Nashville – Recap and Review – There’ll Be No Teardrops Tonight

photo: abc

photo: abc

There’ll Be No Teardrops Tonight

Original Air Date: Feb 13, 2013

Kelly — TwoCents Reviewer

The title of this episode might promise that there’ll be no tears, but this is Nashville, not a bottle of shampoo. They can’t make that kind of promise! Pretty much everyone has something to cry about in Music City right now, and if they don’t, they probably will soon.

Rayna is the first to break. On the eve of a trip back home, she has to confront the reality of her upcoming divorce, the toll it will take on her kids, her glittery protégé’s attitude, and that elevator smooch with Deacon. She’s so distracted that she actually misses her cue onstage twice—which, according to our favorite guitar-playing smoocher, has literally never happened before. So Rayna turns to Liam, the other guitar-playing guy in her life (because, as we’ve already established, Connie Britton could find chemistry with a paper bag). He’s back! I’m glad to see the man who befriended Rayna and encouraged her to find her own sound. I’m less glad to see the man who advocates shots and sleeping around as legitimate solutions to her problems. Unfortunately, they’re both the same man.

Liam encourages Rayna to dance, drink, and—insert suggestive eye contact here—get away from her life. The drinking is his area of expertise, the dancing is hers, and the getting away? That’s a team effort. They make out for a while. Things almost get heated, but Rayna escapes to the bathroom to put on lip gloss: a perfectly mundane moment that causes her to break down in tears as only Queen Britton can do. Rayna wants to escape her life for a while, but she can’t. Life goes on, the sun rises, and she has to go home—right after Deacon confronts her about her relationship with Liam. Deacon’s a smart guy. He knows the difference between friendship and something more when it comes to Rayna.

He just doesn’t know what Rayna is facing. The divorce is a closely-guarded secret, and she’s not even sure if she can go through with it. It’s Liam, in one of his finer moments, who convinces her that a fake marriage eventually does as much harm as good. Still, when she and Teddy break it to the kids, it hurts everyone. The girls even baked a cake for their mom! That makes it so much sadder! This episode is really good at giving new significance to everyday details. Cake. Lip gloss. Even a broken bowl ends up coming back to haunt them—Maddie goes to her father’s room to show him the bowl, only to hear him on the phone with Peggy. Now she has to tell her mother that her dad is still with another woman. The trouble’s only just begun in this family.

The other half of the Red Lips White Lies tour isn’t doing much better. Juliette loves her new stripped-down sound so much that she decides to switch up the set list, but her manager isn’t having it. Their ensuing power struggle is very father-daughter—he wants what’s best for her, while she wants maturity—and neither is entirely in the wrong, but neither handles it well, either. The end result is a public showdown in the hotel, as Juliette wakes up the entire team to yell that she’s the one in charge. She’s the one they say “Yes, ma’am,” to. Glenn quits. Nobody wants to be yelled at after midnight.

Juliette’s fiercely independent streak has kept her alive, and it makes her a force to be reckoned with, but, as Deacon notes, she has to know when to rein it in. The episode in the hotel hallway is not her most attractive moment. Far more attractive is her budding friendship with Emily, the long-suffering assistant, and her outreach to her mother. Releasing a bit of control over her life, Juilette calls Jolene—whose time in rehab is almost up—and invites her to move in with her. To her new house. Apparently pop starlets can have as many new homes as they want!

Up-and-comers like Avery, Scarlett, and Gunnar are less lucky. Avery’s still living in a motel, avoiding his manager’s bed and complaining about his sound. Dominic wants him to go in a direction that he’s “not feeling,” and since Avery isn’t Juliette Barnes quite yet, he can’t afford to be so picky. I mean he literally can’t afford it. He hasn’t seen a single penny yet. Marilyn insists that he should stay the course and wait to sell the publishing rights, but Hailey is back, and she thinks Avery is the whole package—as opposed to Scarlett and Gunnar, who are just “good songwriters.” Has she heard Scarlett and Gunnar lately? And has she heard Avery ever? She’s clearly piling on the flattery, but Avery gives in, taking $100,000 now over the possibility for more money later.

As for those “good songwriters,” they’re still living together, violating their rules re: kitchen nekkidness, and—good news—getting ready to sing for Rayna James herself! If she likes it, she’ll sign them to the label. All is well until Gunnar’s fugitive brother shows up, promising that he sold his gun. Gunnar wants to lend Jason the couch for a few nights, but Scarlett won’t harbor a fugitive, so Gunnar opens up about his own role in the armed robbery. His roommate insists that Jason was still in the wrong, for putting his brother in that position, but she agrees to let him stay the night. Just one. Until he sings with them. Now he can stay a few more nights! Ah, the power of music. Jason’s getting under their skin, and nobody knows that he still has a gun in his bag.

So what do you think will come of that living arrangement? Did Avery make a mistake by selling out? Will Rayna’s love quadrangle ever start to shrink? Only time will tell! Until next time, readers—go bake a cake for someone.

This entry was posted in Nashville and tagged , . Bookmark the permalink.

Give YOUR TwoCents

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s