Grade: 92%
NASHVILLE premieres this Wednesday, October 10th on ABC.
First there was FOX’s Glee. Then NBC’s
Smash. Now ABC enters the musical fray, appealing to a different
demographic, with NASHVILLE. While Glee mixes showtunes and pop, and
Smash goes mostly for original, Broadway-style tunes, NASHVILLE embraces
country, both old and new, with an interesting, soapy drama and some
decent original music.
The leads are familiar to those the
slightest bit familiar with the country music scene and recent films and
television portrayals of it. Rayna James (Connie Britton, Friday Night
Lights, American Horror Story) is a legend who is past her prime.
Whereas before she sold out arenas, now ticket sales are dwindling. Her
record label asks her to “co-headline,” really, open, for young
sensation Juliette Barnes (Hayden Panettiere, Heroes). Rayna is insulted
and refuses, even when record label threatens to drop her.
Is Rayna being unreasonable, a diva, if
you will? Well, not completely. She acknowledges and apologizes for her
diva moments. She just isn’t ready to admit she’s not as successful as
some trampy young starlet who isn’t nearly as good as Rayna. Who can
blame her for that?
It’s easy to stay sympathetic for Rayna
because Juliette is a mess. Autotuned to correct a weak voice and freely
trading carnal relations for favors, Juliette is a picture of
everything that’s wrong with modern music and fame, country or
otherwise. Even with a drug addict mother (Sylvia Jeffries, Eastbound
& Down), thrown in to soften Juliette, it’s still hard to feel sorry
for someone who so openly snubs Rayna and tries to steal Rayna’s band
leader.
Said band leader, Deacon Claybourne
(Charles Esten, Big Love, Enlightened), is the poor sob stuck in the
middle. He is in love with Rayna, who is married to another man, and is
offered sex and large amounts of money by Juliette to defect. A joint
tour could save him the pain of having to choose, but with that looking
unlikely by the end of the “Pilot,” he will probably be a source on
conflict for the women.
Oh, and Rayna’s controlling and
despicable father, Lamar Wyatt (Powers Boothe, Hatfields & McCoys,
24), is convincing her pushover husband, Teddy (Eric Close, Suits,
Without a Trace), to run for mayor of Nashville, further complicating
her life. This also sets the stage for a possible Deacon / Rayna romance
if Teddy goes too far in service to Lamar.
The style of music will set NASHVILLE
apart from its peers, but so, too, will the quality and tone. Whereas
Smash and Glee might borrow from other sources, or use a limited
catalogue, NASHVILLE freely explores different aspects of the genre.
While the tunes are new and original for the series, it’s sort of like
HBO’s Treme in that it uses the music to capture the spirit of an
industry and a town. Whether it’s Juliette’s frothy popular fare,
Rayna’s classics, or Scarlett’s (Clare Bowen) poetry that boyfriend
Avery (Jonathan Jackson, General Hospital) turns into a new style
entirely, there is a soul here that is missing from other television
shows.
Add to that, NASHVILLE does the drama
well. It’s not as over-the-top as Dallas, but there’s a Southern charm
that can disguise snaky backstabbing that really gives flavor to the
characters. There is no doubt that varying people have different
agendas, and some are willing to be pretty unscrupulous to get what they
want. There will be shades of grey, and while some of the villains are
obvious, others will probably be created or revealed as the series
unfolds, and several will probably straddle the line depending on the
circumstances. These are fully developed people here, not just
caricatures. Even setting the music aside, it’s a marvelously executed,
engaging tale.
Which is why NASHVILLE deserves a watch.
Some series can do one thing right, but few juggle multiple elements so
deftly. A terrific cast, great music, and wonderful writing combine to
make this one of the best new entries into the fall television season.
The country aspect may be enough to appeal to many middle Americans,
turned off by the specific genre that Glee and Smash fit into. And while
it feels familiar enough to be welcome in our homes, it’s also
different enough to feel like something new and special. Kudos all
around.
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