Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
Two lonely adults, a suspicion, and a show that likes the suspicion more than the truth.
A writer who cannot write meets a man the public has already decided is a monster, and the series asks whether proximity is research or a second way to disappear. The performances can hold a silence. The plot would rather end the silence with a twist than with a moral.
Grown viewers only. One or two episodes will tell you if you are watching a person tell the truth or a machine delaying it. Leave at the first twist that exists only to keep you.
Industry
6/10
Writing is treated as labor she can no longer do. His work is power, and it is dirty.
Household
3/10
Grief has emptied her house. His house is a display.
Piety
3/10
Conscience is a tactic. Each of them uses the other's wound.
Courage
5/10
She keeps asking after a man who could hurt her. Curiosity is not quite courage.
Republic
4/10
Reputation and money bend the town. A neighbor is not yet a duty.
Temperance
3/10
Obsession is the romance.
Truth
6/10
The question of who killed whom is the only grown question in it.
Stewardship
3/10
Nothing they are building is meant to be left standing for a child.
Live historicallyFinish a piece of work you have been calling research.
Tailoring, drugs, and murder as wit. The clothes are doing all the moral work.
Guy Ritchie's trick is to put a drug war in good tailoring and trust you to confuse the tailoring with class. Season two was still on the chart because the trick works. It is fun the way a con is fun, right up until you notice you are rooting for the con.
An estate used to mean stewardship: soil, tenants, a name that had to last. Here the estate is a laundering operation with better glassware. If you want a picture of nerve and competence, there are better ones that do not ask you to find a dealer chic. Watch a match of it if you must. Do not let the waistcoat convince you the man inside it is a gentleman.
Industry
4/10
There is a business. The business is poisoning people for profit.
Household
3/10
An estate, yes. A household that deserves a child, no.
Piety
1/10
Nothing is sacred but style.
Courage
5/10
Men take risks. The risks are in service of a vice.
Republic
2/10
Law is a joke the clever people are in on.
Temperance
1/10
Intemperance is the product and the personality.
Truth
3/10
Everyone is lying, and the show finds that charming.
Stewardship
2/10
The land is a set for a crime, not a trust.
Live historicallyWear something well this week and pair it with one honest piece of work. Style without duty is a costume.
A mind at war with itself. Interesting, and too in love with the fracture.
It takes a confused, gentle man seriously, which is more than a lot of these shows manage. Then it keeps handing the camera to the violent tenant in his head, because the violent tenant is easier to film. You can feel the tug. Illness is not a superpower, and the show only sometimes remembers that.
If you watch it, watch the hours where he tells the truth about what he did and what was done to him. Skip the part where a god's costume is asked to solve a conscience. It will not.
Industry
5/10
One of him works in a shop. Another kills for a fee. The show likes the second more.
Household
4/10
A wife is part of the story and mostly a key to his damage.
Piety
5/10
Gods are real here and mostly petty. Conscience still has to choose.
Courage
6/10
He goes back into the dark for other people, not only for the spectacle.
Republic
3/10
Institutions are cults. Almost nobody owes a neighbor who is not in the myth.
Temperance
3/10
Violence is the relief valve. The illness is treated more carefully than the fists.
Truth
6/10
The better hours are a man trying to tell one true account of his life.
Stewardship
4/10
Little is left standing that a child could inherit except the warning.
Live historicallyTell one hard true thing about yourself to a person who is allowed to answer, not to an audience.
A kiss treated as a career. The friend is the person who gets shorted.
A girl tries to keep a long-distance boyfriend, a college application, and the friend she has been neglecting, and the film is only truly interested in the first of those. The friend is the moral fact. He is loyal, he is used, and the camera keeps asking you to find that charming.
A household is not a booth you step into for a thrill and step out of when the song changes. If you watch it, watch for the moment someone tells the truth and then notice how quickly the film apologizes for the truth by staging another kiss. The standard does not score the kiss. It scores what the kiss costs the people who were already there.
Industry
3/10
Nobody on the screen has a job that the plot needs. School is a set.
Household
3/10
A best friend and a boyfriend are both used, and the house is barely in the frame.
Piety
2/10
The body is the plot. Reverence does not get a scene.
Courage
3/10
She crosses an ocean for a boy. That is nerve. It is not courage.
Republic
3/10
The school is a court of status. A neighbor does not appear.
Temperance
2/10
Jealousy is the entertainment, and the kiss is the sacrament.
Truth
4/10
The story runs on a secret. The better hour is the one where she says the thing.
Stewardship
2/10
Nothing is handed down except the setup for another sequel.
Live historicallyKeep a promise to a friend this week that is less exciting than the person you would rather text.
Land, animals, and a family that stays. Longer than it needs to be, and aimed the right way.
Amy's gift with horses is a picture of attention, which is a moral skill: you watch the animal until you understand what it is afraid of. The family is bruised and does not dissolve. There are many seasons. You may not need them. You do need, once, a show where the work of a place and the repair of a family are the same hour.
Industry
8/10
The ranch work is the show. Horses, bills, seasons.
Household
8/10
Grandfather, sisters, a father. The household is the plot.
Piety
4/10
Grief and forgiveness, in a practical key.
Courage
5/10
They keep the ranch when selling would be easier.
Republic
5/10
A valley, a neighbor, a school.
Temperance
6/10
Gentle to a fault, and the fault is only length.
Truth
6/10
It believes care is a skill, not a mood.
Stewardship
7/10
Stewardship of animals and of a place is the literal story.
Live historicallyGive something in your care your full attention for one hour. A child, an animal, a tool.
Ohana is the thesis and the show keeps it. Noisy, and on the side of the house.
Lilo is odd, loyal, and a handful. Nani is raising her and is tired, which the show does not treat as a punchline only. Stitch is a weapon learning to be a pet and a brother. The experiment-of-the-week is a formula. Under it is a small household that keeps choosing itself against social workers, tourists, and creatures built to destroy.
Good for a child who can handle slapstick. The line to keep is Nani's: nobody gets left behind or forgotten. The line to refuse is that every problem can be punched into a net and stored.
Industry
5/10
Nani works. Lilo's job is school and the hunt. The work is uneven and real.
Household
9/10
Sisters. The whole series is a custody of each other.
Piety
4/10
Hawaiian setting treated with some care. The creed is the family vow.
Courage
6/10
They go after things that can hurt the neighbors.
Republic
5/10
An island town. They are known, which cuts both ways.
Temperance
5/10
Stitch's appetite is the problem he is being taught to hold.
Truth
7/10
A family that was not supposed to survive is the true thing.
Stewardship
8/10
What they are saving, week to week, is the right to stay a house.
Live historicallyDecide, out loud, who in the family is not optional. Then act like it once this week.
Keep it. What a man should be is said out loud, and then tested by whether they keep the boy.
Hub and Garth are ridiculous, wealthy, and, in the story they tell, faithful to a harder life than the suburb wants to hear. The film lets the tale stay a little unverified, because the boy needs the standard more than he needs the paperwork. The standard is plain: men do not lie, steal, or cheat, and they do not tolerate those who do. Some of the adventure is boys'-book stuff. The porch is the true set. A child left by a careless mother is not a comedy premise, and the film, to its credit, does not find her charming.
Watch it with a boy who is deciding what kind of man the loud world is offering. Then be dull and reliable on the porch you actually have.
Industry
6/10
Old men who still know how to work and fight.
Household
8/10
Uncles who accept a charge they did not ask for.
Piety
4/10
A code, said plainly.
Courage
7/10
They keep him.
Republic
4/10
A private ethic more than a public one.
Temperance
6/10
The code limits them.
Truth
6/10
The story may be tall. The care is not.
Stewardship
8/10
The speech is the part to memorize, if you mean to live it.
Live historicallyTell a boy the standard, and then let him watch you keep it when it costs.
A house with parents in it. Dated in the jokes, sound in the structure.
Before the revival turned the volume up, this was a family sitcom drawn as a cartoon. Penny wants status. Oscar is vain and present. Trudy is the adult in the room. Suga Mama is not there to be nice. The friends are a chorus, not a replacement parent. Episodes end because someone in the house told the truth.
A teenager can watch it. Some of the 2001 gags have aged into crudeness. The measure is the table. If the episode keeps the table, it belongs. If it is only a dare, skip it.
Industry
6/10
Trudy's work and Oscar's failed businesses. Money is not a mystery.
Household
9/10
The Proud house is the plot.
Piety
4/10
Church shows up often enough to be a real place in their week, not a sermon.
Courage
5/10
Penny risks embarrassment more than danger.
Republic
6/10
A neighborhood, a school, people who will still be there Monday.
Temperance
5/10
Teen appetite, usually corrected by the end.
Truth
7/10
The parents are allowed to be right.
Stewardship
7/10
A girl is being raised on purpose.
Live historicallyLet a grandparent tell one story of their own teenage year, uninterrupted.
The fastest talk on television, and a real town. The lesson about men is weaker than the lesson about showing up.
Lorelai and Rory are a household of two that built a culture of showing up: Friday dinners, a town that will notice if you skip the festival, a school that is hard on purpose. That is a lot of good. The series is less sure that a man is for anything but banter, and Rory's later choices spend the capital the early years saved. Watch the early seasons for the town and the table.
Good for a mother and a teenage daughter together. Talk about the Friday dinner: why the grandparents, who are snobs, are still owed the evening.
Industry
6/10
An innkeeper who works, a daughter who studies. Both are allowed to be ambitious without being vacant.
Household
8/10
A mother and a daughter who eat together every night. The grandparents are difficult and not discarded.
Piety
4/10
Town festivals, not prayer. Conscience shows up as disappointment more than as worship.
Courage
5/10
They face rooms that frighten them: a dinner, a school, a pregnancy.
Republic
7/10
Stars Hollow is absurd and specific. A town meeting can swing an episode, which is right.
Temperance
6/10
Coffee and talk instead of worse vices. Romance is still a revolving door.
Truth
6/10
They hide boyfriends and school news. The show usually makes them say it by the diner scene.
Stewardship
7/10
A girl is being aimed at a life larger than the mistake that started hers, without being taught to despise the start.
Live historicallyKeep one meal a week that cannot be cancelled for a better invitation.
A precise horror about work that asks for a person and returns a function.
The best hour of television in this row about work. A person agrees to be two people so that the work never contaminates the evening, and discovers he has donated a life he never meets. You do not need the puzzle-box leftovers to keep that. Watch it until the compliment and the theft are both clear, and then look at your own job.
Industry
7/10
The office is the subject. Procedure, quotas, a career ladder with no career.
Household
3/10
Home is where the other half isn't. Marriage and mourning sit outside the elevator.
Piety
2/10
The company offers a cult in place of a creed.
Courage
6/10
The innies begin to refuse. The refusal is the plot.
Republic
5/10
A corporation as a government. The satire is exact.
Temperance
6/10
Cold, controlled, not a splatter.
Truth
8/10
The premise is a truth: a job that owns your hours wants the rest.
Stewardship
4/10
What is stewarded is a self, and the company is stealing it.
Live historicallyLeave one piece of the office at the office tonight. Do not split yourself to do it. Just close the laptop.
