Cut to Rayna and Teddy's lovely kitchen, where she grabs some tomatoes as aggressively as possible and notes that Teddy hates politics. He clarifies that he doesn't hate politics -- he hates talking about politics. Well, fortunately I'm sure that's something he'll never have to do as mayor. She once again points out how dastardly her father is, and says that Teddy is going to regret this. Teddy is naïve though, and sees Lamar's offer as help. He quotes Lamar's statement that he'll be able to write his own ticket after two terms as mayor and says that Rayna can then go ahead and stop working. Rayna is like, "Duh, who wants to stop being a music superstar?" She doesn't want to just be his little woman, standing at the side of the stage, but he points out that he's pretty much been her little woman all this time. He says, "I know that I wasn't your first choice. I know you settled for me. But I have been there for you every step of the way." Oooh, someone put some cornstarch in that plot! Second-choice Teddy wants some time in the spotlight his own damn self. Rayna looks sad and says that she promised to perform at Cole's announcement. I think she still should, since he would obviously make a better mayor!
Back at the Bluebird, Gunnar is reading Scarlett's poems. He says they're songs, but she denies it. A lot of them are about her temporary breakup with Avery, which gives Gunnar the opportunity to say that, other than heartbreak and drunken sex, he's not sure what Scarlett sees in Avery. Scarlett says he's the one, which is OBVIOUSLY FALSE! Gunnar asks if Scarlett has ever thought about putting her poems to music and she's like. "Oh... well, sometimes I hear music in my head when I'm writing them, but... durrrrrrrrr." She is dumb in so many ways! Get it together, lady. No one's buying that you moved to Nashville to be a POET. Gunnar wants Scarlett to sing as he plays guitar. Wouldn't it be funny if their co-write turned out to be "Friday"? Scarlett's been poetically ruminating on which seat she should take for years!
With that, we are at Edgehill Republic Records! It's Rayna's reckoning day. She waits in the lobby and we see her little framed album, Sweet and Sorrow, alongside a big, giant poster of Juliette's All My Angels. Something tells me this isn't going to go well. Rayna is uber-professional as she approaches new label head Marshall Evans, listing her various accolades and noting that she has helped built this company from its humbled beginnings and stayed loyal even when other labels tried to woo her. Too bad for her, her record still isn't selling and "the older business models are irrelevant." Marshall tells her that she needs to find her place in a new market. Rayna's smile stiffens as she says, "So you're telling me after 21 years at this label, if I don't open for your little ingénue who wouldn't make it as one of my backup singers..." -- ostensibly because Rayna needs GOOD backup singers to drown out the sound of her own voice -- "that you're not going to support me?" Basically, yes. Marshall says that he needs Rayna's decision and she tells him that he can kiss her decision as it's walking out the door. The entire viewing audience erupts in a big whoop, and Rayna's manager does the opposite of that.