Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
Candor is a virtue. The sport of humiliation is not. We won't fake a set list.
We have not line-noted the set, and this desk will not invent jokes it did not hear. The title is the brief: I know you lying. Candor is part of the standard. A man should hate a fraud. The trouble is the pleasure. An hour built on catching people usually leaves the room a little crueler than it found it, and cruelty laughs easily.
If the set turns the knife on the comic's own vanity and then stops, it may be worth the hour. If it is a clinic in contempt, leave it. You will not become braver by rehearsing someone else's embarrassment. Truth spoken to a friend's face still beats truth performed for a crowd.
Industry
4/10
An hour of talk is labor. The labor here is exposure, not a craft you can hand down.
Household
3/10
A special with this title is rarely kind to the people at home.
Piety
3/10
Confession, if it shows up, is a bit. Reverence is not the product.
Courage
5/10
Standing up and saying the unsayable takes nerve. So does a cheap shot.
Republic
3/10
Laughter that makes you meaner about your neighbor fails the town.
Temperance
3/10
The appetite is for the gotcha. That appetite does not get full.
Truth
5/10
The title worships catching a lie. It does not obviously worship telling one less.
Stewardship
2/10
Nothing in the premise is for the people after you.
Live historicallyTell one hard truth this week to a person who can answer you. Not to an audience.
A man who wants a real household. A show that often treats the holy as a meet-cute.
A rabbi who actually wants a home is pointed in a direction the standard recognizes. A podcast about other people's disasters is a thinner vocation, and the show knows it, sometimes. The charm is real. Charm is not a measure. The measure is whether belief survives contact with a romance plot, or gets edited into a quirk the love interest can tease.
Do not sneer at either of them. A man trying to keep a tradition and a woman trying to be known are both serious projects. Watch whether the show lets those projects stay serious after the kiss. If it turns his calling into furniture, you have your answer. If it lets them tell the truth about what a shared table would cost, stay for that part.
Industry
5/10
He has a vocation. She has a brand. The collision is the comedy.
Household
6/10
They are at least arguing about whether this becomes a marriage.
Piety
5/10
Faith is present and specific. It is also asked to be charming on demand.
Courage
5/10
Crossing a family's disapproval takes some nerve.
Republic
4/10
A community with expectations is played as the obstacle, which is half-right.
Temperance
4/10
Sex and banter lead. Restraint is the guest star.
Truth
5/10
The better scenes are two people being honest about what they will not fake.
Stewardship
5/10
The question of children and a shared future is allowed on screen.
Live historicallyBe plain, early, about the obligations you will not drop for a romance. Say them before the third evening.
Keep it. The name is the point. Older children can bear it if you stay for the talk.
Proctor is not a saint at the start. He is a man with a real sin, which is why the court thinks it owns him. The girls' pretence becomes a government. Neighbors bring their grudges dressed as righteousness. The last good is small and absolute: he will not blacken other people to save himself, and he will not hand them a lie with his signature on it. The film understands that a name is a public trust.
Watch it when a room you belong to is rewarding accusations. Say the plain thing afterward. Piety that needs a victim is not piety. Courage is sometimes only the refusal to write.
Industry
6/10
A farm, a court, a man's work with his hands.
Household
5/10
A marriage wounded and then told the truth.
Piety
6/10
False worship is exposed. Conscience remains.
Courage
9/10
He will not sign.
Republic
8/10
A town that has handed the law to a panic.
Temperance
6/10
His earlier failure is not prettied.
Truth
10/10
The whole film is about a sentence that is not true.
Stewardship
9/10
It hands you your name back, with instructions.
Live historicallyDo not sign a sentence you know is false, even if the room is tired.
Keep it. The songs are the door. The leaving is the test of the house.
Maria brings music back to children who were being managed like a crew. That is a real good, and the film is not foolish to dwell on it. The captain's thaw is a father's thaw, which matters more than the romance. Then the third act remembers there is a regime. Collaboration is offered as politeness. They climb instead. A family film that ends on a mountain border is telling the truth that joy is not an escape from history.
Watch the whole thing, not only the gazebo. The gazebo is sweet. The mountain is why the sweetness was worth defending.
Industry
6/10
A household reordered, then a flight that takes work.
Household
9/10
Children restored to a father.
Piety
7/10
The abbey is real, not a postcard, when it counts.
Courage
8/10
They leave rather than comply.
Republic
8/10
A nation asking good people to look away.
Temperance
6/10
Sentiment, mostly in the service of the right things.
Truth
7/10
The offer to stay and cooperate is shown as a trap.
Stewardship
8/10
It hands on a family that can sing and can also refuse.
Live historicallySing in the house, and know when the house has to go.
Keep it. Office is a duty even when the public would rather you leave quietly.
Will Kane could go. Everyone with a speech about community finds a reason to be elsewhere when the outlaws are actually arriving. The film's anger is at respectable people. Amy's pacifism is treated seriously and then brought to a choice, which you may argue with, but the picture of a town that wants law without the noon hour is exact. Clocks have rarely been used so honestly.
Watch it when your own group is full of good reasons. The good reason is sometimes fear. Name it, and then look at the clock.
Industry
7/10
The office is the work.
Household
6/10
A marriage begun under a threat.
Piety
4/10
Conscience against respectability.
Courage
10/10
He walks the street alone.
Republic
9/10
A town that will not keep its own peace.
Temperance
7/10
No swagger. Fear, governed.
Truth
8/10
The speeches of the townsmen are exposed.
Stewardship
8/10
It hands on a picture of staying in office.
Live historicallyDo the job you were sworn to, especially if the room has gone convenient.
A protector, a child, and a clear line about who eats whom. Dahl, softened, still sound.
The BFG's greatness is not his size. It is that he refuses the diet of the other giants. Sophie is an orphan who has had to be sharp, and the film lets her be sharp without making every adult a clown. The queen, of all people, is competent. The man-eating giants are not misunderstood. They are hungry for the wrong thing, and they are stopped.
Dreams are bottled and delivered. That is whimsy. The moral is plain: strength is for guarding, not for swallowing. A child who can handle a mild fright can watch it. Sit with them.
Industry
6/10
Dream-catching is a craft. The queen's household actually functions.
Household
7/10
An orphan finds a guardian. He learns to be one.
Piety
4/10
Wonder, and a palace that still has duties.
Courage
8/10
The small girl and the gentle giant both go toward the eaters.
Republic
6/10
They appeal to a real authority instead of becoming vigilantes forever.
Temperance
8/10
Appetite is the other giants' whole character, and it is condemned.
Truth
7/10
He tells her the truth about what they eat.
Stewardship
8/10
A strong creature spends his strength on a child.
Live historicallyBe the large person in the room who is careful with the small one.
The novel's scale, honored: a soul, a marriage, a country. Not a costume romance.
This is the rare series that lets Pierre be awkward and right, and lets Natasha's disgrace matter. The battles are there so the drawing rooms cannot pretend they are the world.
Give it the evenings it asks. If you only want the dresses, you will miss the only scene that justifies them: a man deciding he is not too important to be useful.
Industry
5/10
Officers, estates, a war that is labor. Pierre does not have a trade and knows it.
Household
8/10
Natasha's house, Andrei's, Pierre's search for a wife who is not a project.
Piety
6/10
Pierre's hunt for a reason is the religious plot, clumsy and sincere.
Courage
7/10
Andrei goes to the war he talked about. The talking was cheaper.
Republic
7/10
An invasion is not a backdrop. Moscow emptying is a public act.
Temperance
6/10
Natasha's mistake is shown as a mistake. The ball is not the moral.
Truth
8/10
It keeps Tolstoy's correction: glory is a story people tell over the dead.
Stewardship
7/10
The question is what kind of house is left when the campaign is over.
Live historicallyRead one chapter of the book aloud. Stop while they still want the next.
A place that still needs a nurse. The romance is the advertisement. The work is better.
Melinda Monroe comes to Virgin River to disappear into a job and finds that a small place will not let a competent woman stay a stranger. That is a good story when the camera stays on the birth, the veteran, the girl who needs a doctor. It thins out when every adult must also be somebody's unfinished romance.
Fine for a grown evening if you are willing to forgive the twists. Not a family hour. Keep the episodes where someone is healed by work. Leave the ones that are only a revelation in a doorway.
Industry
7/10
She delivers babies and keeps a clinic that would close without her.
Household
7/10
People are trying to make a house after loss. The affairs are the tax.
Piety
4/10
Care is the reverence. Church is scenery if it appears at all.
Courage
6/10
She stays in a town that did not ask politely.
Republic
7/10
The unit is a main street: a bar, a clinic, a mayor, a doctor who is tired.
Temperance
5/10
Melodrama is the portion size. It is more than a tired person needs.
Truth
6/10
Secrets drive the plot, and the show is usually on the side of telling them.
Stewardship
7/10
A clinic and a child are what the town is trying not to lose.
Live historicallyThank a person in your town who does a job the town would notice if it stopped.
Truth against a private archive can be a duty. Wonder is not yet a faith. Adults.
Margaret and Daniel, in the account the film is sold on, are not adventurers. They are a person who speaks on the news and a person who walked out of a contractor with the files. The obstacle is a company whose job is to keep the archive shut. That shape is familiar and often just: a secret kept to own people is not a protection. The desk will not preach the film's cosmology. Other minds, if they are real, are not a church.
Watch it as a story about disclosure, then do not outsource your metaphysics to a climax. The human question is older. Who may know, who is hiding the file, and what a public is for. Answer that in the room you actually live in.
Industry
6/10
Whistleblowing is work. So is a daily forecast.
Household
4/10
Private lives bent around a secret.
Piety
4/10
Awe is the bait. Do not let it become a cult.
Courage
7/10
They risk the comfortable silence.
Republic
7/10
A public kept ignorant by a contractor.
Temperance
5/10
The reveal can become a spectacle.
Truth
7/10
The moral is that a kept archive rots.
Stewardship
5/10
Hand on the duty to tell. Do not hand on the poster of the eye.
Live historicallyIf you hold a fact the public has a right to, do not wait for a perfect audience.
A man who stays at his post. Conspiracy sauce on a real idea of duty.
Peter Sutherland sits by a phone nobody important wants, and when it rings he does not negotiate with his mood. That is a more American picture of courage than most superheroes manage: a post, a watch, a man who is still there. The conspiracy around him is the usual one. Someone high up has sold the thing he thinks he serves.
Take the duty and hold the cynicism loosely. A republic cannot survive if its only lesson is that every boss is a traitor, and it cannot survive if nobody is willing to keep a boring post. This show has both lessons in it. Prefer the second. The action is dessert.
Industry
7/10
He does an unglamorous job completely, which is the old idea of work.
Household
4/10
Loyalty to a partner appears. A household does not.
Piety
3/10
The creed is the job. That is not quite piety.
Courage
8/10
He keeps the watch, then he walks toward the fire.
Republic
6/10
Treason is the crime. Institutions are both necessary and compromised.
Temperance
6/10
The thrill is paced. It does not drool.
Truth
6/10
The story turns on who is lying to the republic.
Stewardship
5/10
He is protecting a future he will not personally inherit.
Live historicallyShow up early to one obligation you could have phoned in. Stay until it is actually finished.
