S04.E08: Unguarded Moments

[madam magpie]

The spot-on writing of teen/tween angst and resulting distasteful behavior in Maddie, Colt and Daphne is one of the best things about Nashville. Applause to the writers for not creating the typical prenaturally mature television adolescents.

Mature and "not an asshole" aren't necessarily the same thing. Except Rory Gilmore and her friend Lane and maybe Buffy (did she even have parents??), what teen girl is fairly consistently portrayed as sweet, kind, loving, and compassionate on TV?? That's the kind of teen I know. The bratty, selfish nasty kid is a cliche mostly found on television as far as I can tell. It's a horrible stereotype for kids, and often sexist, especially for young girls. I even recently read a study that talked about the myth of the difficult teenager. This BS ain't "spot-on."

Edited November 19, 2015 by madam magpie

[Tara Ariano]

In case you missed it, here's the Previously.TV post on the episode!

 

Parents Just Don't Understand
There's a lot of parent-child strife on Nashville this week.

[WhosThatGirl]

Maddie is a terrible sister. I'm sorry, but true. It makes me sad. She really is awful to Daphne. I hope Daphne decides not to sing and therefore the deal doesn't happen and it's all because Maddie ruined it first by saying, "Mom is only doing this to punish me!" 

[Clemgo3165]

I really don't want Daphne not to sing because I like her voice better than Maddie's - kid's got soul ;) But I wouldn't blame her if she backed out of the contract and refused to sing with her sister any longer. Maddie's been mean as a snake to her lately - I really wanted to smack her when she tossed Daphne's phone back to her last night, what a snot.

[Iboatedhere]

I would be so upset if I went to a Luke Wheeler concert and expected to see Juliet Barnes and instead got Kid Rock. I had a full body shudder when I heard that. Those poor, pretend, concert goers.

[crocodile]

Where is Cole's mother? Why is Luke dragging him around on tour when it's obvious the kid has (legitimately) lost all respect for him? Instead of bringing him to therapists, why doesn't Luke send him to his mother if he needs an adult to speak with?

[Clemgo3165]

I can't figure out why Colt isn't in school if he's in Nashville - the girls are going, why isn't he? And where are his mother and sister, Luke's a pretty obvious fail in the parenting department.

[palmettomoon]

It better last about five minutes and be a symptom of something else real...like Deacon feels they should get married now or he's got residual resentment about Luke and Teddy or he's feeling sad because he wants to be the one writing and producing songs with her. And I really hope Rayna's initial reaction is to laugh out loud because it's just crazy. Who cares if Markus is into her? Who cares if he wants to sleep with her? My guess is that lots of people would like to sleep with Rayna. (Hell, I'm a straight girl, and when her hair tumbles and shines like that, I'd sort of like to sleep with Rayna.) The only thing that should matter to Deacon is that she doesn't want to sleep with Markus. With that obvious fact established, he needs to shut up so she can do her job. Rayna can make her own decisions.

I also hope she acknowledges that Markus is a spoiled tool. I don't like thinking that she may actually like him as a person. Rayna should be more savvy than that.

Yes to all of this, but mostly this. : )

[madam magpie]

I can't figure out why Colt isn't in school if he's in Nashville - the girls are going, why isn't he? And where are his mother and sister, Luke's a pretty obvious fail in the parenting department.

Maybe he has a tutor. Also, seriously, how many days have passed? I feel like in real time. Bev died six months ago and they all need to get it together. But in Nashville time, maybe it's less than a week??? If so, Colt could just be taking some time off from school to tour with his dad.

I don't think Luke's that bad as a parent, actually. Covering up Juliette's role in Jeff's death kind of sucks, but I don't find it unusual. I liked Luke a few episodes ago when he told Colt to quit his bitching and get in the car. Maddie could use some of that.

[KaveDweller]

If I was a singer, I'd be afraid to sign with Rayna. First Scarlett had a meltdown and backed out of her deal. Then Sadie shot her abusive ex and had to back out. Now Layla's album is delayed because Jeff died? Has she actually released an album for anyone?

[dcalley]

Avery continues to rule my world, loved his scenes with Will. And why hasn't anyone told the man that his wife is in rehab?

Didn't Juliette sign the divorce papers? But I'm not sure anyone on her side even knows about that, so I guess it's not relevant.

[smiley13]

I would be so upset if I went to a Luke Wheeler concert and expected to see Juliet Barnes and instead got Kid Rock. I had a full body shudder when I heard that. Those poor, pretend, concert goers.

I, on the other hand, would be thrilled!  Kid Rock is great!!

[quangtran]

Taylor Swift released her debut album at 16. She had an RCA deal at 14 and left that deal for another one. I think Maddie at 16 having to beg to record is silly. Wanting to sign and make an album at her age isn't outlandish.

I think Rayna is going about this record deal situation all wrong. Maddie is already super spoiled, so rather than constantly coddle her in her personal life and now her professional life, I think she should do the opposite and let her sign with Sony. Let her experience for herself the long hours, the crushing loneliness of touring, the endless promotion, execs that treat artists like products, and warn her against people like Santa (season 2 reference). So many fellow female artists have started at 16, including Rayna, and even though a handful of these girls end up having a break-down, I don’t think it is fair that she isn’t even giving her daughter a chance.

 

Whoa. When did Scarlett go from being a timid girl in frumpy dresses who freaked out when she had to sing live ,to a flirty performer in skimpy clothing?  Did I miss the episode where she had a personality transplant?

Have to agree with Telepath. Clare has always liked going all out when performing the more upbeat numbers, and this goes way back to her twisting and writhing all the back in season one when performing Twist of Barb Wire. Her indie-flower-child aesthetic looks a bit less grumpy and granny-ish now that she's lopped off her hair.

Edited November 20, 2015 by quangtran

[SunnyBeBe]

I think the writers miss the boat with the Maddie character, because they portray her as a bad person deep inside and that meanness just exudes to the outside as well.  I find her to exhibit few redeeming qualities.  She's meaner than Rayna, Deacon and Teddie all rolled in to one.  Where did it come from?  I just want her to go away.  Normal teenage angst doesn't look like that.  Oh, I know.  Maybe the writers stole their depiction of Maddie from NELLIE OLSEN from LIttle House on The Prairie.   I hope that the girls do sign with Highway 65.  And Rayna thought that Juliet Barnes was a handful.  Just wait.  

[madam magpie]

Ohmygawd! She IS like the Nellie Olsen of Nashville! Bravo.

[KaveDweller]

I think Rayna is going about this record deal situation all wrong. Maddie is already super spoiled, so rather than constantly coddle her in her personal life and now her professional life, I think she should do the opposite and let her sign with Sony. Let her experience for herself the long hours, the crushing loneliness of touring, the endless promotion, exec that treat artists like products, and warn her against people like Santa (season 2 reference). So many fellow female artist have started at 16, including Rayna, and even though a handful of these girls end up having a break-down, I don’t think it is fair that she isn’t even giving her daughter a chance.

 

If Rayna wants to protect Maddie from her own mistakes, she should tell her what those mistakes are. Maybe then Maddie would understand where Rayna is coming from. At this rate Maddie is going to run away at 18 and just make all the mistakes then.  If she lets her sign with Sony, but guides her and is there for her, maybe it would be a good experience. People in the industry may not take Maddie as seriously if she's signed on Highway 65, since it's apparently a joke company.

[izabella]

If she lets her sign with Sony, but guides her and is there for her, maybe it would be a good experience.

 

How much control over you and your image do those companies have once you sign with them?  Isn't that the point of Highway 65 - to give artists control over their work and their image?  I think Rayna's afraid Sony would want to turn Maddie into a mini-Juliette image-wise, or a teeny-bopper like Layla, and Maddie wouldn't be able to do anything about it.  They might end up with control over the music for her album, rejecting everything and forcing her into the mold they want.  She doesn't want Maddie to get caught up in all that.  The thing she isn't understanding, or doesn't care to encourage, is that Maddie wants to be a mini sexy Juliette rising star, and is less interested in creating her own music to say something meaningful to her (contrast with Will's song this episode).

[Madding crowd]

I don't think tethering Maddie to Daphne musically so they can continue to sing cute kid songs with xylophones and accordions is the way to go.

 

The girl's don't sing cute kid song though; either on the show or in real life. The songs they sing (many of which are on iTunes). are the same songs adults sing. I don't remember any accordions or xylophones either. The girls sing together in real life and I just saw them perform in Chicago. They didn't sing any kids songs, they sang songs on their own like covers of "Big Yellow Taxi" and they sang group songs with some of the other performs.

 

I think the show is setting them up as a duet because the sisters enjoy working together in real life. And Rayna is recognizing they have amazing talent as a duo. If Maddie tried to be another Juliette, she could be treated poorly by the label, or strike out altogether. By starting out on her mom's label, she can begin to learn the business.

 

Teenagers today are in some ways more sheltered than ever, but they want more independence than teens had. In my day, my mom kept more of an eye on me, but she also didn't buy me cars, help me fill out college paperwork or any of the things teens expect nowadays. As a teacher, I see a lot of teens like Maddie who expect to live as independent adults, on their parents money and with their parents helping them out of every jam.

 

On another note, I don't like the Markus character and cannot imagine Rayna having any type of interest in him. They really could have left him off the show.

[madam magpie]

I think Rayna was trying to do a couple of things with signing the kids herself. She was definitely making sure she was in complete control over how the girls progressed as professional musicians while they're still minors. When Maddie turns eighteen, if she wants to jump ship, I expect Rayna would let her. I see nothing wrong with Rayna controlling that. People can get eaten alive by record labels. Rayna should be in control it.

I think also, though, that she was being a mom. You can't have two kids who love to perform and sign only one of them to Mommy's own record label. That would be awful. And I think Rayna (and Deacon, which was nice; I've been wanting him to acknowledge Daphne for two seasons) wants to kind of push Maddie and Daphne back to sisterly love by giving them something they really want. It's sort of like a bribe to get along. I like that less because I'd rather Rayna talk to Maddie about her own experiences, about Daphne's, about Deacon's. I wish Deacon would also do that himself. She isn't doing Maddie any favors by sheltering her so much from the pain of life that she raises a mean, disconnected brat who causes pain for other people.

[hqtextbook]

Wait so whats up with the dude in the background of Maddie's selfie at 0:02 of the promo?? Is that a cameraman they forgot to edit out??

[Kathemy]

I've found that I am eminently bribable. All it takes is one good song by Clare and Sam or the Stella sisters and I can forgive any amount of bad writing in an episode.

 

I know I can be really harsh on the show but truth is I will miss it when it's cancelled if only for the music. Sam and Clare won't perform together again after that and they're my favorites. I think for the show's sake it would best if it got renewed for a half fifth season in the last minute. Then the writers will be forced to write a decent endgame for season four, and you can use those 12 remaining episodes to round things off and give it a proper sendoff, since I expect they'll have very little time for any payoff on any of the storylines. 12 extra episodes won't be enough to tempt them into write some season long angst arc either.

 

My gut feeling is that Hayden is sick of the show and that she may not be back during season 4 - I don't have any information about it, though - but I think she'd do a half fifth. That way they have an opportunity to patch up the J/A disaster in some manner.

[MisterS]

Is it wrong not to have missed Juliette at all in this episode? I love her but her recent arc has been so miserable that for it not to continue is a relief. But I hope the old Juliette comes back soon because it's less of a show without her.

I didn't miss Layla and her grieving process either.

Storylines involving Luke and his love life are a snoozefest. And either that woman can't act or she hates Will Chase.

Storylines involving Rayna and Deacon and their love life, however, are f***ing great.

I read a comment somewhere that the writers have turned Deacon into an immature and selfish jerk, and by doing so they have ruined one of the sexiest characters on TV. Really though he's always been immature - even in season 1 when Nashville was good he had a bad case of arrested development. I always thought this made sense as he'd put his life on hold waiting for Rayna. So for me it's consistent to his character that he's still a kind of man child and finds it hard to step up to all of the challenges of having a family. Still sexy though. I think that Deacon is one of the things that the show generally gets right (as was Juliette before the writers wrecked her).

I love Scarlett and Gunnar performing together. Don't care whether they get together and also don't care about their placeholder partners.

Will and Avery - nice but I never like Avery's singing much (sorry, Avery fans) and I think it would have been good for Will's development - his story is still moving at a snail's pace -if he'd sung it himself.

So overall, for me, a B+ this week.

When I watch now I can't get the recent interview with Connie Britton out of my mind, when she said that the Nashville she expected and the Nashville she got were two different things (because Nashville "wants to be a soap opera"). She implied that this had been a big disappointment. I'm sure it continues to be so, and I respect her for trying to make the best of it. Her scenes always lift Nashville to a higher level.

In my view the problem isn't that it's a soap but that it's not always a very good one.

Edited November 20, 2015 by MisterS

[Kathemy]

It's a problem that stems from nearly none of the issues between the couples being intrinsic. As I've said (repeatedly) Scarlett and Gunnar are actually an ideal couple and all their problems are caused by bizarre out-of-character behavior and fluke events messing things up. Deacon and Rayna have the intrinsic problem that he is an alcoholic but in fact that intrinsic problem is mostly ignored - he's gotten drunk exactly one time on the show - and instead we get bizarro plot twists like cars crashing and cancer hogging the screentime. Layla has whatever personality the writers want from episode to episode and nothing in her arc makes much sense.

 

This is normally a case of the writers wanting drama but being unable to come up with any believable way there could actually be drama between two characters, resulting in piss poor writing.

 

The saving graces for the show are the performers, the actors and their chemistry.

[MisterS]

It's a problem that stems from nearly none of the issues between the couples being intrinsic. As I've said (repeatedly) Scarlett and Gunnar are actually an ideal couple and all their problems are caused by bizarre out-of-character behavior and fluke events messing things up. Deacon and Rayna have the intrinsic problem that he is an alcoholic but in fact that intrinsic problem is mostly ignored - he's gotten drunk exactly one time on the show - and instead we get bizarro plot twists like cars crashing and cancer hogging the screentime. Layla has whatever personality the writers want from episode to episode and nothing in her arc makes much sense.

 

This is normally a case of the writers wanting drama but being unable to come up with any believable way there could actually be drama between two characters, resulting in piss poor writing.

 

The saving graces for the show are the performers, the actors and their chemistry.

I agree with all of this. I watch for the main cast. Sometimes I feel sorry for them but quite often I imagine them bursting into laughter as soon as the director says "Cut!". Which takes me out of the story somewhat.

[Kathemy]

Yeah, haha. I definitely think Connie is cringing on the inside over some of the scenes. First time I saw an actor on the show be really embarrassed about his scenes was Sam when he went "bad-boy". It looked really fake because he didn't believe in the storyline. None did.

[MisterS]

Yeah, haha. I definitely think Connie is cringing on the inside over some of the scenes.

When she had to say "Jeff Fordham is dead!" last week to Deacon and the camera zoomed in it really made me laugh, which obviously wasn't the intention, but I like to think of Connie laughing her head off too once the camera stopped rolling. As she is an intelligent person I can't see that she would do anything else. Except maybe roll her eyes in despair.

[Ely]

 

Somehow Will became the most consistent and well-written character on the entire show.

So much word. His storyline maybe one of the slowest but it is consistent. I'm also glad we see him as a friend with Avery and Gunnar. Fingers crossed that Avery gets him back on stage and helps him to really unfold as a (gay) singer. And I'm - surprisingly, be cause I loved him so much last season - am glad that we got rid of Kevin. I was not feeling him in the last couple of eps. I think Will needs to accept himself first before he dives into a real relationship.

 

 

Whoa. When did Scarlett go from being a timid girl in frumpy dresses who freaked out when she had to sing live ,to a flirty performer in skimpy clothing?  Did I miss the episode where she had a personality transplant?

Her hair sucked up a lot of energy.

[Sonja]

Where is Cole's mother? Why is Luke dragging him around on tour when it's obvious the kid has (legitimately) lost all respect for him? Instead of bringing him to therapists, why doesn't Luke send him to his mother if he needs an adult to speak with?

Maybe he doesn't want to be in the position of Cole telling his mother what happened. Luke seems to me like someone who subscribes to the ostrich method of burying his head in the sand. Rayna tells him there's something wrong with his artist, he ignores it until everything comes to blow in spectacular and tragic fashion. His son repeatedly tells him he has to come clean about what happened with Jeff, instead he sends for psychologists, etc. He's like a big kid putting his hands over his ears, going 'lala, I can't hear you', hoping the problem will go away.

 

Also, I think it's despicable he leaves Layla not knowing what happened and would rather have her and Jeff's family believe he jumped than giving them closure. Sad when a sad, hormonal teenager shows more compassion and integrity than his supposedly grown-up dad.

 

I think Rayna is going about this record deal situation all wrong. Maddie is already super spoiled, so rather than constantly coddle her in her personal life and now her professional life, I think she should do the opposite and let her sign with Sony. Let her experience for herself the long hours, the crushing loneliness of touring, the endless promotion, execs that treat artists like products, and warn her against people like Santa (season 2 reference). So many fellow female artists have started at 16, including Rayna, and even though a handful of these girls end up having a break-down, I don’t think it is fair that she isn’t even giving her daughter a chance.

 

As someone who actually used to work for a record company, if someone in my circle of friends would tell me their 16 year old daughter had an offer from one, I would tell them only if they can be with them 24/7 or they are putting them in serious danger. It's not just the long hours and loneliness, it's a real physical and mental threat that should not be underestimated. Rayna is keeping her daughter safe and trying not to let her turn into Juliette, ending up on a roof in a few years.

 

[smiley13]

Rayna has been there and lived through it, so of course she does not want her daughter to do the same.   Stupid little twit Maddie is too much of a brat to realize this though.  At her age, she thinks her Mom knows nothing.    I always wondered why Rayna did not take over the girls career after Jeff signed them last year.

 

I thought the talk between Marcus and Rayna was nice.  Rayna needed someone who was neutral in the situation to be her sounding board.

 

Also, who exactly did Sony contact about Maddie?  It does not appear to be Rayna or Deacon and her legal Father is in jail.

[Abstract]

As someone who actually used to work for a record company, if someone in my circle of friends would tell me their 16 year old daughter had an offer from one, I would tell them only if they can be with them 24/7 or they are putting them in serious danger. It's not just the long hours and loneliness, it's a real physical and mental threat that should not be underestimated. Rayna is keeping her daughter safe and trying not to let her turn into Juliette, ending up on a roof in a few years.

Then the show has done a really poor job of explaining this. Even I, a conservative, often-overprotective parent, was rolling my eyes at Rayna and dismissing her refusal as plot contrivance/artificial conflict.

[DeLurker]

.Also, who exactly did Sony contact about Maddie?  It does not appear to be Rayna or Deacon and her legal Father is in jail.

I thought Rayna got the message from Bucky.

[FineWashables]

"'The Beverly" sounds like the name of a seedy motel near the airport.  Any airport. Hate this storyline.

 

What I am loving right now on this show is the friendship between Will, Avery, and Gunnar.  I love that the three guys are so supportive of each other.  It's especially impressive that with all the overwrought drama and angst that is shoved into the plot, Will's sexual orientation is never an issue for his friends.  At the same time, they don't discount the difficulties he's having accepting himself.  Well done, show.

 

Hate Maddie.  Hate her storyline too.  

[MisterS]

When I hung around various 12-step programs, they had a saying that one's emotional age is that which they were when they began using/drinking, so Deacon's emotional development would have started again once he got sober. As it hasn't been all that long - his emotional age would likely be 18-20 yrs old?

Sounds about right. The show and Charles Esten portray this consistently and well...Shame about some of the other stories and characters.

Maddie used to be OK as tv kids go. She is now written differently for plot contrivance purposes. Although frankly she could be messed up in other, more sophisticated (writing wise) ways given all the s*** her family life has been through. But as you say, that's not inevitable either.

Edited November 20, 2015 by MisterS

[airwair]

The girl's don't sing cute kid song though; either on the show or in real life. The songs they sing (many of which are on iTunes). are the same songs adults sing. I don't remember any accordions or xylophones either. The girls sing together in real life and I just saw them perform in Chicago. They didn't sing any kids songs, they sang songs on their own like covers of "Big Yellow Taxi" and they sang group songs with some of the other performs.

I think the show is setting them up as a duet because the sisters enjoy working together in real life. And Rayna is recognizing they have amazing talent as a duo. If Maddie tried to be another Juliette, she could be treated poorly by the label, or strike out altogether. By starting out on her mom's label, she can begin to learn the business.

Teenagers today are in some ways more sheltered than ever, but they want more independence than teens had. In my day, my mom kept more of an eye on me, but she also didn't buy me cars, help me fill out college paperwork or any of the things teens expect nowadays. As a teacher, I see a lot of teens like Maddie who expect to live as independent adults, on their parents money and with their parents helping them out of every jam.

On another note, I don't like the Markus character and cannot imagine Rayna having any type of interest in him. They really could have left him off the show.

I have to disagree. The most grown-up sounding songs they've sang for the show in my opinion were Heart on Fire and that BLVD/Markus Keen talent show song that I can't currently remember the name of. Even Ho Hey had a childlike quality to it, as it should've given their ages at the time. The song they sang at Teddy's wedding absolutely had a very youthful sounding accordion on the iTunes track (though not the version that was played on the show). The iTunes track of the song Lennon did alone (the one that was posted as Maddie Claybourne and leaked online) also had a very childlike musical arrangement.

There is nothing wrong with Daphne (I'm going to leave Maisy out of the equation for the moment since the girls do sound much more mature IRL and seem to enjoy performing together still) bringing a childlike quality to things because she is a child. But she and Maddie are in very different head spaces because of their age and that does reflect musically and ultimately, in order for it to work, Maddie is either going to have to age down or Daphne is going to have to age up.

When I was 11 I felt musically connected to Zac Hanson. By the time I was 16 I had found Kurt Cobain.

I just don't see how it's going to happen.

[madam magpie]

I have to disagree. The most grown-up sounding songs they've sang for the show in my opinion were Heart on Fire and that BLVD/Markus Keen talent show song that I can't currently remember the name of. Even Ho Hey had a childlike quality to it, as it should've given their ages at the time. The song they sang at Teddy's wedding absolutely had a very youthful sounding accordion on the iTunes track (though not the version that was played on the show). The iTunes track of the song Lennon did alone (the one that was posted as Maddie Claybourne and leaked online) also had a very childlike musical arrangement.

There is nothing wrong with Daphne (I'm going to leave Maisy out of the equation for the moment since the girls do sound much more mature IRL and seem to enjoy performing together still) bringing a childlike quality to things because she is a child. But she and Maddie are in very different head spaces because of their age and that does reflect musically and ultimately, in order for it to work, Maddie is either going to have to age down or Daphne is going to have to age up.

When I was 11 I felt musically connected to Zac Hanson. By the time I was 16 I had found Kurt Cobain.

I just don't see how it's going to happen.

I think this is sort of true, and I'm a big believer that older siblings shouldn't automatically be saddled with the younger ones; they didn't choose to have the babies. However! In this case, I think this is a way to figure out, among other things, what Maddie really wants. I think she's being seduced by fame and stardom right now, and that she's less about the actual craft of music or even performing. That matters to me. I'd be willing to support my minor child if she had a passion for music, but not if she has a passion for fame. The latter can wait until she's on her own. This will show Rayna (and us) what Maddie really wants, and I suspect that once they all finally have it out about Deacon breaking mirrors, Maddie will go back to playing guitar with her dad and singing with her sister. That's not because I find going from this to that super believable, but because I think it's how the writers think kids behave.

[kassa]

I don't see Maddie as a horrible teen at all.  She had sex with her boyfriend and she whines back at her mom when scolded.  Oh, and dyed her hair without permission.  Yes, she's obnoxious (and in this episode, outright mean) to her sister.  But in the grand scheme of reactions a "rebellious" teen girl whose emotionally available father just went to prison, whose alcoholic bio father just had a life threatening illness/transplant during which she might have lost him too, and he emotionally ghosts her off and on, and who a year ago was filming a Christmas special with her mother's fiance and his family as one big happy family, and said mother is hardly ever home -- a little sass does not make her a monster.

 

She's not piercing her face and having unprotected sex and doing coke with Luke's roadies (or behind the bleachers at school, where presumably a lot of other industry kids go).  Which isn't to say she doesn't need a firm hand, but binding her career ambitions to her younger sister is a really bad move.  

 

The two sisters sound amazing together and I'm separating them from the characters they're playing on this show.  As portrayed on the show, Daphne's what, 4 years younger?  That's a huge gap at that age, and she's consigning Maddie to being her "baby" sister's equal for how long? If she's a solo artist, it might be her against her manager, or her against the label when it comes to making decisions.  But if she and Daphne are equal, then decisions by the label/management are going to likely be made largely on what works for Daphne, which screws Maddie over in terms of material and opportunities.  Their musical choices don't have to necessarily be juvenile, but by definition they can't be sexual, or that would be creepy. 

 

Bands break up.  Duos break up.  Even related ones.  By sticking Maddie with Daphne, Rayna may get her way for now, but she's dooming both sisters to the day when whichever one of them has better prospects dumps the other one on the national stage.  (Assuming they make it in the first place, of course.)  It's one thing for unrelated people to dissolve professional partnerships, but the music business is filled with the misery that goes along with it.  Compound it by making it your sister?  

 

The way to go would have been Maddie on H65, with a guarantee that Daphne would get a supporting role on stage and some of the cuts on the album. Or sign them separately and cross promote them, have Daphne do some more adolescent things.  

 

Rayna's obviously not going to be Taylor Swift's mom and hold her hand through this, so there would need to be a full time manager who would literally act as parent.  Haven't the slightest idea who that would be, unless she can get Deacon out of the bar and into the band, and he can play Daddy 24/7.

Edited November 20, 2015 by kassa

[Kathemy]

This is completely off-topic but my youtube account (which only includes Nashville stuff) skews 85% female. Is that representative of the show's audience? I mean, that's pretty extreme.

[Cranberry]

Another reminder: It is not acceptable to call people any variation of "cunt" here, whether they're fictional people or not. Again, especially when they're children.

[Madding crowd]

I have to disagree. The most grown-up sounding songs they've sang for the show in my opinion were Heart on Fire and that BLVD/Markus Keen talent show song that I can't currently remember the name of. Even Ho Hey had a childlike quality to it, as it should've given their ages at the time. The song they sang at Teddy's wedding absolutely had a very youthful sounding accordion on the iTunes track (though not the version that was played on the show). The iTunes track of the song Lennon did alone (the one that was posted as Maddie Claybourne and leaked online) also had a very childlike musical arrangement.

 

These songs were recorded by adults though so in my opinion not kid songs. To me kids songs are ones that show on cartoons or disney channel shows or are put on kid cd's. Obviously, the lyrics on the songs they sing are not explicit about sex or drugs, I'm sure their parents wouldn't go for that. I think they have a sweet and authentic voice as a duet, and I would imagine that voice would also lend itself to separate careers as the girls grow older. I also didn't find the musical arrangements of their songs particularly childlike. I do think it sounds a lot like the indie kind sound which is kind of a cross between country and folk which is popular now. In fact, most of their duets sound exactly like a music channel on sirius radio called "Coffee house". Not a kid's station, but Indigo girls, Suzanne Vega, that kind of stuff. 

Edited November 21, 2015 by Madding crowd

[Kathemy]

Very few of the Stella sisters duets could be classified  as "kid songs".

[airwair]

I don't mean the songs themselves. They weren't written by 12 year olds.

But in my personal opinion the musical arrangements are made to give the songs a childlike innocence. A different variation of instruments could easily change the premise and interpretation of the entire composition and make the music sound more mature than it does.

I am sorry but I could never listen to the song from Teddy's wedding and not feel the arrangement was specifically done to market the song to kids.

[madam magpie]

I think you're both sort of right, actually. The songs the girls sing on the show mostly have an innocent feel to them. They do strike me as a coffee house/singer-songwriter style and of a very high quality, but they mostly lack the sexual component found in lots of music. I do think that's on purpose. Their songs outside of the show are mostly like that too, but I remember years ago, before they were even on this show, a friend sent me a YouTube video of Maisy singing a Missy Higgins song called "Secret" and playing guitar. That's great song and Maisy did a lovely job. (YouTube it!) But there was a slight disconnect about it because you're listening to a very young child sing such a sexy song. Everything the kids have done on the show (and off, actually, except maybe "Ain't No Rest for the Wicked," and even there, Lennon sings the verse about the prostitute) has mostly lacked sexualization. I like that A LOT and applaud their parents and the music director on this show managing to get them adult songs, but not add a sexual component to them. The songs aren't dumbed down and babyish, showing a respect for the girls as musicians, but nor do they doll up a couple of pretty kids and turn them into Lolitas. So in that way, they do sound young to me, but I don't think they sound kiddie per se. I have zero problem with Rayna being in control so as to accomplish something similar.

Edited November 21, 2015 by madam magpie

[Kathemy]

I think @kassa makes the most valid point here. Saddling Maddie with Daphne is a mistake. More than that, it's actually pretty laughable. Rayna didn't want Maddie to sign a record contract because she's too young, yet she's fine giving one to her and Daphne, who is five years younger.

 

I'm not saying that Maddie and Daphne should stop singing together. Hell, no. But Maddie needs a chance to explore her own style. Maddie was very rude and mean to her little sister but as a matter of fact she had a point. Rayna made that move partly as a way to hamstring her. This will come back and haunt them both when they're in the recording studio and Rayna will attempt to micromanage everything to make sure there isn't a whiff of a sexual reference anywhere. By inserting herself so deeply in her daughter's artistic work she risks a major disaster down the road as that internal contradiction explodes.

 

I'm curious if they're going to drag up the Maddie and Colt first time thing in a future episode and attempt to moralize on it. I would assume so. That won't end well.

[Haleth]

They all need a smackdown from Tami Taylor.

[Ashley87]

Hopefully Maddie will calm down now that Rayna has signed her to H65 and we will get some good music with Deacon's help. Thought this week's episode was good especially when Deacon realised he needed to step up and help Rayna. I'm reminded that Deacon is still grieving and trying to cope with a load of guilt, and when Maddie is slamming the door in his face and he doesn't know why, it must be hard for him.

I'm worried about how this Marcus/Rayna encounter plays out next episode. I've just watched Riley Smith being interviewed by the AfterBuzz girls on their latest YouTube podcast. They all intimated that they thought something might come of it (some more than others) and whilst Riley wasn't giving anything away, he did say they were all right in some small way. The thing is, if Rayna succumbs in any way at all to his advances then for me that is the end of Rayna and Deacon. For good! One of the AfterBuzz girls thought she might kiss him because she couldn't help it but then pull back after realising what she was doing. Even that would be terrible. Rayna and Deacon have just come through the most traumatic experience of Deacon almost dying and where we witnessed Rayna breaking down in tears unable to bear the thought of losing Deacon and even saying wedding vows to each other in hospital, and we are to accept that Rayna could at least flirt, or worse kiss another man, a few weeks later. Only her completely rebuffing any advances from Marcus is acceptable to me, to make the Rayna Deacon love story believable. I just hope the writers have got some sense on this. Fingers crossed!

[jay741982]

Poor Maddie.  Gee a choice between being signed by as a solo artist by Sony - a global conglomerate - or as part of a crappy duo with her younger sister at crappy Highway 65, run by her mom.  I'm glad the show didn't she that liked that at all.

 

Speaking of other things I liked:  Marcus's song, Colt's refusal to accept his father's spineless behavior.

 

Things I didn't like (a very partial list):  Caleb constantly apologizing.  Sorry, I do think a doctor's work is more important than a singer's.  Gunnar and Erin.  Deacon and "the Beverly."

Maddie is a spoiled little brat who treats her little sister like crap, thinks she's hot stuff, and deserves a slap for the way she treats her mother as well.

[madam magpie]

I'm worried about how this Marcus/Rayna encounter plays out next episode. I've just watched Riley Smith being interviewed by the AfterBuzz girls on their latest YouTube podcast. They all intimated that they thought something might come of it (some more than others) and whilst Riley wasn't giving anything away, he did say they were all right in some small way. The thing is, if Rayna succumbs in any way at all to his advances then for me that is the end of Rayna and Deacon. For good! One of the AfterBuzz girls thought she might kiss him because she couldn't help it but then pull back after realising what she was doing. Even that would be terrible. Rayna and Deacon have just come through the most traumatic experience of Deacon almost dying and where we witnessed Rayna breaking down in tears unable to bear the thought of losing Deacon and even saying wedding vows to each other in hospital, and we are to accept that Rayna could at least flirt, or worse kiss another man, a few weeks later. Only her completely rebuffing any advances from Marcus is acceptable to me, to make the Rayna Deacon love story believable. I just hope the writers have got some sense on this. Fingers crossed!

I completely agree with this. For me, the only acceptable response from Rayna is a complete rebuff. I mean, I'm willing to give her a second of maybe doing nothing out of shock before she tells Markus to step off. I'm also willing to allow her to flirt with him and string him along in order to get the album she needs out of him. I think it's even OK for Deacon to object to her doing that. But that's it. If she shows even the slightest real interest, whether by mistake or out of feeling like Deacon isn't present with her or whatever, I just won't buy any of it anymore. She and Deacon aren't on the outs; they've run into roadblocks, but have worked each one out well and seem to be consistently and wildly in love. They're also very connected emotionally and are basically living like they're already married. People in relationships like that don't "accidentally" kiss douchebags at work. The thing with Liam was believable only because Rayna was falling apart, she was struggling with detachment from Deacon, and she had no support from Teddy at home. So anything other than shock and disgust here just won't make any sense. Plus, it would so change the character's core personality in a way that, for me, she couldn't recover from. On a better show, I wouldn't worry at all because OBVIOUSLY Rayna wouldn't be interested. But on this show? You never know what stupid, out-of-character nonsense they'll throw out there.

Edited November 22, 2015 by madam magpie

[Kathemy]

I don't think Connie Britton would agree to play out a storyline with her cheating on Deacon.

[Ashley87]

Glad you agree. Let's hope if the writers did come up with something so off base like that, then Connie would speak out against it. Like I said, fingers crossed.

Ha, Telepath and I said the same thing. Trust in Connie.

[MisterS]

I don't think Connie Britton would agree to play out a storyline with her cheating on Deacon.

This must be true - she's had to go along with some serious crap on Nashville but this surely would be a dealbreaker. It certainly would be for me! If either of them cheat I am done. I'm not overly concerned though as I think even these writers know why most people who watch watch, especially without any any Juliette or Javery.