shallowness (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
shallowness) wrote2014-02-19 08:01 am
shallowness) wrote2014-02-19 08:01 am
y'all
Nashville 2.2 Never No More
I liked very much that Rayna and family and Deacon were dealing with the ramifications of what had happened to them, Rayna being the most emotionally mature. Of course. The best parts of the episode were every time Scarlett stood up to Deacon and would not let him get away with much. Attagirl. (Although I've been thinking about when she'd have seen him over the years not turning into his father when he was mooning over Rayna in Nashville.)
Speaking of issues, ack, Will. Rayna heard something she could work with when he sang. His signing with the big corporate shark wasn't surprising given his tendency to make spectacularly bad choices (because risking your life is totally the way to get over grief!), but we saw that it came from self-hate and attendant insecurities.
Also screwed up? Juliette. There’s, again, just enough there for me to have sympathy with why her values are such a mess, and yeah, I do like Avery with her, partly because he’s amused by her a little, able to provide sympathy mixed with a reality check. The 'We're friends...aren't we?' was terrific. He was a terrible boyfriend to Scarlett and needed to grow up, but seeing him around a very different woman, more powerful (and weaker than Scarlett will ever be in some ways), is making him more likeable.
I look forward to seeing how a reality TV star youngling fitting into the void left by Juliette moving towards a more mature sound will work. Juliette's face when her song was referred to as a classic was priceless (and, of course, the other girl sounded better. I flat-out love Panettiere’s acting performance, but she and Britton, and Carmack even, aren’t there for their singing chops.)
The new guy running the record company is satisfyingly hiss-at-able.
Back to shipping, I think that in the long run, Gunnar working through his grief over his brother will be a good thing (although do I need to pre-emptively remind Scarlett’s best friend that he’s off limits? I'm not saying it was even subtext just my baggage as a viewer) for Gunnar/Scarlett and Rayna cutting herself off from Deacon for now is healthy. Ditto underlining that it’s over with Teddy. Still, at least Rayna had a moment of pride and her own reality check from her manager, not to mention Maddie taking the truth about her parentage hard, otherwise we might as well label her Wonder Woman.
I watched a couple of The Autobiography of Jane Eyre episodes - I have thoughts, but not the time to go through them.
I liked very much that Rayna and family and Deacon were dealing with the ramifications of what had happened to them, Rayna being the most emotionally mature. Of course. The best parts of the episode were every time Scarlett stood up to Deacon and would not let him get away with much. Attagirl. (Although I've been thinking about when she'd have seen him over the years not turning into his father when he was mooning over Rayna in Nashville.)
Speaking of issues, ack, Will. Rayna heard something she could work with when he sang. His signing with the big corporate shark wasn't surprising given his tendency to make spectacularly bad choices (because risking your life is totally the way to get over grief!), but we saw that it came from self-hate and attendant insecurities.
Also screwed up? Juliette. There’s, again, just enough there for me to have sympathy with why her values are such a mess, and yeah, I do like Avery with her, partly because he’s amused by her a little, able to provide sympathy mixed with a reality check. The 'We're friends...aren't we?' was terrific. He was a terrible boyfriend to Scarlett and needed to grow up, but seeing him around a very different woman, more powerful (and weaker than Scarlett will ever be in some ways), is making him more likeable.
I look forward to seeing how a reality TV star youngling fitting into the void left by Juliette moving towards a more mature sound will work. Juliette's face when her song was referred to as a classic was priceless (and, of course, the other girl sounded better. I flat-out love Panettiere’s acting performance, but she and Britton, and Carmack even, aren’t there for their singing chops.)
The new guy running the record company is satisfyingly hiss-at-able.
Back to shipping, I think that in the long run, Gunnar working through his grief over his brother will be a good thing (although do I need to pre-emptively remind Scarlett’s best friend that he’s off limits? I'm not saying it was even subtext just my baggage as a viewer) for Gunnar/Scarlett and Rayna cutting herself off from Deacon for now is healthy. Ditto underlining that it’s over with Teddy. Still, at least Rayna had a moment of pride and her own reality check from her manager, not to mention Maddie taking the truth about her parentage hard, otherwise we might as well label her Wonder Woman.
I watched a couple of The Autobiography of Jane Eyre episodes - I have thoughts, but not the time to go through them.