Nashville
Someday You'll Call My Name

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Jolene, Jolene, Jolene, Jolene

When Juliette gets back to her house, Deacon asks if everything's okay. She puts on a big smile and says that it's all great. They look quite cozy with their cups of coffee, but just as she's offering to make (or more likely order) something, Deacon sees an incoming call from Rayna and says he has to go. He leaves without a kiss, hug, or anything, and just says, "Thanks for everything." Getting a "Thanks" on the morning after is for sure a "He's just not that into you" kind of moment. And right she had to deal with MethMom, too. As soon as Deacon gets outside he calls Rayna back. She wants to talk, in person. Deacon agrees, and we see tears in Rayna's eyes.

But the one who REALLY should be crying is Teddy. We cut to the Music City Credit Union, where Teddy is meeting with a guy who is ostensibly the ever-powerful, string-pulling Billy. They're quite friendly with each other, and Teddy says that he'd like to take out a line of credit. Billy warns that qualifying these days is a bigger bitch than his third wife (har har?) but says he'll do what he can. He warns that things are backlogged, though, because the feds are auditing the credit union, all the way back to 2008. Billy looks awfully nervous, and says he'd better talk to Rayna before applying for that line of credit. And so continues the saga of the inscrutable bad money rich guy thing that no one really cares about all that much!

Back in Dogpatch, Avery comes home to find Scarlett cooking dinner. She hopes he's in the mood for the same thing she's cooked every night, which I'm guessing is possum and 'taters. But Avery is not yet ready for his squirrel melt. He hands Scarlett a whisk and asks her to sing for him. She knows he's been talking to Gunnar about the Watty White demos. Scarlett does not want to partake in the whisk-singing, as she's been traumatized by her own world-renowned suckage. She talks about how awful it was, and how unworthy she felt standing in a spot where so many greats recorded. Avery tells her that this isn't about her. The songs came from her, but getting them out there is something bigger. It's a piece of her that she's obligated to share. Avery says that Scarlett has to take the pressure off, and that she is the vehicle for the music getting heard. Avery instructs Scarlett to imagine it's just the two of them in the studio, and even offers to be there if she wants. "Forget about doing it for yourself," he says. "Do it for me." And that, folks, is actually a moment of honesty, though not in the way we all initially thought. Scarlett hugs Avery and smiles, because she's as bamboozled as the rest of us into thinking he's a good boyfriend.

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Nashville

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