Nashville
Move It On Over

Episode Report Card
Potes: A- | 1 USERS: A+
YOU GRADE IT
Your Love Is My Drug

Meanwhile, Teddy is debating Coleman. And... haven't we all had enough of real debates? Do we really need to torture ourselves with fictional ones, too? Teddy is going on about how Coleman is more of the same, whereas he represents an exciting new Nashville. Coleman points out that Teddy comes from a long line of old school country club politicians, but most closely resembles his father -- a man who failed repeatedly despite his advantages. This hits a little bit of a nerve with Teddy, and Coleman continues with an extended metaphor involving a silver spoon and a financial hole he'll never dig out of. And would YOU want this loser of a guy to start construction on a new baseball stadium with that silver spoon? I'm sorry, are you actually asleep? Yeah, me too. Coleman says that all Teddy has ever done is inherit money and lose it. Well, technically inherit money and lose it and then embezzle some other money.

Back at MethMom Manor, Juliette apologizes to Bo for having to witness such an awful scene. He's sympathetic, and she says that the more she ignores Jolene the more noise she makes, and all the attempts to get her into rehab haven't worked either. Bo suggests that part of the problem is that Jolene might not be able to hear it from Juliette anymore. Juliette of course calls Deacon, because he is the only phone-a-friend option she ever uses. On a separate note, it's a refreshing change to actually see Juliette be nice to people who work for her!

We cut to Scarlett and Avery's place. He's just getting home and hears the tail end of her conversation with her mother, which alludes to the forthcoming guitar pull appearance and the additional guitar player who will be added. As she takes her special recipe pink macaroni out of the oven, Avery notes that he does, in fact, play guitar. Apparently he's free the following night, and can come and play if she likes. Scarlett, because she's so dumb, is honored that he would even consider such a thing. She says that she's nervous as all get out, and having him there would mean the world. Then they hug, and because his false niceness and her true dumbness are attractive features to the other, they start to get busy. And by the looks of it, Scarlett follows the "Chipmunk in the streets, wildcat under the sheets" paradigm. I'm sure fairy dust poofs out of her chooch every time she has an orgasm, though.

Speaking of sexytimes (or frustrating lack thereof), Deacon pulls up to his house at night to find Rayna sitting on his stoop. He's just returning from a fishing trip, and she wonders if he caught anything. In response, Deacon gives a terse, "Nope." He can't even win at fishing, wah waaaaaaaah. Rayna of course wants to talk about the song for the commercial. She wants Deacon to help her make it happen, but he is not down with the lyric change. The change in the lyrics, however, is key to making the whole thing happen. Deacon says that it's a good song, and Rayna argues that it will still be a good song. She seems to think that he's doing this for personal reasons, which he very well may be, and adds that he knows it's killing her to do a commercial when she's said no to this type of thing for her whole career. And with that hair, there had to have been a lot of offers. She admits that she needs the money for her family (the "including my deadbeat embezzler husband who you want to deck" is implied). Deacon gets increasingly angry, and says that music is all he's got, and it's the only part of his life that he's been able to do halfway good. It means something to him. Well, that's kind of low. Obviously it means something to Rayna too, and that's why she's trying to figure out how to keep playing it.

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Nashville

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