Nashville
Why Don't You Love Me

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Potes: A+ | 4 USERS: A+
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The Dog Days Are Over

Rayna and Deacon head into some sort of instrument storage room because they haven't seen each other in, like, three hours and it is time to make out, obviously. Rayna says that everyone's been talking about the nominations, but all she can think about is last night. DEACON TOO! They smooch and, without taking any breaks from said smooching, Deacon proposes that after the nomination party they go to his cabin and hide out, and do a little canoeing. Is that a euphemism? He's not going to make me bust out a "boy in the boat" reference, is he? That all sounds good to Rayna OBVIOUSLY, but this is her week with the girls, and they have a little hot chocolate and s'mores celebration planned. Deacon thinks this is even better, adding, "I love me some s'mores." Is that a euphemism, too? And how does he manage to make the line, "I love me some s'mores" sexy? SWOON.

Okay, but wait. I know everyone is very concerned about Rayna messing with Deacon's head, but can we all agree that inviting himself over to hang with the girls is a little too much at this point? Very sweet, but too much. He's not their dad yet! Except for Maddie, but that's different. Rayna says, "Let's see what happens," which I think is totally appropriate given the too-muchness of "I love me some s'mores." She also notes that she's a mama now, and along with kids comes a lot of mundane things that aren't the stuff romance is made of. You know, like custody agreements. Deacon says that he loves Rayna's kids, and all that mundane stuff is pretty much just what he's been waiting for. He adds, "If you're asking me if I'm looking for a way out here... I'm not." Rayna gives a little smile and says, "Good. Me neither." Oh SWOON. One hundred times swoon! And then the two of them KILL ME DEAD when she proposes taking it slow and he summons every sultry sexy hot maneuver known to man in one long kiss and asks, "Is that slow enough for you?" I am writing this from beyond the grave! Jesus. Someone give Charles Esten an Emmy immediately, he has earned it.

In happy news, Deacon and Rayna's makeout music happens to be a new song by Avery Barkley, who is jamming with the roadies. The song is great, and apparently was written by Jonathan Jackson. Slightly detracting from its impact, though, is a big framed platinum album by Darius Rucker right over the piano that Avery is playing. The subliminal messages here are not going where the product placement staff expected, methinks. Though you do have to give Hootie credit for being the first mainstream artist to really cash in on "Wagon Wheel," even if it's now been eternally ruined for the rest of us. That mean head roadie guy is not impressed by Roadie Band, who tells them that their break is over and they should get back to doing their damn jobs. Avery looks sad, like he always looks sad these days.

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Nashville

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