Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
A hustle with a body count. The lie is the charm. Leave it.
Oswald wants a corner of a rotten city and will spend every person between him and it. The show is well made and morally simple: it likes him. His mother, his lies, and his patience are offered as character, which they are. They are also the method.
There is no town here worth keeping, and no moment where the story sends a real bill that sticks. If you already love the Batman pictures, you will be tempted to call this texture. It is a portrait of ambition with the conscience scooped out. Adults can look once. Do not let a teenager learn the grin.
Industry
6/10
He works. The work is extortion, done with care.
Household
2/10
A mother is a lever. No one is building a house.
Piety
1/10
Nothing binds him but the next advantage.
Courage
5/10
He takes risks that can get him killed. The risks are for himself.
Republic
1/10
The city is a rack. Every office is a customer or a mark.
Temperance
2/10
The pleasure is the scheme, and the scheme does not end.
Truth
2/10
The lie is the talent the camera stays on.
Stewardship
1/10
He leaves the block poorer than he found it, on purpose.
Live historicallyDo not tell a story in this house in which the clever thief is the one to admire.
A fair hate for unaccountable power. Then it becomes the cruelty it hates.
The fear underneath is legitimate. Men with power and a marketing department will use you as content. A free people should be allergic to that. The Boys noticed, and then it decided the way to say so was to out-gross the thing it despised.
Satire that cannot imagine goodness becomes a second pornography. You will not leave this show more fit to keep a house, tell the truth in a calm voice, or love a neighbor. You will leave it amused and a little calloused. The callus is the cost. If you already understand the critique, you do not need another coat of it.
Industry
4/10
Corporate work is the villain. Honest work is barely imagined.
Household
3/10
Loyalty among the crew. Almost no picture of a livable home.
Piety
2/10
Nothing is revered. The satire eats the good with the fake.
Courage
6/10
Ordinary people take a swing at gods. That swing is the best of it.
Republic
6/10
Unchecked power and a bought public are a real republican fear.
Temperance
1/10
Shock is the house style. You are trained to want the next indecency.
Truth
5/10
The brand is a lie, and the show is right about that.
Stewardship
2/10
No posterity. Only a worse season.
Live historicallyCut one feed that makes you meaner. Replace the hour with a conversation you cannot perform.
A satire of money that also sells you the pool. Watch it awake, or don't.
The useful part is the staff. They have names, shifts, and a guest who will not remember either. The show sees that clearly, and then it spends most of its time poolside, where the ugliness is attractive and the linen is the product. Satire that luxuriates in the thing it mocks is only half a satire.
Adults. The sex and the contempt are the seasoning, and the seasoning is heavy. If you watch a season, watch for whether anyone leaves kinder to the person who carried the bags. If the answer is only a corpse and a tan, you have the measure.
Industry
5/10
The workers are the moral center, and they are not the stars.
Household
3/10
Marriages are on holiday from their vows. The children are luggage.
Piety
2/10
The sacred is a wellness menu.
Courage
3/10
Almost no one risks a real comfort.
Republic
3/10
A hotel is not a town. The guests owe the staff nothing, and the show enjoys that.
Temperance
2/10
Appetite is the vacation and the camera's.
Truth
5/10
It tells the truth about how money talks to a uniform. Then it sells the uniform.
Stewardship
2/10
Nothing is left but a review and a tip.
Live historicallyTip in person this week, and look at the person you hand it to.
The bet is the sin. The poem is the repair. Older teens, with the bet named.
Someone is paid to take the difficult sister out so the younger one can be dated. That is a use of a person, and the film knows it before it decides to be charming about it. Kat is not a problem to be solved. She is a girl with a standard, some of it pride and some of it sense. The poem works because it is specific and public and ashamed. A romance that ends on a confession is better than one that ends on a wink.
The Shakespeare underneath is a harsh play. This softens it into a high school, which is a mercy, and keeps the money, which is the part you have to say out loud so a teenager does not learn that being purchased is a meet-cute.
Industry
4/10
School, a bet, a band.
Household
5/10
Sisters under one roof, mismanaged by the plot and then restored.
Piety
3/10
No creed. A conscience in the last scene.
Courage
6/10
The poem is said in public.
Republic
4/10
A campus that treats a girl as a door prize.
Temperance
5/10
The scheme is rebuked, late.
Truth
7/10
The confession is actual.
Stewardship
6/10
The poem is the part to keep.
Live historicallyIf you started a friendship as a strategy, confess the strategy.
Sisterhood is the good. The charm is a costume. The violent man is not a romance. Adults.
Sally wants an ordinary kitchen more than a power, which is the right want, and the film keeps tempting her back into the craft. Gillian wants the dangerous man, and the film is clear that he is a destroyer before it is clear about anything else. The aunts are funny and not a model of wisdom. A curse that functions as family fate is a romantic idea the story only half interrogates.
The scene to keep is the women of the town coming into the house they feared. A neighbor is better than a spell. Do not let the roses and the midnight margaritas talk you out of that.
Industry
4/10
A shop, a house. Magic as the labor.
Household
7/10
Sisters who come back for each other.
Piety
3/10
Craft as a substitute for prayer.
Courage
6/10
They face the man in the house.
Republic
5/10
The town arrives, late and welcome.
Temperance
4/10
Romance and revenge share a glass.
Truth
6/10
The abuser is an abuser, not a misunderstood soul.
Stewardship
5/10
The good to keep is the neighbor at the door.
Live historicallySide with the sister, not with the spell.
Loyalty and practice. Also a long permission to leave home for a hobby. In doses, for a child who already has a house.
Ash leaves. That is the inciting act, and the series never really reverses it. What it offers instead is a craft — training, losing, feeding, not abandoning a creature because it is weak — and a traveling company that functions as a thin substitute for a household. The contests are fair contests. The world is gentle about injury and serious about not betraying a partner.
A child can love it. Do not let 'I have to leave to become myself' be the only sentence they take. His mother is still a person. The better episodes are the ones where he stays with the creature he was tempted to replace.
Industry
7/10
Training is work. The gym is a test of whether he did it.
Household
4/10
He leaves his mother in the first hour. Friends become the camp.
Piety
3/10
Wonder, not worship. The creatures are partners, which is the good part.
Courage
6/10
He walks toward the next loss on purpose.
Republic
4/10
Towns are challenges, not places to owe.
Temperance
5/10
Collection is the appetite. Care is the correction.
Truth
6/10
A loss is a loss. The show usually admits it.
Stewardship
5/10
What he hands on is a way of treating a weaker creature. The house he left is not in the picture.
Live historicallyIf a child wants to be the best at something, make them practice it here, with a person, not a screen, for twenty minutes.
Gentler than the poster. A dead child, a living one, a father who is not a joke.
Casper is lonely in a way the slapstick uncles are not. Kat has lost her mother. The father is chasing a machine that would let the living say goodbye, which is grief with a hobby. The film is uneven and commercial and still treats the two children as people who miss someone.
Not a substitute for a real conversation. A tolerable companion to one, if the house is not in the first raw month of a loss. The uncles are noise. The boy at the window is the story.
Industry
4/10
A father with a crackpot invention and a real motive.
Household
7/10
A bereaved father and daughter. A ghost who wants a friend.
Piety
4/10
Death is in the house, not as a thrill only.
Courage
5/10
She stays in the house.
Republic
3/10
An inheritance, a town that wants the property.
Temperance
5/10
The uncles' appetite for haunting is the joke.
Truth
6/10
He was a boy. The film does not turn that into a gag.
Stewardship
6/10
What they offer each other is company, not a trick.
Live historicallyTalk about death in a normal voice before a movie does it for you.
A mind and a vocation, put ahead of the mirror. The show still wants the mirror in the scene.
Jane's punishment, if it is one, is to do a hard job in a body her old self would have pitied. The series is often silly about clothes and soulmates. Under that, a woman becomes competent at something that helps strangers, and the competence is the point.
Fine for an adult who wants a light case-of-the-week. Do not use the body-swap as a joke in a house with a daughter who is already watching her own.
Industry
7/10
The cases are work. She has to learn a craft she did not earn the first time.
Household
4/10
An assistant, a boss, an old boyfriend. A household is not the plot.
Piety
3/10
A second chance is the theology, and it is mostly a premise.
Courage
5/10
She walks into court as a woman the room did not expect.
Republic
4/10
The law is a set. Sometimes the case is actually about a wrong.
Temperance
5/10
Romance and the body stay on the menu. The appetite is milder than the logline.
Truth
6/10
The useful truth: the person you dismissed may be the one doing the thinking.
Stewardship
4/10
A life handed back, spent half on the work and half on being seen.
Live historicallyCompliment one person's work this week. Leave their appearance out of the sentence.
A working mother, a father who dips in and out, mischief with a lobby full of adults. Ordinary and usable.
The twins are a handful by profession. Carey is a mother earning a living in the lounge. The hotel staff — a manager, a candy-counter girl — function as the other adults a child should have, not as substitutes for the parent. Their father is charming and unreliable, and the show does not fully pretend otherwise. The jokes are the jokes of that decade, some of them cheap.
Fine for the middle years with a parent who will say when a gag is cruel. The measure is Carey's shift and the boys still having to answer to her. A hotel is not a house, but a mother at work in the next room is a real picture.
Industry
6/10
A singing job, a hotel that has to run, school.
Household
7/10
A mother on site. A father who is not. The show knows which one is raising them.
Piety
2/10
None.
Courage
3/10
Pranks. Little that costs.
Republic
5/10
A building of workers who know the boys' names.
Temperance
5/10
Mischief is the product. Consequences are sitcom-sized.
Truth
5/10
The father's absence is not rewritten into a mystery. It is a habit.
Stewardship
5/10
What they are handed is a mother who stays employed and present.
Live historicallyGive a mischievous child a real job in the building and check that it was done.
A real loyalty between a mother and a daughter. The town is a set. The men are episodes.
The good of Gilmore Girls is that a teenage daughter is not the enemy and a single mother is not a cautionary slide. They are a household of two, and the household has a table. The limit is the speed. Nobody is allowed to be plain for long, and plainness is where a family tells the truth.
Enjoy the town. Do not let the banter become the way your own table avoids a hard sentence.
Industry
5/10
Lorelai works. Rory studies. The study is sometimes just the identity.
Household
7/10
The pair is the house. They choose each other every day, and they also hide in the joke.
Piety
3/10
The town has churches. The girls have references.
Courage
4/10
They are brave about speeches, less brave about a quiet apology.
Republic
5/10
Stars Hollow is a commons, even if nobody pays the tax.
Temperance
4/10
Coffee, food, and talk as a way to never sit with the feeling.
Truth
5/10
The talk is clever and often a way around the true sentence.
Stewardship
5/10
A daughter is the future. The show is unsure the future should leave town.
Live historicallyAt your own table tonight, one person finishes a thought without a joke on the end of it.
