Nashville
Someday You'll Call My Name

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Jolene, Jolene, Jolene, Jolene

We then cut to Deacon and Juliette harmonizing on "Undermine." I really do love this song, though I think the simple acoustic treatment suits it much better than the full production they do here. And we've already discussed Juliette's whiny vocals. But it's a great song, and Randy and the others say it's killer. Juliette agrees, but then asks for a few minutes alone... with Deacon. She's acting all sad, which prompts Deacon to ask if she's okay. She says yes but looks like no, and so Deacon asks who the last verse of the song is about. Juliette says "no one," but eventually admits it's about her mom, who loved country music and raised her on all the greats -- Patsy Cline, the Carter Sisters, Kitty Wells and (she begrudgingly admits upon prompting) Rayna Jaymes. Though, Juliette says, she never much related to someone who had her career handed to her on a silver platter. What is she, like 23? Oh, the struggle.

Deacon says that Rayna took her knocks, and Juliette argues that she'd like some knocks of the variety that one gets in a Belle Meade mansion. Maybe if she'd had those kind of knocks, she could appreciate real cheese. Though Deacon tries to ask more about Juliette's mom, she deflects the question and asks what he's writing about. She guesses that it starts with a "Ra" and ends with an "Ayna," but Deacon says that this one is just about him. And then they go to have sex.

And then it's time for the school talent show! Rayna obligingly autographs a CD as Teddy gets a text that Billy can meet with him. But everything is trumped by Lamar, who shows up with two giant bouquets for the girls. At least he's an involved grandparent, I guess? As the girls head backstage, Rayna tells Lamar to get out. She brings up the check with all its stipulations and asks why he's so invested in her giving up her career. Lamar says that Teddy's in the middle of a campaign (which Lamar orchestrated), and the girls are at the age where they need their mother. He adds, "You better than anyone should know about that." Rayna does not appreciate her dead mom being thrown in her face, and she tells Lamar to go home and, while he's at it, to go to hell. Hell is, like, his cottage on the lake. For Lamar Wyatt, I'd think it's not much of a punishment.

Cut to post-coital Deacon and Juliette. He's wondering how this (meaning sex) keeps happening. I mean, she does practically give him a lap dance every time they're in the same room together. Juliette "jokes" that she's irresistible, then adds that it didn't help her much at the Bluebird. Yes, the Bluebird, where Deacon sang with Rayna. Juliette says that she's always wanted to sing there. Well then why hasn't she? I mean, granted, she might not have too much actual cred with real musicians, but I feel like it wouldn't be all that hard to arrange, even with a manager as potentially inept as Glenn.

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Nashville

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