Nov 9, 201202:51 PMThe Telegraph
The Premier Blog of the West
TV Recap: Top 5 Things You Need To Know About Episode 5 Of 'Nashville'
Deacon Claybourne draws upon hard-won knowledge and first-hand experience to help Juliette Barnes in “Move It on Over,” Episode 5 of Nashville. If you missed all the drama Wednesday evening, here are the Top 5 things you need to know before you tune in next week. But be forewarned: There are a passel of spoilers here, folks.
JUST FRIENDS, NOT LOVERS ANYMORE: Rayna remains stuck in dire financial straits, so she agrees to perform one of her biggest hits in a cosmetics commercial – with, of course, some of the lyrics slightly altered to hype the product. Trouble is, the song is one she co-wrote with Deacon, and he doesn’t approve of the lyric-tweaking. When she confronts him about his refusal to give permission for the change, he insists it’s because of his musical integrity. Rayna suspects otherwise – which likely explains why, after Deacon gets into a fight with two rowdy drunks outside the Bluebird Café, and he phones her from jail for bail, she doesn’t accept his call. By the end of the episode, Deacon’s ready to sign off on the lyric change. And Rayna’s already working on solo songwriting.
THAT’S WHAT FRIENDS ARE FOR: Before he’s busted for brawling outside the Bluebird, Deacon offers to help Juliette take care (or just get rid) of Jolene (Sylvia Jefferies), her loose-cannon, substance-abusing mom. He tells Jolene that he knows she doesn’t want to check into rehab because, hell, back in the day, he didn’t want to check into rehab. But he also knows that if she doesn’t seek help, she’ll soon be dead. The argument works: Jolene reluctantly agrees to be taken to a rehab clinic. And just before she walks through the door, she even more reluctantly turns over her last bottle of pain pills to Deacon. Juliette expresses her gratitude to Deacon by… by… well, he politely rebuffs that offer. But he does wind up counting on her to get bailed out of the slammer.
UNFRIENDLY GESTURE: When Gunnar and Scarlett get a chance to perform one of their songs for a major producer, Scarlett immediately (and joyfully) accepts Avery’s offer to play backup guitar for them. This is a big mistake: During the audition, Avery turns up the volume, upstages the songwriters – and turns off the producer. When Scarlett later accuses of Avery of deliberate sabotage, his denials are something short of convincing. Meanwhile, Gunnar – doubtless mindful of Scarlett’s repeated insistence that they’re just musical collaborators, and her heart belongs to Avery – continues to hook up with Hailey, the sexy young publishing house assistant.
FRIENDS IN HIGH PLACES: Remember when Teddy had that secret confab last week with ex-lover and former business associate Peggy Sampler? Well, sure enough, when they were talking about a skeleton that had to remain closeted, they were referring to criminal activity, not an extramarital affair. Specifically: Years ago, when Teddy needed a quick cash injection for his ill-starred real-estate venture, Peggy embezzled big bucks from the credit union where she works. The money was repaid – but now there’s danger that banking inspectors might discover the dirty dealing. So Teddy tells Lamar West, his rich and ruthless father-in-law, about the potential problem – and shortly thereafter, as if by magic, the banking inspectors pack their bags and hit the road.
THINGS TO COME: Deacon turns over Jolene’s pain pills to his AA sponsor – but admits that he was sorely tempted to backslide. His recovery, it appears, remains very much a work in progress. Meanwhile, Teddy and Peggy share another secret rendezvous, to celebrate the good news of the bank examiners’ departure. This time, however, their private heart-to-heart is not so private after all: As they converse on a dimly lit street, someone in a nearby vehicle snaps photos.