Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
Ernest is ridiculous and brave. The troll is not a friend. A Halloween yes, with the lights on.
A troll turns children into wooden dolls, which is a child's nightmare of being made not-alive. Ernest, the town joke, is the descendant appointed to stop it. The film is broad and cheap and on the children's side. The adults who mock him are wrong. The troll is not given a sad speech.
For a family that wants a scare with a happy, loud ending. Not art. Not cruel. The fool goes under the tree because the children cannot.
Industry
4/10
A sanitation man. The work is showing up.
Household
5/10
He cares about the kids the town finds annoying.
Piety
3/10
An old curse, a milk-and-love remedy played straight enough.
Courage
7/10
He is terrified and he goes.
Republic
5/10
A town that will not believe him until the dolls pile up.
Temperance
6/10
The troll's hunger is the vice.
Truth
6/10
The children were right that something was under the tree.
Stewardship
7/10
The charge is the children, and he keeps it.
Live historicallyThe useful person may be the embarrassing one. Let them help.
A full house before the phrase was a brand. The number of children is not treated as a mistake.
Television later decided a large family was either a reality-show spectacle or a joke. This one thinks eight children and a working father is a life. It is soapy. The soap is about the right people. Worth having in the memory of what a house can be.
Industry
5/10
He writes for a living. The children have school and parts.
Household
8/10
Eight children and a father who stays. Later a stepmother who has to join a going concern.
Piety
4/10
Domestic decency, of the period.
Courage
4/10
The dramas are the size of a family that large.
Republic
4/10
A Sacramento household as a whole society.
Temperance
6/10
Earnest.
Truth
5/10
The problems are the ones a family actually has: money, a sibling, a marriage.
Stewardship
7/10
The children are the point, not the obstacle to the adults' plot.
Live historicallyCount the people you are actually raising, and give one of them an uninterrupted half hour.
The money is the joke. The kin is not.
Jed Clampett keeps his people when the money arrives. That is the part that is still useful, because money is exactly when households split. The caricature of backcountry people is broad and of its time. Do not learn sociology from it. Learn the refusal to let the mansion pick the family.
Industry
6/10
They got rich by work and a hole in the ground, and they do not pretend otherwise.
Household
8/10
Granny, Jed, Ellie May, Jethro. The household moves as a unit.
Piety
3/10
Granny's Bible is played broad. The family bond is not.
Courage
4/10
They are not ashamed in a room that wants them ashamed.
Republic
4/10
A satire of a rich neighborhood, from the porch.
Temperance
6/10
The excess is the mansion, and they are immune to it.
Truth
6/10
The joke is that the sophisticated people are the fools. Often fair.
Stewardship
6/10
They will not leave each other for the zip code.
Live historicallyIf money or status is pulling your people apart, choose the table. Jed would, minus the laugh track.
A real town trying to become a resort. The completion is froth on a good fragment.
Austen left eleven chapters about money, building, and a girl seeing a speculation clearly. The television needed couples, and supplied them. Watch the first series for the town and the money. Treat the later pairings as fanfic with a budget, which is what they are.
Industry
6/10
Building a resort, a fortune, a new street. Development is the plot Austen started.
Household
5/10
Guardians, sisters, a house of guests.
Piety
3/10
Manners stand in for worship.
Courage
4/10
Charlotte is game. The risks are social.
Republic
5/10
A town deciding what it is for. That is Austen's actual subject.
Temperance
5/10
The later series lean on the longing.
Truth
5/10
The fragment is honest. The added couples are a guess.
Stewardship
5/10
A place being made for the people who will live there, not only visit.
Live historicallyRead the fragment. It is short. Then the show has something true to decorate.
A careful voice for a baby. It is still a screen standing where a person should stand.
Ms. Rachel is one of the few people on this row who speaks to a baby as if the baby were a person. That is why parents trust her, and it is also the risk. A recorded woman cannot hand the child back. Use a song of hers when you need the words. Then use your own voice for the rest of the hour. The show is a tool. It is not a parent.
Industry
6/10
She is teaching, and the teaching is paced for a real infant.
Household
4/10
She borrows the tone of a mother without being one of yours.
Piety
3/10
Gentleness, not worship.
Courage
2/10
Nothing is risked.
Republic
4/10
Call and response is a small society, conducted by a stranger.
Temperance
8/10
Slow, kind, and not overstimulating on purpose.
Truth
7/10
The words are the words. She is not selling a second meaning.
Stewardship
4/10
A baby may learn a sign. The teacher leaves when you close the laptop.
Live historicallyTurn it off and say the same word yourself, in the room.
Loyalty to a household, from the floor. Slight, and on the right side.
Max's fear is the new dog in the apartment. Duke's wound is abandonment. The city is a comic underworld of animals, and the film's spine is two creatures trying to get back to a door that opens. Snowball's revolution against owners is the joke that has to lose, because the film believes a home is better than a grievance.
Not a great film. A fair one. The animals want their people. That is enough for a Friday.
Industry
3/10
They wander. The owner goes to work.
Household
7/10
Home is the good. Replacement is the fear.
Piety
2/10
None.
Courage
5/10
They cross the city.
Republic
4/10
A comic revolt against owners, defeated.
Temperance
5/10
Jealousy starts the trouble.
Truth
6/10
A house is not a prison in this story.
Stewardship
6/10
Getting them back to the door is the whole stake.
Live historicallyBe the person your animal, and your child, can find at the end of the day.
The potion is the villain. That is the correct instinct. The film is loud around it.
A love potion is a theft, and the story knows it. The people who brew it are not romantics. They are kidnappers with a bottle. The bog king, played as a monster, is the one who will not be drugged into a feeling. That reversal is the only reason to keep the film.
The rest is a jukebox turned up too high, and a fairy court that learns more slowly than the children watching. If you put it on, say the quiet part at the end: a feeling you poured into someone's cup is not a vow. It is an assault.
Industry
3/10
Little craft. A lot of sugar.
Household
4/10
Sisters, a father, a courtship that starts as a con.
Piety
3/10
Magic as a drug.
Courage
6/10
He refuses the potion. She crosses the bog.
Republic
3/10
A fairy kingdom of moods.
Temperance
7/10
The potion is condemned. Desire is not allowed to be the law.
Truth
7/10
Forced love is named as a lie.
Stewardship
5/10
The sisters get a truer ending than the potion wanted.
Live historicallyRefuse one shortcut that claims to manufacture love.
The friendship is real. The wound is not a twist. Older teens, with an adult who will not narrate the harm.
Charlie wants a place at the table. Sam and Patrick give him one, which is a genuine good: a first party, a first friend, a mix tape as a form of care. The film also carries a grave harm in his past. The desk will not describe it. It is not a reveal to enjoy, and it is not a reason to hand this to a child. What a house can use is the earlier truth. A young person on the edge of the room is not fine just because he is polite.
Watch it if you are old enough to be a help and not a spectator. Then be a help in a room you actually enter.
Industry
4/10
School, a shop, little vocation yet.
Household
5/10
Friends who make a place. A family that does not see.
Piety
3/10
Tenderness, not a creed.
Courage
6/10
He keeps living, which is not nothing.
Republic
4/10
A small circle against a harsh school.
Temperance
5/10
Feeling is large and mostly governed.
Truth
6/10
The loneliness is honest.
Stewardship
5/10
The mix tape is a kind of stewardship, if you leave the wound alone.
Live historicallyNotice the quiet boy, and do not make his confidence your story to tell.
Surveillance as a conscience. The conscience does not make the watching innocent.
Early on it is a man who will protect a stranger because a machine said today is the day. That impulse is decent and the method is not. Later the series admits the method is the threat. Watch long enough to hear the admission. Do not leave with the fantasy that the right quiet men should have the camera.
Industry
6/10
A system, a method, a team that gets better.
Household
3/10
Loners. The team becomes the only house.
Piety
3/10
A machine in the place of providence.
Courage
6/10
They show up for the irrelevant person the state would ignore.
Republic
5/10
The fear of an unaccountable eye is the real plot, and it arrives.
Temperance
5/10
A case a week, then a war. Restrained more often than the genre.
Truth
6/10
It asks whether saving a life licenses the camera.
Stewardship
4/10
The future they are fighting about is a society of people who do not know they are seen.
Live historicallyRefuse one convenience that exists only because something is watching you.
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
3/10
School is scenery. Nobody's work matters except the hunting.
Household
4/10
A father cooks and worries. His daughter treats the house as a waiting room.
Piety
2/10
Death is offered as a boyfriend. That is not awe. It is an appetite with better lighting.
Courage
4/10
She walks toward danger. She walks toward it for a crush.
Republic
2/10
The world shrinks to a couple. A town is only the place they hide.
Temperance
2/10
Wanting him is the whole virtue the film recognizes.
Truth
4/10
She lies to her father to protect the secret. The lie is filmed as love.
Stewardship
2/10
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.
