Nashville and stuff
Sep. 17th, 2015 05:28 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
shallownessNashville 3.16 I Can’t Keep Away From You
I can’t bring myself to be invested about all the Deacon/Rayna drama. Okay, watching her take him at his word smash a guitar of his was entertaining, especially because that was going to go to Maddie. But the bigger question is WHY doesn’t he spend more time in that gorgous cabin???
They answered some of my questions about the practicality of The Triple Xs going on the road, as in how far along Juliette was and how she felt about it, how long they were going. I liked that Scarlett was literally returning to where she’d had her breakdown. Apart from the fun of watching them interact as a trio – I could do with hours more awkward!Gunnar and Avery stepping over Gunnar and Scarlett having A Moment - I’m looking forward to watching a band’s travails on the show as we’ve had so many soloists. All three have failed at a solo career for different reasons, so here’s hoping they can make it together...
Just before the show, Scarlett seemed so vulnerable with all that skin showing, but the song was great. I liked sassy Scarlett owning the stage, I liked her boys enjoying her doing it – and I do feel like these three enjoy singing together. (I want Zoey to come across the band and to have complicated feelings about it.) But, of course, Dr Charming wasn’t satisfied with flowers, he was willing to fly up to Chicago – if you think about it from outside of him stoking up Gunnar’s jealousy, it does seem very intense, especially taking on board all their previous interactions. I’d have been happier with Scarlett basking in her song and the performance and putting Caleb on hold, but no, we had to have some door business.
Avery singing that lullabye-cum-love song to his wife and unborn child was rather beautiful and having Deacon and Rayna tell the girls the way they did was effective.
That’s the most sincere Will’s sounded singing, although maybe a touch overpowering on the big notes, sir. Don’t blame Mr Songwriter for ending it there, especially as Will was so dismissive of the craft. Couldn’t he wait for Gunnar to return and beg him or Scarlett or CMA nominated Avery for help? And I thought this before the trio were doing therapeutic songwriting.
Nice scene between him and Layla.
Of course Mr Songwriter took him back, because he has intuited the source of Will’s self-loathing angst.
Good call from Rayna to keep the girls away from Teddy if he’s turning to Lemarr’s henchman and reverting to season 1 level financial shadiness...I was amused that he discovered how nasty Natasha was, whom he’d thought she was a nice girl. Teddy really shouldn’t be in charge of anything. Which we knew from season 1, actually.
Layla was acting a little older than eighth grade, but not by much. And this is why she shouldn’t be entangled with Jeff. I was momentarily pleased that she came to the same conclusion by the end of the episode, at least in terms of ‘being together with him’ like we were calling it this episode, but then I recalled that we have been here before.
I thought I saw the glimmer of potential something between Sadie and Luke in their previous interaction, and there was plenty of tasty baggage (mainly Rayna shaped) in their scenes. Their duet was great in terms of powerful singing and how it worked for the story, and then that ending put a different spin on all that had gone before.
I watched the show on Tuesday night, but it's only now that I've been able to post that. In the meantime, I've watched Mr Deeds Goes To Town, which is delightful, and what occurred to me is that we get a Clark Kent/Lois Lane dynamic with a twist. No, it's not that the Clark Kent figure (Longfellow Deeds) doesn't have superpowers, it's that Babe Bennett (like Lois Lane a crack reporter with an alliterative name - well, it's really Louise, but it's Babe Bennett carved on her Pulitzer - is the one with a secret identity. Deeds gets to know her as Mary Dawson, a Lana Lang (in some comics, surely), sweet, wide-eyed girl who needs rescuing, so that Bennett gets good copy.
Well, I got a kick out of it, anyway. 1930s screwball dames are great!
I also saw an ad for Downton and the only thing that jumped out was Carson not being willing to call Mrs Hughes by her first name while they're working. Aww. There was a Dowager quip, but if she hasn't actually said that to Isobel before, she's come close, so it was no 'What is a weekend?'. The main point is that it's back on Sunday.
I can’t bring myself to be invested about all the Deacon/Rayna drama. Okay, watching her take him at his word smash a guitar of his was entertaining, especially because that was going to go to Maddie. But the bigger question is WHY doesn’t he spend more time in that gorgous cabin???
They answered some of my questions about the practicality of The Triple Xs going on the road, as in how far along Juliette was and how she felt about it, how long they were going. I liked that Scarlett was literally returning to where she’d had her breakdown. Apart from the fun of watching them interact as a trio – I could do with hours more awkward!Gunnar and Avery stepping over Gunnar and Scarlett having A Moment - I’m looking forward to watching a band’s travails on the show as we’ve had so many soloists. All three have failed at a solo career for different reasons, so here’s hoping they can make it together...
Just before the show, Scarlett seemed so vulnerable with all that skin showing, but the song was great. I liked sassy Scarlett owning the stage, I liked her boys enjoying her doing it – and I do feel like these three enjoy singing together. (I want Zoey to come across the band and to have complicated feelings about it.) But, of course, Dr Charming wasn’t satisfied with flowers, he was willing to fly up to Chicago – if you think about it from outside of him stoking up Gunnar’s jealousy, it does seem very intense, especially taking on board all their previous interactions. I’d have been happier with Scarlett basking in her song and the performance and putting Caleb on hold, but no, we had to have some door business.
Avery singing that lullabye-cum-love song to his wife and unborn child was rather beautiful and having Deacon and Rayna tell the girls the way they did was effective.
That’s the most sincere Will’s sounded singing, although maybe a touch overpowering on the big notes, sir. Don’t blame Mr Songwriter for ending it there, especially as Will was so dismissive of the craft. Couldn’t he wait for Gunnar to return and beg him or Scarlett or CMA nominated Avery for help? And I thought this before the trio were doing therapeutic songwriting.
Nice scene between him and Layla.
Of course Mr Songwriter took him back, because he has intuited the source of Will’s self-loathing angst.
Good call from Rayna to keep the girls away from Teddy if he’s turning to Lemarr’s henchman and reverting to season 1 level financial shadiness...I was amused that he discovered how nasty Natasha was, whom he’d thought she was a nice girl. Teddy really shouldn’t be in charge of anything. Which we knew from season 1, actually.
Layla was acting a little older than eighth grade, but not by much. And this is why she shouldn’t be entangled with Jeff. I was momentarily pleased that she came to the same conclusion by the end of the episode, at least in terms of ‘being together with him’ like we were calling it this episode, but then I recalled that we have been here before.
I thought I saw the glimmer of potential something between Sadie and Luke in their previous interaction, and there was plenty of tasty baggage (mainly Rayna shaped) in their scenes. Their duet was great in terms of powerful singing and how it worked for the story, and then that ending put a different spin on all that had gone before.
I watched the show on Tuesday night, but it's only now that I've been able to post that. In the meantime, I've watched Mr Deeds Goes To Town, which is delightful, and what occurred to me is that we get a Clark Kent/Lois Lane dynamic with a twist. No, it's not that the Clark Kent figure (Longfellow Deeds) doesn't have superpowers, it's that Babe Bennett (like Lois Lane a crack reporter with an alliterative name - well, it's really Louise, but it's Babe Bennett carved on her Pulitzer - is the one with a secret identity. Deeds gets to know her as Mary Dawson, a Lana Lang (in some comics, surely), sweet, wide-eyed girl who needs rescuing, so that Bennett gets good copy.
Well, I got a kick out of it, anyway. 1930s screwball dames are great!
I also saw an ad for Downton and the only thing that jumped out was Carson not being willing to call Mrs Hughes by her first name while they're working. Aww. There was a Dowager quip, but if she hasn't actually said that to Isobel before, she's come close, so it was no 'What is a weekend?'. The main point is that it's back on Sunday.
