Nashville rambling
Apr. 14th, 2013 08:36 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
shallownessNashville 1.9 Be Careful of the Stones that You Throw
In hindsight, I am surprised that I was surprised that Juliette er, changed her mind, given that was the central lyric of Scarlett and Gunnar’s song (yay! they duetted together again.) But I gave a little gasp at the end, even though I was thinking that Juliette/Shawn was barely a relationship, let alone a marriage. All the talk of elopement was very nineteenth century, though.
We are still ignoring Rayna’s producer’s drinking, are we? Well, there are other things going on in her life. I did enjoy her and her manager smirking at Juliette’s manager’s attempt to cover for her lateness. It was a moment of fun for Rayna. The fact that neither she or Teddy raised counselling, but just agree 'the cover story' says it all. Well done for being a good dad, Teddy, even if you are a ridiculous mayoral candidate.
And we know that Deacon isn’t happy – I was wondering how they’d get him back, because there was no way he was staying away from Rayna. Like most things on the show, not subtly done (see also Juliette’s mamma’s speech). I can’t quite work out the timeline of his history with the reporter.
Avery is a jerk. I would like for Scarlett to change the locks, but thoroughly enjoyed seeing her play with JT and the other exes and letting her inner performer out. Much better fit of song and singer than Ring of Fire, and you got a sense of her anger driving her as she sang Avery’s song and owned it. But not enough to forget the songs she writes with Gunnar – whom I laughed at for sulking at the outset. Yay! Can’t say that Jamie’s burning ambition is that credible, but I’m definitely in the Scarlett&Gunnar have something special camp. I also ship them, but he needs to grow up a bit and so does she, not to mention get over Avery and learn how to stand on her own two feet more and more.
1.10 I’m sorry for you, my friend
The ‘Irena’ tour – well, that’s the way the record label bloke is pronouncing it – is on. We have a quick recap of the tensions and pressures on Rayna and Juliette and of those with the Revel Kings tour. (I thought they were called the Rebel Kings.)
Meanwhile, I got very excited that Gunnar and Scarlett were going on a road trip, but they didn’t show it to us and apparently the pair wrote three songs, so Gunnar’s reluctance wasn’t about being cooped up in a car with Scarlett, amd his family obligations were genuine. And one of my more outré suspicions was confirmed. Of course big brother can sing too. (And that’s the first all-male duet.) But I’m glad we got a little more Gunnar backstory. Surely the big brother will turn up again...in Nashville.
All the travelling about was a change and...interesting, given the show’s title.
Oh Teddy, if you wanted Rayna there to support you, why not just say so? You didn’t really, so stop pouting.
Yay to Liam for standing up to Juliette (and entertaining Rayna and her manager) and Rayna. He can totally stay. I will even use his first name. I like his dynamic with Rayna, I like that it’s re-energising her. (I also like his dynamic with Juliette. Koff.) The fact that he seemed more sober and was given interaction with Juliette suggests that they'll keep him around and develop him.
The fallout from Juliette and Shawn’s idiotic wedding was why you don’t run away and marry someone you’ve known for weeks, kids. I did wince for her a couple of times – I’d been pre-emptively wincing for him for a while.
And that was one way of writing Deacon out of the Revel Kings. At least Scarlett got her knee in before the angry male hauled a randy male off her (and Deacon had more right than Gunnar did the other episode, obv). The whole security guard enablement was gross. The sense that if this wasn’t a TV drama and Gunnar or the Gunnar figure was kept away for longer that rape would be done added edge, no need for the camera to emphasise it. The later Deacon-Scarlett conversation was a bit lampshad-y.
Both Rayna and Juliette’s big performances were great character moments, although the lyrics to Rayna’s new song are so ironically pointed that she has to release it for us to have folks analysing it. But I was a little in awe of how they must have arranged to film both songs in front of crowds. Of course Rayna went back and the nice gesture became a hollow one in view of the Colemans' happy marriage. I don’t know if it was a great choice to end on Teddy, although every other story had reached a natural break. What a gent, believing Peggy’s story that it wasn't a suicide attempt. And staring at her lips and creating a moment. That is totally the way to treat someone with fragile mental health. (I know he's seeking solace and they've obviously been dancing around it for years, but still.) I’m only going to be mildly interested in watching him squirm in his daddy-in-law’s pocket, though.
So the girls playing Rayna’s daughters are real-life sisters? That’s adorable. (Unlike those giant pictures of them.)
In hindsight, I am surprised that I was surprised that Juliette er, changed her mind, given that was the central lyric of Scarlett and Gunnar’s song (yay! they duetted together again.) But I gave a little gasp at the end, even though I was thinking that Juliette/Shawn was barely a relationship, let alone a marriage. All the talk of elopement was very nineteenth century, though.
We are still ignoring Rayna’s producer’s drinking, are we? Well, there are other things going on in her life. I did enjoy her and her manager smirking at Juliette’s manager’s attempt to cover for her lateness. It was a moment of fun for Rayna. The fact that neither she or Teddy raised counselling, but just agree 'the cover story' says it all. Well done for being a good dad, Teddy, even if you are a ridiculous mayoral candidate.
And we know that Deacon isn’t happy – I was wondering how they’d get him back, because there was no way he was staying away from Rayna. Like most things on the show, not subtly done (see also Juliette’s mamma’s speech). I can’t quite work out the timeline of his history with the reporter.
Avery is a jerk. I would like for Scarlett to change the locks, but thoroughly enjoyed seeing her play with JT and the other exes and letting her inner performer out. Much better fit of song and singer than Ring of Fire, and you got a sense of her anger driving her as she sang Avery’s song and owned it. But not enough to forget the songs she writes with Gunnar – whom I laughed at for sulking at the outset. Yay! Can’t say that Jamie’s burning ambition is that credible, but I’m definitely in the Scarlett&Gunnar have something special camp. I also ship them, but he needs to grow up a bit and so does she, not to mention get over Avery and learn how to stand on her own two feet more and more.
1.10 I’m sorry for you, my friend
The ‘Irena’ tour – well, that’s the way the record label bloke is pronouncing it – is on. We have a quick recap of the tensions and pressures on Rayna and Juliette and of those with the Revel Kings tour. (I thought they were called the Rebel Kings.)
Meanwhile, I got very excited that Gunnar and Scarlett were going on a road trip, but they didn’t show it to us and apparently the pair wrote three songs, so Gunnar’s reluctance wasn’t about being cooped up in a car with Scarlett, amd his family obligations were genuine. And one of my more outré suspicions was confirmed. Of course big brother can sing too. (And that’s the first all-male duet.) But I’m glad we got a little more Gunnar backstory. Surely the big brother will turn up again...in Nashville.
All the travelling about was a change and...interesting, given the show’s title.
Oh Teddy, if you wanted Rayna there to support you, why not just say so? You didn’t really, so stop pouting.
Yay to Liam for standing up to Juliette (and entertaining Rayna and her manager) and Rayna. He can totally stay. I will even use his first name. I like his dynamic with Rayna, I like that it’s re-energising her. (I also like his dynamic with Juliette. Koff.) The fact that he seemed more sober and was given interaction with Juliette suggests that they'll keep him around and develop him.
The fallout from Juliette and Shawn’s idiotic wedding was why you don’t run away and marry someone you’ve known for weeks, kids. I did wince for her a couple of times – I’d been pre-emptively wincing for him for a while.
And that was one way of writing Deacon out of the Revel Kings. At least Scarlett got her knee in before the angry male hauled a randy male off her (and Deacon had more right than Gunnar did the other episode, obv). The whole security guard enablement was gross. The sense that if this wasn’t a TV drama and Gunnar or the Gunnar figure was kept away for longer that rape would be done added edge, no need for the camera to emphasise it. The later Deacon-Scarlett conversation was a bit lampshad-y.
Both Rayna and Juliette’s big performances were great character moments, although the lyrics to Rayna’s new song are so ironically pointed that she has to release it for us to have folks analysing it. But I was a little in awe of how they must have arranged to film both songs in front of crowds. Of course Rayna went back and the nice gesture became a hollow one in view of the Colemans' happy marriage. I don’t know if it was a great choice to end on Teddy, although every other story had reached a natural break. What a gent, believing Peggy’s story that it wasn't a suicide attempt. And staring at her lips and creating a moment. That is totally the way to treat someone with fragile mental health. (I know he's seeking solace and they've obviously been dancing around it for years, but still.) I’m only going to be mildly interested in watching him squirm in his daddy-in-law’s pocket, though.
So the girls playing Rayna’s daughters are real-life sisters? That’s adorable. (Unlike those giant pictures of them.)
