Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
A student who has to practice the lesson. Better than the toy aisle. Stop when the lesson becomes a slogan.
Twilight is a good student with bad habits of pride, sent to live where other personalities do not organize themselves around her. That is a real plot. The later mythology gets louder than the town, and the stated moral gets cheaper.
The early seasons are fit for a child who likes a group of friends. Ask them to do the lesson, not to recite it.
Industry
5/10
Study, a job in a library, a craft of magic that has rules.
Household
6/10
A band of friends that functions as a household of different tempers.
Piety
3/10
Harmony is the creed, tidy and sometimes real.
Courage
5/10
They face the creature of the week. The fear is sized for a child.
Republic
5/10
A town with jobs, a princess, and a public festival. Civic life in pastel.
Temperance
7/10
Jealousy and boasting are the usual sins, and they are corrected.
Truth
6/10
The moral is said out loud. Sometimes that is honesty. Sometimes it is a sticker.
Stewardship
5/10
A lesson a child can repeat. The risk is that repeating it replaces doing it.
Live historicallyAfter one episode, have the child practice the friendship on a person in the house who is not easy.
A spy story that counts the cost. The cost is still other people's countries and his own.
Unlike the caper version of spying, this one is about a man who cannot be fully anywhere. That is the right tragedy for the job. It is not a tragedy to volunteer for if you have a child, and the show is honest enough to let you see that.
Adults. One season is the argument. You do not need to make it a habit.
Industry
6/10
Tradecraft, shown as work rather than a montage of sunglasses.
Household
3/10
A daughter, an old love. Both are liabilities he created.
Piety
2/10
The mission replaces judgment.
Courage
6/10
The post is dangerous and he takes it.
Republic
4/10
A service of a republic, operating where the republic does not vote.
Temperance
4/10
Drier than the genre usually allows.
Truth
5/10
It is interested in the lie as a damage, not only as a tool.
Stewardship
3/10
The future he protects is abstract. The daughter is concrete and second.
Live historicallyBe where you told your house you would be. The whole show is the negative of that sentence.
Wit without duty. A sneer is not a character, however well dressed.
Wednesday is popular because contempt, done cleanly, feels like intelligence. It is not. It is a posture, and a boarding-school mystery is there to give the posture a plot. She is brave. She is also a lesson in how easy it is to mistake a sneer for a spine.
Young people already know how to be unimpressed. They do not need a show to coach it. If someone in your house loves her, do not ban the pleasure. Ask what she protects besides her own taste. If the answer is a friend, you have found the part worth praising. If the answer is the outfit, you have found the limit.
Industry
4/10
She is competent. The competence is mostly a pose.
Household
3/10
Family is a gothic joke. Tenderness has to sneak in.
Piety
2/10
The macabre is the creed. Reverence would ruin the bit.
Courage
6/10
She does walk toward the monster. Credit where it is due.
Republic
3/10
School is a backdrop for superiority, not a place owed anything.
Temperance
4/10
Cruelty is the charm. It is stylish and it is still cruelty.
Truth
5/10
A mystery requires facts. She is better at those than at mercy.
Stewardship
3/10
Nothing here is being built for anyone who comes after.
Live historicallyPractice one unfashionable courtesy in public this week. Hold a door. Learn a name. Mean it.
A real reformer's impulse, drowning in a court the show cannot stop giggling at.
Catherine wants Russia to be less cruel, more literate, and slightly less likely to die of its own court. That want is admirable. The show wraps it in a debauch and asks you to find the debauch funnier than the reform. Often you will. That is the tell.
A standard that only scolded the excess and ignored the attempt would be priggish. A viewer who only remembers the excess has been had. If you watch, keep score yourself: every time the joke is on a human appetite with no bill, mark it down. Every time someone risks their place for a saner law, mark that too. We did. The first column wins.
Industry
5/10
She wants institutions, science, a country that works. The court wants a party.
Household
3/10
Marriage is a battlefield and a joke.
Piety
2/10
Nothing is sacred. The joke requires it.
Courage
6/10
Pushing a court toward law takes nerve, even played as farce.
Republic
5/10
The idea of a better state is sincere. The people are punchlines.
Temperance
1/10
Debauchery is the comic engine. You are invited to enjoy the rot.
Truth
4/10
Everyone lies. A few of the lies are in service of a better law.
Stewardship
5/10
She is trying to leave a country, not just a reputation.
Live historicallyImprove one small system you actually run — a budget, a chore list, a morning — and skip the performance of improving it.
A parricide, polished into an icon. The household is the victim and the punchline.
The public listing is blunt. A repressed daughter and a house of cruelty, then a fantasy of power and revenge, then an axe, then an icon who is shocking, monstrous, and gloriously free. That is the measure. You do not need the gore recited back to you. The show is telling you what it loves: the killer as a liberation story.
A cruel house is a real evil. The standard answer was never to make a celebrity of the person who ends it with a blade. Monster has been in the business of this glamour before. Lizzie Borden did not need a halo, and your household does not need the lesson that the surest way out of humiliation is to become legendary for a crime. Leave it.
Industry
2/10
No craft here but the making of a grisly brand.
Household
1/10
Parents killed, and the killing offered as escape from the house.
Piety
2/10
Judgment is shrugged off. The legend is the altar.
Courage
3/10
Nerve without a good end is only appetite with a spine.
Republic
2/10
A crime against a family is played as self-creation, not as a wrong.
Temperance
1/10
The listing itself promises power, revenge, and a monster you are meant to enjoy.
Truth
3/10
An unsolved murder becomes a story about image. Truth is optional.
Stewardship
1/10
What it leaves behind is a poster of a slaughter.
Live historicallyIf your own house has a cruelty in it, deal with it in the daylight — a conversation, a counselor, a door. Not a myth.
The rare teen show that likes the uncool kid and does not punish the family for existing.
Lindsay wants to be good and is bored of the official way of being good. Sam wants to get through the day without being hit with a dodgeball. Their parents are worried in complete sentences. Almost no teen television allows all four of those facts at once.
This is the one to hand a fourteen-year-old if the alternative is the row that thinks cruelty is personality.
Industry
5/10
A father who works. School that is actually attended. The band is a practice.
Household
7/10
The parents are not fools. The siblings share a house and a shame.
Piety
3/10
No creed, but a conscience that has not been ironized away.
Courage
6/10
Lindsay walks toward the kids she was told to avoid. That is a real risk in a real cafeteria.
Republic
5/10
A school, a gym, a kitchen. The institutions are ordinary and therefore believable.
Temperance
6/10
Desire is present and not the only weather.
Truth
8/10
It refuses the pretty lie about high school.
Stewardship
6/10
It was cancelled because it would not become the lie. That is a kind of keeping.
Live historicallyWatch the pilot. If the house laughs at Sam, turn it off. If it worries for him, keep going.
The father learning to die without panic is the good. The romance with Death is the confusion. Adults.
Bill Parrish is a man of business and daughters, and the film's long patience is mostly for him: a birthday, a succession, a chance to say the true thing before he is collected. That patience is a gift in a culture that will not sit at a bedside. The love story between his daughter and the guest is a category mistake the movie is too fond of. Death is not a suitor. A borrowed face is not a boyfriend.
It is three hours. Give them to the father, not to the courtship. If the room swoons at the wrong pair, say so. Then talk about the birthday, which is the scene that knows what a house is.
Industry
6/10
A life's work, reviewed.
Household
7/10
A father and daughters at a real threshold.
Piety
5/10
Death as a person is an old device. Do not flirt with it.
Courage
6/10
He faces the end.
Republic
5/10
A company that will outlast him, and should.
Temperance
5/10
Slow, and indulgent in the romance.
Truth
6/10
The limited time is true.
Stewardship
6/10
It can hand on a birthday said properly.
Live historicallyPut one affair in order as if you did not have forever, because you do not.
A school and a civic argument, in Saturday-morning clothes. Better than it needed to be.
The 1992 series is the one X-Men '97 is answering. Under the capes: Xavier's school, a team that disagrees, a public that panics, a brotherhood that wants the panic answered in kind. The animation is of its decade. The argument is not. A people can be afraid of you and you can still refuse to become their fear.
Good for an older child watching with you. The fights are constant. Ask, after, which character wanted a citizen's life and which wanted a war. Prefer the first, out loud.
Industry
5/10
Teaching is the work. The danger keeps closing the school.
Household
5/10
The mansion is a house for the children no one else will keep.
Piety
4/10
Hope, almost a creed, aimed at the team.
Courage
7/10
They stand between a mob and a child.
Republic
7/10
The question is citizenship.
Temperance
5/10
Revenge has a spokesman. He is not the hero.
Truth
6/10
Leaders hide things. It comes due.
Stewardship
7/10
A school is an act of posterity.
Live historicallyTeach a child one sentence they can say when the room turns on someone quieter.
A father in the house. The laugh is his pride, and the neighbor over the fence is the conscience.
Tim Taylor wants every job to be louder. Jill and Wilson exist to say that louder is not the same as fixed. That is a usable comedy for a house with a father in it. The gender jokes are of their decade. The shape, a proud man learning he is not the only competent person in the kitchen, still holds.
Industry
7/10
Tools, a job site, a how-to show. Making is the family religion.
Household
8/10
A marriage, three sons, a kitchen that is actually used.
Piety
4/10
Wilson's advice is wisdom in a costume. Church is not the source, but humility is.
Courage
4/10
Tim's bravery is mostly bluster. The show knows and corrects it.
Republic
4/10
A neighborhood with a fence and a conversation over it.
Temperance
6/10
The excess is a bin of more power. The lesson is that more power is the mistake.
Truth
6/10
He is wrong by the end, in front of his sons.
Stewardship
7/10
The sons are watching. The show remembers that they are.
Live historicallyFix one small thing in the house properly, without upgrading it into a performance.
Keep it for adults who can argue with it. Courtship, a dowry, a brawl, and a village that is a character.
Sean wants Mary Kate and wants the past he ran from to stay quiet. The film is lush, funny, and of its time in ways a house should not swallow whole, especially the rough comedy of a marital fight. What it knows deeply is a village economy of respect: her things are not things, they are her standing, and his American impatience is not automatically the higher law. The land is filmed as if it were owed attention.
Watch it as a grown comedy, not as a manual. Then notice the dowry scene is about dignity. People still need their dignity named in front of the neighbors.
Industry
6/10
A farm, a dowry, actual fields.
Household
6/10
A marriage that has to be public to be real.
Piety
4/10
A parish in the background.
Courage
6/10
He stays and finishes the custom.
Republic
7/10
A village with its own law.
Temperance
5/10
Pride on both sides.
Truth
6/10
Her demand is about standing, and the film finally hears it.
Stewardship
6/10
It hands on a place with customs you do not get to skip.
Live historicallyDo not import your own terms into a place and call the place backward before you have listened.
