I'm psyched to start my reviews for Nashville with this awesome episode! While season 2 has had its ups and downs, and a fair share of awkward filler material, lately it has been back on its game in a major way. With a pitch-perfect ensemble cast led by the powerful dynamic duo of Connie Britton and Hayden Panetierre, Nashville is highly watchable in its weakest episodes and exceedingly compelling in its greatest ones. There was so much fascinating stuff going on in this episode that the viewer hardly had time to catch their breath. Let's get into it!
After Lamar died last week, we knew there was going to be a massive fallout for Rayna and the family. But as the episode opened, clearly Rayna was unaware of the news, as she congratulated Liam and Scarlett on their work in the studio. I absolutely love the Scarlett/Liam relationship and feel it's picked Scarlett up big time after a first half of the season spent whining in a dull subplot. All of the scenes between these two this week were absolutely killer. While their connection is far from perfect, and frankly as random as it is potentially disastrous, there's just that odd chance they might be two lost people destined to save one another. We just need to get past that awful, overdone "Jessie Spano pills" part of the story first...which was basically ignored in this episode. However, as much as I may currently ship Scarlett/Liam (with respect to Scarlett/Gunnar, which is likely endgame), heaven knows that Rayna is going to be less than thrilled to learn that her player kinda-ex put the moves on her innocent little protege.
Meanwhile, Juliette actually had quite a nice series of events revolving around her this week, which really let her shine in her best element for a change. It's so great to see her behave in a mature, openly loving, self-respecting manner after everything she's had to go through this season and last. Finally seeing her with Avery is incredibly sweet and heartening. And now, with "Don't Put Dirt on my Grave Just Yet," Juliette has a real opportunity to rise above the "there is no God" scandal and prove just who she is as an artist. While Avery did an amazing mix of the song that spoke to Juliette's very soul, super-producer Howie V. came in and tried to convince her that not only did the song need an epic, over-the-top new version, but that she should move to LA and become a pop singer doing bizarre, goth photo shoots like Lady GaGa.
I was beyond impressed to see that Juliette did not allow herself to be swept away by the promise of a new, uber-successful, glossy popstar version of herself not beholden to Nashville's judgements. Finally, she has developed a fine-tuned level of insight that allows her to understand the value of people like Avery, Glenn, and Deacon, as well as a simpler production for her new track, hanging out at the Bluebird, and staying country even though it's not an easy road. And how touching was that scene between Juliette and Glenn when he felt he had to quit? I love their relationship, the whole father/daughter dynamic, and the level of respect and affection there.
Once Rayna learned of Lamar's demise from a stretching-the-truth Teddy, she fell into a near-stupor of anger and repressed grief. From snapping at Tandy and Deacon to exploding into a fireball of rage and sadness at the end of the hour, this might have been the most intense performance I've seen from Connie Britton. Her stunning portrayal of disillusionment and hollowed-out bereavement showed once again why she's one of the finest actresses on television and beyond Emmy-worthy.
I'm actually quite impressed with how the show, and Eric Close, are reworking Teddy into a more interesting and sympathetic character with this latest batch of episodes. Especially this week, I really felt for his ordeal, despite his moral hiccups (most of which are pretty understandable). I used to find the Teddy segment of each episode to be the weakest, partly because of the terrible Peggy plotline, but he's coming into his own now, and I'm intrigued to see where he'll go in future episodes.
Speaking of previously weak characters rehabbed into good ones, Zoey is on a major upswing, too. By making her a singer, and especially by having her sing with Gunnar and Avery, the writers have finally given her a tangible purpose in the show. The three of them sound amazing together, and I can't wait to hear more of their performances. However, just as a side note, Gunnar was pretty condescending in warning Zoey that playing with Deacon would be a "real gig," huh? Yeesh.
One character who has yet to evolve into anything but a total dud is Megan, who has zero chemistry with Deacon and whose only legit function is to be a moral sounding board for Teddy, which she accomplishes by, you know, standing there. Here's hoping that the show either cuts her loose or revitalizes her ASAP.
While Juliette has reclaimed her dignity as an artist and her comfort in her own skin, and has a fabulous relationship with Avery, it's going to be a hard next few episodes for Rayna, one feels. It's bad enough that the true love of her life, Deacon, is out of reach due to their painful past, (though hopefully that won't last much longer!) but now with her family in such distraught chaos, Rayna's got some serious problems on her hands. The going-nowhere relationship with Luke (does anyone else get a faintly-creepy vibe off of him?) isn't going to help. Hopefully, she can get her little indie label that could and her own new music off and running in a way that fulfills her, while mending fences with Tandy and being there for the girls.
Since Juliette and Rayna have such a complicated connection, both shadowing and mirroring each other at intervals despite often clashing, it's always wonderful and unpredictable to see them interact. I liked seeing the quiet level of understanding between them at Lamar's funeral.
What did you think of this week's episode? Share your thoughts in the comments!
