Nashville s4 ep 11

Not in the mood for this? Us neither. But it’s the Nashville Wedding Of The Year, it seems, so we should probably make the effort. Rayna and Deacon are planning to get married on a property which used to belong to Rayna’s mother. They want it to be private, but the media have other ideas – not only are the paparazzi getting in about the family, but there’ll be helicopters flying over the wedding in the hope of stealing a photo or two. Helicopters? I mean, is the marriage of a country star and her washed-up boyfriend that big a deal? Maybe it is. Anyway, as Rayna, Deacon, and The Girls are leaving the rehearsal dinner at – where else? – The Bluebird, a tabloid reporter shouts “Which father’s worse? The criminal or the drunk?” at Older Girl, for which he – or someone else, it doesn’t really matter – gets pushed away by Deacon.

It’s a cruel question; but in fairness, not an entirely unreasonable one. And when, on the morning of the wedding, OG looks at the press coverage of Deacon snarling at a journo, and recalls one or two past incidents where his behavior was less than optimal, Rayna belatedly realises that she has some explaining to do, given Deacon’s indisputable history of assholery. “Why are you making excuses for him?” OG demands. Again, not unreasonable. Add to that Younger Girl feeling as if she and her father are being pushed aside for the Rayna/Deacon/OG family unit, and Tandy’s well-documented history of scepticism about Deacon – “He has a long history of causing you pain”, she patiently explains to Rayna – and, all of a sudden, the wedding is in jeopardy. Rayna tells everyone that, hell, yes he’s a violent drunk (“has his demons”) but she’s marrying him anyway. Deacon, though, sensing the way the wind is blowing, does a bunk.

Which gives the wedding guests a couple of hours to get up to mischief. Gunnar unsuccessfully tries to find a man for Scarlett. They end up dancing with each other and leave together. If the next episode doesn’t have them waking up in bed together I won’t be happy. Avery is lying to everyone about Juliette’s whereabouts to preserve the fiction of their marriage – she’s in London, he says, looking at the possibility of a stage adaptation of “Cline!”. And Colt, away from granddaddy’s farm for five minutes, takes a couple of opportunities: one to tell Layla the truth about how Jeff died, and another to go all cool on OG.

But Deacon, of course, comes back, the marriage goes ahead – Gunnar and Scarlett do a song, and it’s lovely, as their song always are – and The Girls are persuaded that permanently welcoming this man into their lives might not be a Trump-sized shitstorm. There’s an interesting twist at the end, though, when Layla insists, to her new manager Glenn, that she wants Avery to be her producer. I’m guessing, from the way her eyes are spinning, that she has something in mind for Avery beyond putting together an all-killer-no-filler album. (Um. Killer. Did I say “killer”? I do hope, for example, that Avery has suitable security measures in place for Cadence.) Quite enjoyed this, I suppose, but I kind of hope that we’re now done with Rayna/Deacon as a storyline for an episode or three.

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2 thoughts on “Nashville s4 ep 11

  1. CJ Cregg November 11, 2016 / 5:59 pm

    Great that everyone waits till the wedding day to point out the obvious about what bad news Deacon is, but there we go. Marrying a violent, possessive, jealous drunk who can’t control his emotions is a brilliant idea, Rayna, carry on.

    I was baffled by the idea that the wedding would be such a big deal to the press too but maybe the idea is that Rayna is almost royalty in Nashville and/or the Rayna/Deacon love story has been rumbling on for so long, the press want to make sure it’s finally sorted.

    I don’t really understand why Will doesn’t tell his publishing company the truth instead of just putting up with Wade lying about it and destroying his career.

  2. Jed Bartlet November 11, 2016 / 7:07 pm

    Can’t presume to say whether Will’s apprehension is reasonable or not, because I’m not in that position and, y’know, privilege; but (years after everyone else, no doubt) I’ve concluded that the problem here is Will’s career expectations: he arrived as new Big Hat Guy and he still sees himself as a mass-market entertainer. In fact, he might be better reinventing himself on a smaller scale, collaborating with The Exes and Layla and people at that sort of commercial level, whose audience won’t be remotely bothered by his sexuality.

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