The third season of ABC's "Nashville" ended last night. We have some hyper-devoted fans of the show on staff at Pitchfork, and a few of them gathered their thoughts on this season and predictions for the next.
JILLIAN MAPES
Season Highlight: I’m not just saying this because it’s fresh on my mind after last night’s finale: Will Lexington finally being brave enough to live his damn bliss and step out of the closet? While Lexington’s music doesn’t do much for me—here’s hoping his new songs with Kevin are more Chris Stapleton than Tyler Farr—I’ve found myself invested in the character’s slow coming-out all season. Back in October, when his "trainer" stormed off at the whiff of a NDA and Will went looking for love in a public place, I thought the writers would highlight Nashville (the industry, not the show)’s biggest willful blindspot with Lexington’s coming-out. But it took the love of a good man like Kevin to make Will see what he’s missing by living a lie.
Also, Rayna kicking Luke’s ass at the CMAs. Her new songs are way better than his BroBible hits, and despite a gender disparity on the actual country charts that’s worse than the VIDA Count, I appreciate "Nashville"’s matriarchal optimism.
Season Lowlight: Part of me wants to point to the show’s portrayal of music journalists—c’mon, blackmail from a Rolling Stone reporter and utter cluelessness from a Pitchfork writer?—but one cannot take those things personally. So let’s just say that Jeff Fordham’s continued scumbaggery and gradual redemption bum me out. I know mentally abusive, sociopathic types like him lurk in any industry, particularly ones where the monetary stakes are so high. But he should just not get to win, like, ever after all the havoc he’s wreaked. Unfortunately, short of killing someone off, that’s just not how primetime soaps work; no one wants to watch one character—even a villain—be truly miserable and totally floundering week after week.
Who Run the World? Ride or Die Chicks: Sadie Stone’s mysterious retreat from Nashville worries me. No doubt shooting Pete was, in fact, self-protection, but she’s got some demons to wrestle with regardless. Too bad Deacon’s been using his cabin (and needing to use his cabin), ‘cause having Sadie in a close-to-home spot like that would make me feel a whole lot less like we’re never gonna hear from her again. Kacey Musgraves has a new album coming out next month that stands to change the game as much as her Same Trailer, Different Park, so it seems only right that "Nashville"’s Musgraves-alike gets her groove back next season. (I could think of worse things than this also involving Luke Wheeler and a flatbed under the stars, especially if it results in more songs like "Can’t Help My Heart".)
I’ve seen enough "Grey’s Anatomy" to know that Deacon Claybourne will be just fine, but it’s hard to see Rayna seemingly never catch a break with him. Maybe my feeling that way gets at what makes her such a fascinating character: for being one of the biggest country stars of the last two decades, Rayna James can still feel like an underdog. That, combined with her humbleness, make her incredibly likable in a way that’s rare for celebrity portrayals, fictional or otherwise.
Speaking of which, Christina Aguilera is not the worst actress in the world, but I am over non-country singers trying on some a pair of cowboy boots because they think it might garner them some new fans.
Predictions for Next Season: By the sounds of "Mississippi Flood" and "Last Honest Man", Juliette Barnes’ new album won’t be an epic display of slap-a-dashery, but instead, a career maker. In the wake of its inevitable debut at the top of the charts, Juliette will appear on—but of course—GMA, only to break down dramatically when Robin Roberts asks her what it’s like being a working mother to an infant. She will make a teary-eyed plea for Avery (don’t worry, soul-patch will come back to her), end up in rehab, and write a tasteful ballad about it, which she’ll debut at the Opry to rave reviews from outlets like The Tennessean and hey, maybe even NPR’s Ann Powers.
Favorite Song:
Though the transition from the intro to the build-up could sound more seamless, Scarlett and Gunnar’s "Longer" not only plays to their chemistry, it turns up the noir longing on their new, Avery-less play at a Civil Wars type of sound. "I can’t make you talk to me, but I can make you listen," he tells her before debuting the song during a (Triple) X’s show. Somehow she nails her parts and the breathy harmonization, both of which are magic-making when combined with Gunnar’s falsetto and classic country picking. Maybe that’s ‘cause Scarlett was feeling so damn hard, the words just magically came to her. These two got me like…
EVAN MINSKER
Season Highlight: I want to say that it’s Will Lexington coming out while his homophobic dad scowls from the back of the room, but if I’m being honest with myself, it’s the time Micah got lost while going to the bathroom at the CMAs. That was probably the hardest I’ve laughed at a scene soundtracked by suspenseful music.
Season Lowlight:Posthumously revealing that Gunnar’s brother Jason was a rapist. That didn’t sit well with me.
Three Genuinely Good Licensed Songs Used in Season One:
- Kurt Vile: "Runner Ups"
- Phosphorescent: "Terror in the Canyons (The Wounded Master)"
- King Tuff: "Bad Thing"
Three Genuinely Good Licensed Songs Used in Season Three:
- Classixx: "All You’re Waiting For" [ft. Nancy Whang]
And that’s it. They really dropped the ball on licensed background music.
Three "Nashville" Plot Devices I’d Love to See Disappear:
- [Character] deals with heartbreak or loss, and therefore, [character] gets very drunk. I get that this is how things happen IRL, but it seems like every character has had their own version of this plot point so far. Grief counseling is a thing, you know?
- Jeff Fordham ruins [character]’s life in order to make more money. The writers need to decide whether or not this dude has a heart or not. Whenever he’s on screen, you can smell the poop—he’s always up to something. He’s always got that look on his face—the scheming look. How could anyone actually relax or have fun around this guy? You just know he’s going to get you in a feud with Jade St. John the second you leave him alone with your Twitter account.
- Beverly as the devil (with the voice of an angel). She appears just long enough to blame her troubles on everyone else. Even when she does the right thing, she reveals she only did it because she was backed into a corner. Let’s get to know this person better.
Predictions for Next Season: Beverly dies—long live Deacon. Realizing it’s a terrible band name, Gunnar and Scarlett stop calling themselves "The X's" and just go by "Gunnar and Scarlett" because that’s what everybody calls them anyway. Juliette takes a few episodes to realize that she’s made a huge mistake by ostracizing the people she loves. Will sees backlash to his announcement, finds support from the people who count, and sells a whole lot of records and concert tickets. Glenn finds love.
Favorite Song:
Juliette Barnes’ "Mississippi Flood", mostly because when she performed it on the roof, helicopters and police descended on the scene. It reminded me of the one time I saw Jane’s Addiction and there was a stunt chopper involved for some reason. (Rayna and Sadie’s duet "Gasoline & Matches" is an honorable mention.)
LAURA SNAPES
Season Highlight: The misandry. Rayna shafting Luke at the CMAs (and in general), and particularly that scene where Bucky suggests Highway 65 sweep up some of Edgehill’s male acts and Rayna shrugs, "Nah, I’m not interested in that." I really appreciate "Nashville"’s sensitive take on difficult issues: I cried when Will came out, and I thought Sadie’s domestic violence plot was treated respectfully. Saying that, I love that this show can do gay relationships, rape, incest (sorta, with Maddie and Colt), prostitution, and all manner of weird paternity situations but the idea of a cowboy going out with a pop star can never be. Poor Jade St. John.
When so many of "Nashville"’s leads flit from rational to monstrous at the drop of a ten-gallon (remember Avery’s drunken freakout when Juliette got pregnant before calling him a saint), the handful of moments where Rayna’s peaceful stoicism broke were really moving. I wish Jeff trying to sign Maddie had been indulged more, though obviously I loved Rayna humiliating Jeff in the boardroom. (A gift of hers, going by the Sadie/Pete settlement.) Also someone petition the Emmys to start a new Outstanding Comic Performance From a Heavily Pregnant Actor award just for Hayden Panettiere. The baby shower scene!
Season Low: Teddy’s sexy storyline still managing to be the show’s least sexy storyline. Scarlett’s horrendous "magical negro" self-discovery non-plot. The deeply frustrating way that a character (mostly Juliette, Gunnar) appears to learn a lesson one episode, then unlearn it again immediately the week after. Gunnar’s brother having raped Kiley. Colt’s sick beats. Deacon’s horrible girlfriend, Pam. Why is Juliette going to Jeff—what success has that guy had since getting fired from Edgehill? None other than Layla’s Twitter flamewar, right?
Simultaneous Season Highlight and Lowlight: Juliette spying on Avery at a festival while dressed as late-in-life Michael Jackson.
Notes to the Writer’s Room: We need more characters who aren’t famous. Season 2 was a borderline disaster (partly) because the stakes were now the same for all the characters. Scarlett and Deacon retreated from the spotlight this season, but now the X’s are signed with Highway 65, we need some more up-and-comers and outsiders. Scarlett’s dreamy doctor is a (limp) start. The mayor’s office was good for this, but now it seems like that part of the show has gone for now. Maybe Maddie and Daphne’s school?
DIVERSITY. Scarlett’s homeless friend was a horrible racial stereotype, and Zoey was a joyless scold. Significant—not to mention necessary—room for improvement.
Stop trying to make "wheels up" happen. Also with the terrible flashback CGI.
A+ shade putting Taylor Swift in the CMA nominations.
In the Season 3 DVD boxset, I’m expecting both Rolling Stone’s Rayna cover and Pitchfork’s Triple Xs story as bonus materials.
Can’t anyone find a real baby for Juliette and Avery?
Predictions for Next Season: Beverly dies. Bucky and Glenn form a union, whether romantic (who else is there left to ship?) or an actual union for beleaguered managers. Please no consequences of Highway 65 potentially being founded on corrupt money—hilarious as it is when "Nashville" brings myopic focus to The Shareholders, I don’t want to see Rayna’s hard work undone by a dry business matter. (Saying that, what success has Highway 65 actually had, CMAs/"Ball & Chain" aside? Fingers crossed they have a huge hit next season.) Scarlett and Gunnar make a plan and stick with it.
Poor neglected Daphne gets the monster tweenage rebellion she deserves and Maddie writes her "Tim McGraw", except it’s called "Will Lexington" and she picks up the Kacey Musgraves baton dropped by Sadie Stone. Hopefully Juliette gets less cartoonish and there’s some sensitivity around the post-partum depression storyline, topped off by the triumphant success of that Patsy Cline biopic. (Note to ABC, I would crowdfund that as an actual made-for-TV movie.) As she and Avery are essentially Rayna and Deacon 20 years younger with the gender roles flipped, I hope it doesn’t take them as long to get their lives together. The show treats Layla and Jeff’s situation as the abusive relationship it clearly is. Also Jeff totally commissioned the pap shots of Will and Kevin, right? Comeuppance, please.
Favorite Song:
Against my better judgement, Luke and Sadie’s version of "Can’t Help My Heart" was gorgeous (and it’s the only song that’s stuck in my head all season).
MARK RICHARDSON
Season Highlight: Has to be the Pitchfork writer sub-plot a couple of episodes back, where a guy was there to interview the Triple Xs. Was it a Rising? I’ve been turning over alternate universe possibilities in my mind ever since. My dream that he become a regular cast member, alas, went unfulfilled.
Season Lowlight: A tie between the Teddy’s embezzlement sub-plot (How long before he killed someone to cover everything up?) and Scarlett’s involvement with lost bluesman Terry.
The Ballad of Jeff Fordham: There was an episode or two about two-thirds of the way through the season where I could almost see why someone might be charmed by Jeff Fordham. Something about how deeply he’d been humbled, starting from scratch, forced to live by his wits—there was something Don Draper-esque about it. But by the end his evil nature had returned and he seemed more reptilian than ever.
The State of the Record Industry: Nashville seems to be a three-record-label town. Edgehill (who is still left there?), Highway 65, and Luke's brand new Wheelin’ Dealin’ Records. All characters are required to move only between these imprints.
Favorite Song:
"Borrow My Heart". No one on the show can harmonize like Scarlett and Gunnar, and Avery fits perfectly. Reminds me of the BoDeans.
Predictions for Next Season: Obviously Beverly died at the end, and Deacon will have to carry that burden. It’s not impossible to imagine him putting his new liver to the test in light of his grief. My hope is that his new lease and life, new marriage, and new family won’t derail his solo career. I was looking forward to the follow-up to Live at the Bluebird.