On the Road Again Season 2 Episode 10
Nashville season 1 episode x recap: on the road again reviewed.
Is Nashville designed for the female gaze?
Every week inSlate'due south Nashville Tv society, Katy Waldman will accept an IM conversation with a different Nashville fan. This week, she rehashes episode i.10 with David Plotz, editor of Slate.
Katy Waldman: Howdy, David! What'd you think of the episode? I liked it better than last week's.
David Plotz: I didn't. The plan is chosen Nashville. Nosotros kept hopping back and forth from Austin to Piddling Stone to San Diego to Oakland to Atlanta. That's not a Television set show. That was the itinerary for my last flying on Southwest Airlines.
Waldman: I appreciated the chance to "go on tour" with Rayna and Juliette, and to encounter these characters out of their comfort zones. You lot tin can just have so many scenes at the Bluebird Café or past the side of Juliette's private swimming pool.
Plotz: I liked the tour-y-ness of it, but it jerked effectually too much. It never sank into a rhythm. Every scene moved way too fast. I did love the vocal in the motel room though—maybe the musical highlight of the season.
Waldman: Yep, I found that moment really poignant. It surprised me, because information technology sort of illustrated all the ways that music isn't a panacea for these characters. Gunnar and his brother can sing this moving vocal together, but hours later, the brother volition still sell the guitar for a gun. You'd call up a show similar Nashville would be more romantic or sentimental about music as a form of salvation. I felt the same way in the earlier episodes: I kept thinking Rayna's human relationship with Deacon would prove purer somehow than her relationship with Teddy, because they had music in mutual. Simply it didn't.
Plotz: I think it's interesting that the show focuses on how music affects the artists who make it. It is not interested in listeners, except either as an undistinguishable fan mob, or, as in an early on episode when Rayna met a couple of women fans at a party, as slightly ridiculous stalker figures.
I am interested in what you, a woman maybe more attuned to male center candy than I am, recall about the surfeit of pretty white guys on this show. Gunnar, Gunnar's brother, Avery, Liam, the quarterback, Deacon, Teddy. Information technology seems to exist a testify designed for the female gaze.
Waldman: I've come up to expect astronomical levels of prettiness from everyone I watch on Television set. The guys of Nashville are no exception. Aren't all the female leads as attractive? Tousle-haired Rayna and Juliette and Scarlett and the foxy reporter…
Plotz: I don't remember the female person leads are as attractive. They are not every bit soft and pretty. Except for Scarlett, who appears to have been raised in a boondocks where sugariness tea flows in streams and houses are mortared together with grits. Juliette is HARD. Rayna, the foxy reporter, and foxy agent are onetime. Information technology seems like the idea is to make a prove that women in their 40s volition like, with women who are attainably cute and age appropriate, and so male arm processed.
Waldman: That's really fascinating! Although I'd expect, and so, that the male person leads would be less circuitous than the female ones, and I don't think that's the instance. If anything, it's Juliette who sometimes slides into caricature. (Even though I love when that happens. She tin exist a wonderful villainess.)
Plotz: Juliette as villainess. I capeesh how Nashville doesn't permit u.s.a. to go all the way there. She is by far the most interesting character to me, because she is the only person who appears to take any fire. No one else cares as much as she does virtually the music, about the operation. That forgives a lot of sins. I did honey Shawn's kiss off: "You lot once told me I wouldn't like you very much if I got to know you lot. You lot were right."
Waldman: Fire. I know I used the word villainess, just I actually recall Juliette has been essentially a victim up until tonight. This was the first episode that dramatized the demand for her to accept responsibleness for her actions. And she did! She agreed to the annulment.
Plotz: One thing I really liked near this episode, every bit a journalist, was Scarlett'southward failure to learn anything about Gunnar. They have been writing together and mooning at each other for months, however she has never learned that he was raised past his grandmother and that his brother is in jail. Isn't that the kind of thing you find out in the first day yous know someone? Does it advise a fatal lack of marvel in her—which Deacon hints at—or are we supposed to forgive her? For someone who is supposedly so compassionate, she certain is uncurious.
Waldman: I too really liked that moment, when Deacon called Scarlett out. (Granted, any time Due south is characterized as something other than a wispy elven flibbertigibbet, I perk upward.) And I like the notion that she has a selfish streak to mirror Avery'southward.
But perhaps we're meant to sympathise, instead, that Gunnar is secretive and wounded?
Plotz: No manner! Information technology was all on Scarlett. Yous're telling me that in all those weeks of being locked in a room, writing songs about heartache and family, she never once said, "Hey Gunnar, where are you from, anyway?" Of course she didn't, she was besides busy tending the butterflies fluttering nearly her curls.
I was secretly hoping that her encounter with Si (or is it PSY?) would turn into a actually hot, consensual sex scene, with her over again revealing her secret fondness for long-haired, bad boy rockers. (Run into: Avery)
Waldman: Except she already had her big "permit my hair down" moment final week, when she fronted J.T.'s punk band. The show probably wants to exit some of her butterfly persona intact for the finale, in which she presumably shocks everyone by taking out a bike gang.
Plotz: Side notation: the arena concert. The songs are so muddy! Why is it that only the ballads seem to piece of work on the show? The big loonshit numbers audio like murk.
Waldman: Side notation: I'd like to see Juliette and Gunnar claw upwardly.
Plotz: Just wait until Season two. How long till Teddy gets with Goneril, or whatever Rayna'due south sister is named?
Waldman: Regan. (Raygan? Raygun?)
Plotz: I do like the way Connie Britton is giving herself the anti-Taylor matrimony. The Taylor marriage in Fri Dark Lights was the greatest marriage in tv set history (says Plotz!). I capeesh that she has repeated it, with a handsome guy, pretty daughters—and yet he's weak, the marriage is weak. Though I guess it would take been braver to make HER graphic symbol morally weak.
Waldman: Any thoughts on the macho rivalry between Deacon and Psy? I'chiliad glad the showrunners gave u.s.a. some male person jockeying in improver to the and then-called "catfighting" between Rayna and Juliette.
Plotz: Information technology was a bit pat. I idea the Rebel Kings were Deacon'southward bros, that he actually knew them from dorsum in the 24-hour interval. Wasn't the implication when he joined the tour dorsum in December that they were verified good guys? It felt slightly cheap to villainize Psy so apace. (Maybe the Psy is Psycho?) One of the problems with these hr long dramas (at least the ones that are not procedurals or non HBO) is that they so quickly revert to soapiness, which means characters' motivations and behavior changes way too quickly and way too radically. Nashville is already succumbing to this.
Waldman: Yes, I think I hold. But, I got you some cowboy boots to cheers for filling in!
Plotz: Equally long as our limit is three chats. 4's too many.
Later This Calendar week: Further analysis of Episode 10.
Source: https://slate.com/culture/2013/01/nashville-season-1-episode-10-recap-on-the-road-again-reviewed.html
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