Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
Illness is not a sketch. Adults. Do not put it where a child learns what a body is for.
The culture around weight is full of lies, and a satire could have told the truth about money, shame, and shortcuts. This kind of special would rather be cruel at speed. A drug is a medical fact. A body is a neighbor's. Neither is improved by a cartoon that needs you shocked.
Skip it. If the subject is actually in your house, it deserves a doctor and a table, not a special. Laughing at the ad is allowed. Laughing at the person is the show.
Industry
2/10
The medical system is a set.
Household
2/10
The family is material.
Piety
1/10
No reverence for the body.
Courage
2/10
Provocation.
Republic
3/10
A public health joke.
Temperance
1/10
The appetite is the cruelty.
Truth
3/10
It may glance at a real grift and then smear it.
Stewardship
1/10
Nothing to inherit.
Live historicallySpeak about food and medicine as care, not as a punchline.
A spectacle that taught a decade to enjoy cruelty. Leave it.
Early on, a vow and a family name still cost something. Then the show learned that a shock would be clipped and shared, and it started writing for the clip. Weddings, children, and prisoners became the delivery system. The dragons were the brand. The people under them were scenery.
You do not need the later seasons to know this. The middle ones already prefer the clever monster to the dull man who keeps a gate. Adults who watched it can admit what they were applauding. Do not start a teenager on it and call the violence sophisticated.
Industry
3/10
Rule is intrigue. The work of a realm is rarely the hour.
Household
2/10
Families are factions. Children are hostages or surprises.
Piety
2/10
Gods are flavor. Conscience is what gets you killed, and the show shrugs.
Courage
5/10
Plenty of people are brave. The bravery is spent on the game.
Republic
2/10
There is a realm. The story does not love it. It loves the players.
Temperance
2/10
Sex and slaughter are the retention strategy. It worked.
Truth
3/10
Oaths are made to be broken on a schedule.
Stewardship
1/10
What it handed the culture was a taste for the twist that hurts.
Live historicallyIf someone in the house calls this complicated, ask who the smallfolk were.
The bottom of the row. The children in their care do not matter. Not for Kiki, and not a close call.
The premise is babysitting, which is a real trust, and the comedy is that the trust is a sucker's game. The girls are quick and the children are the furniture. A teenager might watch it as noise. A five-year-old is the age of the furniture.
This is the one to remove first. Not later. Not 'she will not understand it.' She will understand that the laugh is at the little one.
Industry
3/10
They are paid to watch children and they do not do the work.
Household
3/10
A household is the customer's problem. Their own house is a crash pad.
Piety
1/10
Nothing is sacred, including the small people left with them.
Courage
3/10
Nerve, spent on pranks.
Republic
2/10
A neighbor's child is a prop.
Temperance
2/10
Cruelty and chaos are the texture, and the show enjoys them.
Truth
3/10
It is candid that they are bad at the job. It asks you to like them for it.
Stewardship
2/10
Nothing here is worth handing to a five-year-old.
Live historicallyDelete it from her profile before the next evening.
Beautiful, and a warning. The feud spends the children. Do not call the ending a love to copy.
Luhrmann makes the play a gunfight in a bright city, which tells the truth that the old feud is modern whenever cousins inherit it. The language is still Shakespeare's, which is a gift if anyone in the room will listen past the style. The lovers are sincere and uncounseled. Sincerity without a household that will slow them down is how the young get spent. The story is a tragedy about the houses, not a vow for a bedroom wall.
Older teens can watch it beside the play. Say the unromantic line. A feeling at a party is not a marriage, and a feud is a sin of the parents before it is a fate of the children.
Industry
3/10
Heirs, not workers.
Household
2/10
The households are the destroyers.
Piety
3/10
Beauty, little obedience.
Courage
5/10
They are bold and unwise.
Republic
3/10
A civic feud.
Temperance
2/10
Passion writes the law.
Truth
7/10
The play tells the truth that this ruins everyone.
Stewardship
4/10
Hand on the warning, not the poster of the kiss.
Live historicallyRefuse one family fight that is asking the young to finish it.
A farce about corruption. Clever, adult, and not impressed by the guests.
Everyone in the house has a public face and a private leverage. The comedy is the speed of the doors. The moral, under the slapstick, is that blackmail is a kind of government and the people in it have already agreed to live there. The multiple endings are a stunt. The consistent fact is that nobody in the dining room is clean except the staff they keep suspecting.
Fun for adults who like a board game. Do not look here for a model of wit that a child should copy. The wit is panic.
Industry
4/10
A staff that actually runs the house while the guests scheme.
Household
2/10
Marriages are the blackmail material.
Piety
2/10
None.
Courage
3/10
They mostly accuse. Few of them are brave.
Republic
5/10
Blackmail as a private government. The film thinks it is sordid, which is correct.
Temperance
4/10
Lust and panic run the evening.
Truth
6/10
Everyone is lying. The plot is the unpacking.
Stewardship
3/10
Nothing is handed on but a punchline.
Live historicallyIf someone gathers you to share a secret guilt, leave before the lights go out.
Friendship is real. So is the affair, and the show cannot quit the affair.
Wisteria Lane is a picture of women who keep each other and do not keep their promises. The keeping of the friend is the part that feels like a life. The discarding of the vow is the part the commercials were cut around. You can see both. Do not pretend you came for the friendship if you came for the affair.
Industry
4/10
Some of them work. The street is the career for the rest.
Household
4/10
Children and husbands exist. They are often the obstacle to the plot.
Piety
2/10
A narrating dead woman instead of a judgment.
Courage
4/10
They will do a hard thing for a friend. They will also do a selfish one for a thrill.
Republic
4/10
A street where people still know each other's business. That cuts both ways.
Temperance
2/10
The secret romance is the ration.
Truth
4/10
It enjoys the reveal and then replaces the secret with a new one.
Stewardship
3/10
The children grow up inside the gossip.
Live historicallyIf a friendship in your life runs on someone else's marriage, step back from it.
Noise at a lake. Authority is the punchline. Not the one to choose.
A camp is one of the last places a child practices being useful away from home: a fire, a younger camper, a rule that keeps people off the rocks. Bunk'd knows the setting and spends it on pranks and counselors who cannot be trusted with a canoe. It is mild. Mild is not the same as good.
If the children want camp, read them a chapter or tell them about a real one. This does not have to be the picture.
Industry
3/10
Camp is a job for the counselors. The show thinks the job is a costume.
Household
3/10
Parents are offscreen. The cabin is a sleepover that never ends.
Piety
2/10
Nothing is treated as worth keeping still for.
Courage
3/10
Pranks stand in for nerve.
Republic
3/10
A camp could be a small commons. This one is a set.
Temperance
4/10
Mean is usually corrected by the tag. The middle of the episode enjoyed it.
Truth
3/10
The lesson is announced. The prank was the point.
Stewardship
3/10
Nothing is handed on except a catchphrase.
Live historicallyTell a child one true camp rule and why it exists. A rule with a reason is an education.
The marriage is what is at risk. The show is more interested in the crossing. Adults, and not as a manual.
A suburb is a place where people were supposed to be conducting households. This series treats that as a lid to lift. The crime plot is there so the affair can feel like a thriller instead of a decision.
You do not need it. If a marriage in your house is bored, this is not the counsel.
Industry
3/10
Jobs are scenery. The intrigue is the occupation.
Household
3/10
Two marriages. The plot is how to get out of the promises.
Piety
1/10
No law above the want.
Courage
2/10
They risk a scandal, which is not courage.
Republic
2/10
A cul-de-sac is not a community. It is a set of windows.
Temperance
2/10
The invitation is the pleasure. The show sells the boundary.
Truth
4/10
It can say the want makes a mess. It says it after you have been asked to enjoy the mess.
Stewardship
2/10
Nothing a child, or a marriage, should inherit.
Live historicallyIf you are curious about the neighbors' marriage, be curious about your own. Close the laptop.
Friendship is advertised. The structure is a collection that never ends.
Ash is loyal to a few creatures and careless of every place he sleeps. The show teaches courage of a kind and a hunger that has no bottom, because the game it was built to sell has no bottom. A child deep in it does not need a lecture about merchandise. He needs the episode to end and a reason to go outside that is not a hunt for more.
Industry
4/10
He trains. The training is for the next badge, not for a living.
Household
3/10
He leaves home in the first episode and the road replaces it.
Piety
2/10
The creatures are bound to him. Wonder is a roster.
Courage
5/10
He will stand in front of a friend. He will also send the friend into the fight.
Republic
4/10
Every town is a gym. No town is stayed in.
Temperance
3/10
Gotta catch them all is the ethic, and it is an appetite.
Truth
4/10
Loyalty is real inside an episode. The series cannot let the journey end.
Stewardship
3/10
What it hands on is the next one.
Live historicallyStop at the end of a town. Do not start the next badge tonight.
A perfect farce about a proud man. The laugh requires his humiliation, and it is earned.
Basil Fawlty wants to be thought a gentleman more than he wants to run a decent hotel. Every episode punishes exactly that. Sybil, Manuel, and Polly are the people the work actually depends on. The farce is cruel and it is accurate. Adults only, because the cruelty is the instrument, but it is aimed at the snob rather than at the weak. Twelve episodes. Do not ask for a revival.
Industry
4/10
A hotel is work. Basil will do any amount of scheming to avoid the honest part.
Household
3/10
A marriage of contempt and dependence. Sybil is right and unloved.
Piety
1/10
No piety. Class embarrassment is the religion.
Courage
2/10
Cowardice, brilliantly played.
Republic
3/10
A small business that is also a social order.
Temperance
4/10
Twelve episodes. The limit is part of the excellence.
Truth
7/10
Pretension is exposed. That is the moral, and it never softens.
Stewardship
4/10
It has been handed down carefully, because there are so few of them.
Live historicallyNotice, this week, one job you think is beneath you that the room depends on. Do it.
