Nashville
Dear Brother

Episode Report Card
Potes: B+ | 2 USERS: A
YOU GRADE IT
O Brother Where Art Thou

Juliette drags Deacon onstage to say a few words and he defends Old Yeller before thanking all of his friends for making him feel so appreciated. And then he admonishes them not to do it again. And then everyone does a cheers to Deacon. Including Jolene! No one thought to tell the waitstaff not to offer her champagne? Gee, I bet a conversation with the addiction counselor could have helped with that! Before we know it, Jolene is a mess with Deacon by her side. At least she's out of the way, in some sort of back room. Juliette wants Emily to call the addiction counselor to see if he can pick up Jolene, but Deacon thinks they should just make haste in getting her home. He offers to take her, but it IS his party after all and Juliette tells him to stay and she'll take care of it. She adds that she really wanted to sing for him. Deacon points out that he hears her sing all the time and she gets to the real truth of the matter, which is that she really wanted to sing at the Bluebird. Well, too bad that your mom ruins everything and that's your fate for all eternity. You were right for wanting to send her away when she first showed up all meth-addled at your gated community! Speaking of ruining everything, Peggy shows up at Teddy's office in the most Republican business lady outfit you have ever seen. This is a huge turn-on for him, OBVIOUSLY, and he is greatly looking forward to "financially" "consulting" her on top of his desk.

Back at the Bluebird, the good news about Juliette having to drag Jolene home is that Rayna gets to sing her song. She introduces it by saying that she and Deacon go back a long time, and if there was no Deacon Claybourne there would be no Rayna Jaymes. She has Watty on stage with her, as well as Pam Tillis and Kate York on backing vocals. Boy, everyone learned her brand new song so quickly! She says, "Deacon, this is for you," and then launches into a song with a chorus featuring the lines, "Pour me something stronger than me," which is a GREAT thing to sing to an addict in recovery who has just witnessed another addict relapse. The song is great, though, and Connie Britton sounds really good on it, too. And she's looking at Deacon the whole time and he's looking back at her and... well, you know. We cut to scenes of Juliette putting Jolene in bed and Jolene apologizing for ruining her party. Not Deacon's party, but Juliette's ninth birthday party. And then, over the last chorus of the song we see Gunnar in the morgue identifying Jason's body. The moral here is TAKE THE CALL. The drama of this moment pales, however, to the question of whether Deacon and Rayna are finally going to bone.

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Nashville

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