Nashville s3 ep 3

So Rayna and Luke (Layna, “not Ruke”) are indeed getting married, although even at this stage it looks as if it’s going to be kicked into the long grass in order to allow something to get in the way. For now, though, Rayna has the joy of having her wedding day picked out by Luke’s management team using a spreadsheet. It’s just so romantic.

Still, I suppose it’s the sort of romance that poor Juliette would kill for right now: suffering through morning sickness, unable to perform on stage – the saintly Glenn thinks she’s on drugs – she nonetheless pulls herself together for long enough to act up a storm in a ‘Cline!’ reading with her new co-star (Derek Hough), who inevitably makes a move on her, but is at least gentlemanly when he gets the brush-off.

What this episode is really notable for, though, is the frequency with which its male characters get hit on, although in each case you can kind of see why they might be giving off the appropriate vibes. Gunnar – who is looking so over Zoey, and who has yet to acknowledge that he and Scarlett are MFEO – runs into his first love Kiley, who is in town for some reason or other. (And who, inevitably, is hot.) Avery is in a perpetual state of drunkenness and entanglement in the arms of some or other (hot) chick. Even Mayor Teddy gets hit on by a (hot) woman in a (singles?) bar, although he declines. (Is he still Mayor? I forget.) And hat dude, inevitably, hooks up with his (hot) “personal trainer”, leaving poor Layla to blackmail The Man: unless he makes her a star, she’s going to out her husband.

Deacon’s is a bit of an odd one, though. Having burned through the hot vet and the hot attorney in previous seasons, he’s never alone for long, and while being forced to put up with Layna’s PDAs he’s snared by one of Luke’s backing singers pretty much the moment she sees him, and she just keeps on going until he yields. Now, I don’t want to suggest that a sexually empowered woman with agency is anything other than just that. But she does seem very… determined?

Scarlett’s out of all this: she’s writing for – hell, I don’t know, some kind of songwriting workshop? Anyway the startled look on her face when she’s asked to write “something fun” is priceless. But later on she’s much, much nicer to Older Girl than the latter in any way deserves. No-one’s hitting on Scarlett, though.

The episode ends strongly when Juliette – out of options about who she can talk to – turns up on Rayna’s doorstep. It’s a salutary reminder that the Rayna/Juliette axis was central to Nashville when it started: once rivals, they’re now in the position where, perhaps, they understand each other better than anyone else does. Preposterous but fun; the show could, though, benefit from a good song or two. The two big set-piece numbers this week, from Luke and Avery, are both rubbish.

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One thought on “Nashville s3 ep 3

  1. CJ Cregg June 3, 2015 / 10:23 pm

    The backing singer was beyond determined – she was like an unstoppable, heat-seeking missile. Deacon is not as hot as all that, FFS. I thought Luke had maybe “arranged” for her to keep Deacon occupied so he (Luke) could tell Rayna about it later and keep them estranged.

    This is a phenomenally silly show, but I’m still hugely enjoying it.

    Juliette is the BEST character in it, obv. I hope Rayna’s advice is “Do the opposite of what I did, girl – TELL HIM NOW.”

    Older Girl is the WORST, marginally beating Scarlett because Scarlett was actually quite amusing this week. I love that they wrote in her complete inability to be anything other than a wet blanket as a plot point. Have….. fun? Does. Not. Compute. But yes, she was nicer to OG than OG deserved because – I say again – OG is the WORST. Although much more of that “artists feel more than lesser humans” chat and Scarlett may reclaim the title.

    There is so little music in the show, now though, what is that about? When we get a song, we only get a snippet of it instead of a full performance, which is disappointing. I do like how consistent they are with what little music they do play though and how it fits the characters. Luke’s songs are always big, cheesy, old-fashioned and showy but empty, like Luke himself. Avery and Gunnar’s are always more contemporary, sensitive singer-songwriter angsty or emo-lovey things. Rayna’s ones with Deacon are confessional about their history because that’s all they ever talk about when they’re together. Etc.

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