Nashville Recap: They Tried To Make Me Go To Rehab, I Said…
9:31 am, November 8th | by Sarah Devlin
If you aren’t already loving Nashville, I hope this episode brings you on board. I expected it from a show helmed by Callie Khouri, but the expectation doesn’t diminish my delight at seeing depictions of such strong, interesting, flawed female characters who are at the top of their career game — and that’s exactly what Rayna James and Juliette Barnes are becoming. Aaaand then there’s Scarlett.
Let’s just get Scarlett out of the way first — she and Gunnar have the opportunity to audition for a big time producer type, but their representative at the label wants to add another guitar player to “round out their sound.” Enter Avery, who just so happens to play guitar, and just so happens to hear Scarlett mention their need for one. At first she’s psyched about this idea, which quickly turns to disappointment when Avery can’t resist showing off and the producer passes on them, saying that the backup guitarist “hijacked” the song.
Okay, two problems with this: one, couldn’t the label just say he was filler and not part of the original duo and have Scarlett and Gunnar perform alone? And second, can you blame Avery for wanting to show off? He and Gunnar get in a dumb fight about who is or isn’t “making eyes” at Scarlett, but there was a lot of uncomfortable eye-gazing in their performance, and Avery has been struggling to make it for years; I can see these twin indignities getting to him and making him act out. Scarlett cries about it and begs him to stop being jealous, and he agrees. For now.
Meanwhile, Rayna is reduced to doing perfume commercials due to her family’s financial troubles. Was it just me, or was Rayna’s very silly-looking ad meant to be a dig at Taylor Swift’s similarly dippy commercial for Macy’s (I think? The internet is not being helpful to me on this. Anyway, the one where she twirls around in a dress singing “Loving him was reeeeeeeeeeed”?). They tweak the lyrics slightly and Deacon, who is in full petty-ex-partner mode, gets his lawyer to halt production since he doesn’t want the song to be used to sell “beauty products.”
While he’s being a jerk to Rayna, he’s being lovely to Juliette, even agreeing to meet with her pilled out mom to urge her to go to rehab. Though she hasn’t been great about listening to Juliette, Jolene eventually agrees to go to treatment, but not before cracking her daughter across the face in front of both Deacon and, I believe, Juliette’s driver/bodyguard/only friend. Juliette tries to thank Deacon with some macking, but he stops her, telling her sometimes friends do nice things for other friends with no expectation of sex in return. Mind blown, Juliette leaves to think about this for a while and also move into a new house. Deacon goes to perform at his usual Thursday spot and finds a drunk heckler on which he can take out all of his pent up frustration with Rayna, landing himself in jail for the night. When he calls Rayna to rescue him, she ignores the call, and it’s Juliette who shows up to pick him up.
Rayna isn’t just mad at Deacon about the perfume commercial; Teddy has just questioned whether she canceled the tour because she slept with Deacon, or wanted to sleep with him, and even though one of those is totally true she’s committed to putting the past behind her. Teddy can’t escape the past, though, because the Feds are sniffing around his partner-in-embezzling’s finances. She gets spooked and wants to make a deal, so Teddy heads straight to Lamar’s and asks him for help. Oh, great. I’m sure owing Lamar a favor FOR LIFE is way better than whatever deal the government would have offered him. Lamar promises to “make it go away,” and the auditors do disappear, but when Teddy and his girl Friday meet to gloat about it, someone is taking pictures of them with a very fancy camera. Dun dun dun!