Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
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.
The ice is real work. The lie that pays for the rink is the part the show loves.
The Russo sisters can actually skate, and a father is trying to keep a rink that is failing. That is a story. Finding Her Edge cannot leave it alone. Adriana takes a new partner and pretends to love him so a sponsor will pay, while the old partner waits in the wings. A house under money pressure is a real test. A fake romance as the solution teaches a girl that her affection is a tool.
An older teen will understand the crush and miss the ledger. If you watch an episode, watch the practice and the bills. Turn it off when the lie becomes the reason to press play.
Industry
7/10
Skating is practiced in front of you. The body keeps the score, not a speech.
Household
6/10
A widower, three daughters, and a family business. Then the triangle eats the table.
Piety
3/10
No reverence beyond the big moment on the ice.
Courage
5/10
She gets up after the fall. The brave act the show prefers is pretending to be in love.
Republic
4/10
A rink is a small commons. The show is not interested in the town.
Temperance
4/10
A sponsorship bought with a false couple is the engine, and it is filmed as sparkle.
Truth
4/10
The lie is confessed on a delay, which is how this genre pretends to be honest.
Stewardship
5/10
They are trying not to lose what their mother left. The method is a costume.
Live historicallyTell a young person in the house which of your agreements are real, and which you only perform.
The only part that belongs on this desk is a father deciding the boy is his. The rest is a hunt.
Vision is a person someone else assembled, working a quiet job, carrying voices that are not all friendly, Ultron among them. Then there is Thomas, a boy who may be the son he and Wanda never got to raise. The standard is simple and it does not care about the bounty hunter. A man who claims a child because the child is his to protect, not because the paperwork is tidy, is doing the human thing. A series that uses the boy as bait for a robot war is spending that thing.
Not for small children. If you watch it, watch the scenes between the man and the boy. Leave when the only reason to continue is the next power.
Industry
4/10
He is hiding as a barman. Ordinary work is a disguise, not a life the show loves.
Household
7/10
A son who may not be his by any ordinary claim, and the question of whether he will keep him anyway.
Piety
3/10
Powers and a voice in his head. Reverence is not the interest.
Courage
6/10
He steps out of hiding because a boy is in danger.
Republic
3/10
Factions and a bounty. Not a town.
Temperance
4/10
The violence is the genre's tax. The family scene is the exception.
Truth
5/10
He does not know which memories are his. The show is at its best when that uncertainty is painful rather than a puzzle box.
Stewardship
6/10
What he might hand on is a name and a protection, to a boy the world already failed.
Live historicallyIf a child in your life is not 'yours' on paper and is yours in fact, act like it this week in some practical way.
Ordinary school days, ordinary fault, a family that is still there at supper. A good long habit.
Arthur is not exciting, which is why a child can grow on it. The conflicts are the size of a classroom. D.W. is selfish and four, and the family does not organize itself around her tantrum. Binky, Francine, and the Brain are particular. The best episodes end with a person changed a little, not crowned.
Put it on for the grade-school years. Sit for one and ask what Arthur had to admit. That question is the whole curriculum.
Industry
5/10
A father who runs a catering business, a mother who works. Homework is real.
Household
8/10
Parents with authority, a grandmother, a sister. Arguments end with someone still in the house.
Piety
4/10
No worship. Conscience is a teacher, a parent, or a friend who is done with you.
Courage
6/10
The brave act is usually an apology or a try at a thing you are bad at.
Republic
8/10
Elwood is a town: a library, a school, a shop, a teacher with a name.
Temperance
7/10
The portion is a problem a child can finish before dinner.
Truth
7/10
Someone was wrong. The episode is not over until that is said.
Stewardship
7/10
Manners, reading, and how to lose a friend and get her back.
Live historicallyAt supper, let each child say one thing they got wrong today. Include yourself.
Keep it. Jealousy named, loyalty learned. One of the few pictures a small child and a parent both need.
Woody's sin is ordinary and adult: he was first, and he thinks first is a right. Buzz's confusion is comic until it is sad. The film refuses both the cruelty of the replaced and the narcissism of the new. Sid's house is a genuine fear, and the escape is friendship, not a product speech. Andy's name on the foot is a picture of belonging that is particular. You are not loved in general. You are loved by name.
Put it on. When Woody says the true thing on the moving truck's running board, that is the line to keep. A friend is not a rank.
Industry
6/10
Play is treated as a post with duties.
Household
7/10
A boy's room as a real household.
Piety
4/10
No creed. A serious loyalty.
Courage
7/10
He goes back for Buzz.
Republic
5/10
A small society of toys with laws.
Temperance
7/10
Envy is the villain and it is rebuked.
Truth
8/10
He tells Buzz the truth about who he is.
Stewardship
8/10
It hands a child the end of jealousy as a happy ending.
Live historicallyLet someone else be the favorite without punishing the room.