is the world. A fault is corrected inside the family, not by a cooler friend.
Piety
5/10
Gratitude and a rule. Simple enough for the age, and not embarrassed.
Courage
6/10
Owning up is the brave act, drawn so a five-year-old can see it.
Republic
7/10
A small town of bears with a mayor, a school, and neighbors who notice.
Temperance
8/10
Too much honey, too much spending, too much teasing. The plot is appetite meeting a limit.
Truth
8/10
The cubs lie and the lie is not charming for long.
Stewardship
8/10
The lesson is made to be repeated to a younger sibling. That is the design.
Live historicallyPick the fault from today's episode and correct that same fault, once, in the real house.
An older woman hands a boy a harder use for his nerve. Watch it awake. The cases are not for children.
Harriet Wild is bored of being finished, and a teenager on her street is bored of being written off. The partnership is the part worth keeping: an old mind and a young one, pointed at a fact instead of at a feed. That can be a kind of apprenticeship.
It is also a lark about murder, and a lark about murder trains the wrong appetite if you let it. Not for children. Watch the hours where she makes the boy read, look, and tell the truth. Turn off the hours where the crime is only an excuse for a wink. Then give a younger person a real problem and stay while they work it.
Industry
6/10
She has a mind and she finally spends it on something other than a classroom she has left.
Household
5/10
A grandmother's house, a boy who needs a task. The family is fractured and only partly repaired.
Piety
4/10
Books are her scripture. A soul is assumed, not answered for.
Courage
6/10
Both of them walk toward trouble a sensible person would report and leave.
Republic
6/10
They poach the police's work. Sometimes that is loyalty to a victim. Sometimes it is a hobby.
Temperance
5/10
Drink and cheek are part of her charm, and the show likes the charm too much.
Truth
6/10
A poem is not evidence. On the better hours she remembers the difference.
Stewardship
5/10
The good of it is a boy given a craft instead of a gang. The show only half commits.
Live historicallyGive a younger person one hard, real problem this week, and do not take it back the moment it gets difficult.
Keep it. Excellence is not a sin. Neither is leaving your family out of the glory.
Bob is dying of a job that forbids him to be what he is, and the film is right that a forced mediocrity helps no one. He is also wrong to sneak, to lie to Helen, and to forget Dash and Violet while he poses. Syndrome is what resentment does with a gift: if I cannot have it, no one will, and I will sell a version of it. The baby, the mother on the jet, the shy girl who has to be visible: the action serves the household instead of pausing it.
A family with children who are good at something should watch this and talk about both halves. Do not dull them. Do not let them vanish into the specialness.
Industry
8/10
Mastery, and the boredom of not using it.
Household
9/10
The family is the true team.
Piety
4/10
A moral code among heroes.
Courage
8/10
They go back for one another.
Republic
6/10
A public that sued its protectors and got smaller.
Temperance
6/10
Glory is the temptation.
Truth
7/10
The lie to his wife is exposed.
Stewardship
8/10
It hands a gifted child a family to come home to.
Live historicallyUse the strong thing you are good at for the people in your own kitchen first.
A found house, a real apology, and a way home. Good for the middle years if you watch the turn.
Anne starts as a girl who steals a music box to impress friends who were using her. The Plantar family — a grandfather, a young frog, a tadpole — takes her in and expects work. The show is funny and then it is about whether she will tell the truth to the girls she left, and whether a person can change enough to be allowed back.
The invasion plot gets large. The part that belongs on this desk is smaller: a girl who learns that loyalty is not the same as going along, and a family that is not hers by blood and is hers by care. Stay for the apology. Leave if it becomes only a battle.
Industry
6/10
Farm work in a swamp, then a war. The chores come first.
Household
8/10
Grandfather, siblings, a guest who becomes a daughter of the house.
Piety
4/10
Wonder, and a girl who has to become worthy of the welcome.
Courage
8/10
She goes toward the danger once it is hers to face.
Republic
6/10
A town of frogs with a mayor, a school, and a tyrant to come.
Temperance
6/10
The friends' appetite for status is what got her thrown out of her life.
Truth
8/10
The story does not work unless she admits what she did.
Stewardship
7/10
The question at the end is what she owes the world that raised her and the one that took her in.
Live historicallyHave a child name one friendship they have been careless with, and do one concrete repair.
Work, a house, and a grandmother who still gives orders. Keep it for the middle years.
The Greens did not become city people. The city grew over the farm, and they stayed. Cricket is chaos with a good aim. Tilly is odd and loyal. Bill works. Gramma Alice is not cute about discipline. The jokes are loud. The structure under them is a family that still has a crop and a table.
Better than most of the cartoon row because the adults are not fools and the land is not a backdrop. When an episode is only Cricket wrecking something for the laugh, you can leave. When the harvest or the sibling has to be repaired, stay.
Industry
8/10
A farm inside a city. Chores are still the plot, not a montage.
Household
9/10
Father, sister, grandmother, and a boy who is pulled back to them.
Piety
4/10
Gratitude shows up as not selling the land. No creed.
Courage
6/10
They defend the lot against people who want it paved.
Republic
6/10
A block that has to live with one stubborn field.
Temperance
5/10
Cricket's appetite for a scheme is the weekly excess.
Truth
7/10
The family tells the truth about being the odd house on the street.
Stewardship
8/10
The point is that the ground is still theirs to hand on.
Live historicallyGive a child one plant that is theirs to water until something edible comes off it.
10
Wild Kratts: Creatures of the Deep SeaPrime Video · 2016 · Film
Wild Kratts: Creatures of the Deep Sea
Keep it for a child. The facts are the point, and the choice is the right one.
This is the show, given a longer evening: Aviva builds a boat, the brothers go down, and the deep is treated as a place with citizens rather than as a chest of toys. Gourmand is the appetite with a kitchen. The dilemma is old and useful. Do you chase the discovery that would make your name, or do you stop the man who is emptying the water in front of you.
They stop the man. A child can watch it without a speech, and still should get one sentence after: the animal is not a prize. Then look up one real creature they named and see if the cartoon told the truth about how it lives.
Industry
7/10
A vehicle, a plan, a crew with jobs. The science is the work.
Household
6/10
Brothers who stay a pair. The team is the household.
Piety
4/10
Wonder at a living dark. Not worship.
Courage
7/10
They go down, and they go back for the creatures rather than for the credit.
Republic
6/10
A small company against a man who would eat the commons.
Temperance
7/10
The hunter's hunger is the vice, and it loses.
Truth
8/10
The animals are allowed to be real. The fiction is the suit.
Stewardship
8/10
A child leaves with a creature they can describe, which is something to hand on.
Live historicallyLearn the name of one animal that lives somewhere you will never go, and say why it is not yours to collect.
