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Rayna starts the episode feeling great about Scarlett's new song with Liam. She gently rebuffs Liam's flirtatious efforts, which is the first move in a slippery slope of multi-directional doom. While she was at the studio, Rayna missed several calls from Teddy, and he eventually stops by her house to deliver the news that Lamar is dead. He explains that Lamar died in his office, but conveniently leaves out the part where he didn't call for help. The girls are of course crushed, as is Tandy, but Rayna is aggressively "fine" at the thought of her murderous father in the morgue.
Meanwhile, Deacon has a gig and needs to get a band together. Despite being a legend who has played with every musician in town, his best option is Zunvery, an ad hoc Lady Antebellum-esque trio comprised of the entirety of Scarlett's nemeses. They're actually great, and just the supportive chorus that Deacon needs when his spot is bumped to a later time. He of course wins over the crowd, lands a recurring gig and then brings Zunvery up to do a number the following night at the Bluebird. Scarlett just so happens to be approaching the Bluebird when she sees Deacon introducing them, which means she gets to add him to the expanding list of people who have grievously wronged her.
Deacon also learns of Lamar's death, and wants to be there for both Maddie and Rayna. Rayna continues to be aggressively "fine" with him, but Deacon knows her too well to believe it. He drops by her house, and she gets a little snappy with him before spilling the news that Lamar was implicated in her mother's death. Deacon attempts to make her feel better about her lying family, to no avail. Still, Rayna welcomes him to come to Lamar's funeral, which is a small and simple gathering. Juliette is there too, as is Teddy who tries to squash the occasional guilty look. You know who is not there? Liam. Nor Scarlett. And this is because they're boning. I know. Kill me. I can't even talk about it.
In other awkward matters, Teddy confesses to Megan that he never called for help when Lamar was having his heart attack, and basically let him die. Awkward!
And then there's Juliette. She's recorded "Don't Put Dirt on My Grave Just Yet" with Avery, and loves his production. But even before the world can hear it, the New York Times lauds her Opry performance and gives her cred as a serious artist. This leads to the interest of a hotshot music producer named Howie V., who is kind of a weirdo. He wants to do something historic, so has her record the song with a big orchestra and do some crazy ghoulish photo shoot to get the attention of Rolling Stone. Once they strip the country twang out of her voice, he says, her transformation will be complete. Glen is skeptical and also feeling left out (particularly when Howie V. sends him out for coffee), and tells Juliette that it's time to step away. He feels like dead weight when she's on the verge of doing something incredible. And then Juliette finds that she's not so sold on Howie's efforts, and insists that Glen un-quit. He's been the only person who supports her in being herself, she says, and plus she likes Avery's gritty version of the song better.
Finally, at the end of the episode, Rayna pours herself a glass of scotch in Lamar's office and just freaks the heck out. She smashes things and cries and sinks to the floor, and when Tandy and Teddy enter she tells them that the lying has to stop. And I mean, this IS a woman who kept her daughter's paternity secret for thirteen years, so she knows of which she speaks.
Want more? The full recap starts right below!Previously on Nashville: Despite being unable to Google anything related to auditions, Zoey was actually a pretty good singer. Deacon told Juliette to keep saying what she believes in, and that precise impulse led her to getting dropped by Edgehill. Glenn remained loyal through everything, and Juliette thanked him for sticking by her side all these years. Scarlett and Liam started recording together, and my personal "doom foreshadowing" alarm started screeching furiously. Rayna learned that Lamar quite probably killed her mom and Peggy, and told him that as far as she was concerned, both of her parents were dead. She meant it metaphorically, but then Lamar totally clutched his chest and collapsed in Teddy's office. Teddy may have called for help in his brain, but no actual words of urgency made it out of his mouth.
We enter with Rayna in the studio, listening to the part of Scarlett's new track where she wails about not being under a spell. Liam asks what she thinks, and Rayna says it's amazing. She turns to Scarlett, and assures her that it's beautiful and moving and raw and emotional and she loves it. I assume she doesn't love Scarlett's stupid Depression-era coat, which she continues to wear just to spite me. (And also because she's now a drug addict.) She compliments Liam on the mix and says that since they obviously have it all under control, she's going to head off. Her phone is blowing up with calls from Teddy while this is all happening, which she ignores. On her way out, Liam asks Rayna if everything is okay. He's heard that her dad is out of prison and says it must be a relief, but Rayna just says that she's focusing on work right now. Liam assures her that if she needs him, he's there. Rayna tells him that his work with Scarlett is the biggest help -- she's risking everything, and so Scarlett's album has to be great. And then Liam asks how things are going with Luke, because he totally still wants to bone Rayna. She dismisses his flirtatious efforts, and the world folds in on itself with sadness. It is like torture to have so much Liam in these episodes when all he does is turn Scarlett into a pill head and then bang her. (Um, spoiler alert. But you should have time to prepare yourself.)
We then turn to Juliette listening to a recording of "Don't Put Dirt on My Grave Just Yet," which was produced by Avery. She tells him that perfect is the wrong word -- she needs a word that's better than perfect. She loves it, and Avery beams. Juliette then laments that nobody will ever hear it, given that Jeff dropped her from Edgehill and no one else in the city will touch her. Avery has a bit more faith in her, and also has some good news to report. Ken Inman, the music critic for the New York Times, watched the video of her Opry performance (AS IF the Opry would post that on their website). He wrote that even though Juliette is best known for her spangled hot pants and many tabloid appearances, her brave, rebellious and eye-opening Opry performance proves that she has a "deeper spring" (whatever that means) and is an artist with music worth of serious consideration and respect. Juliette has gone legit! She's not getting too excited, though, since nobody else in Nashville reads the New York Times. And every other paper is "literally" putting dirt on her grave. Maybe that's some sort of inventive protest tactic? Avery wants her to bask in the glow of good news. She wants to bask in the afterglow of banging Avery. Well, fair enough.
Meanwhile, Deacon is trying to put together a band for a last-minute gig in a "dinky little dive" an hour away. Well if that's how he's selling it, I can see why he's having such a hard time rounding people up. He tells Megan that he needs to find some like-minded suckers willing to play for warm beer and cold pizza. Deacon needs media training for sure.
We then cut back to Juliette and Avery in bed, interrupted in flagrant by Glenn. She wonders why he's not on vacation as instructed. He's come to deliver her news about the Times piece. Which she already knows. But wait there's more! Super-producer Howie V. (he of the 12 Grammys and 17 VMAs) has also seen the Opry performance and wants to meet her. He's sent his private jet for her, and Juliette needs to get dressed for her trip to L.A. Avery is not invited, and he seems fine with that. But Juliette instructs Glenn to send along Avery's mix. When Glenn leaves and Avery gives an uncomfortable look, Juliette responds with a characteristic, "Oh, he's seen worse."
We're at Rayna's house, where she's instructing her team to post on the website that Scarlett is taking a break from the Luke Wheeler tour to record with legendary producer Liam McGinnis, who is not currently boning Rayna, much to the great sadness of the world. And then Teddy shows up. Rayna apologizes for ignoring his calls, and Teddy gets right to telling her that Lamar passed away this morning, after having a heart attack in his office. The way Teddy phrases the story, Lamar came storming in, all worked up and accusing Teddy of testifying against him. Teddy tried to explain and get him to calm down, he says, but the thing he knew, Lamar was on the floor. Teddy says that he shouted for help (not clarifying that shouting for help was part of his internal monologue and his actual vocal cords laid dormant), but by the time the paramedics got there he was gone. The police and paramedics are keeping things under wraps until Rayna and family make an official statement. And then we hear Maddie's voice coming into the room and asking what's wrong, because Teddy needs to feel at least a little like shit about letting a man die in front of his eyes. Meanwhile, poor Powers Boothe.
Teddy is explaining to the girls that Lamar had a weak heart, and never really recovered from his first heart attack. Maddie says it doesn't make sense, as they were all singing and laughing with Lamar like a day ago, and he was just fine. Teddy talks about how the stress did him in, and Maddie notes that he was just happy to be home with them and not stressed at all! Teddy conveniently does not mention how he spilled the beans about Tandy being the federal informant who put Lamar behind bars. Sweet little Daphne asks if Lamar is in heaven, and Rayna says that yes, Lamar is with their grandma now. Well THAT must have been an awkward reunion. Meanwhile, what ever happened to Watty?
We're then in L.A. with Juliette, Glenn and Howie V. Despite his many Grammys and VMAs, it's clear that Howie is a total tool. He tells Juliette that she's in the sweet spot, since now the whole world is waiting to see who she'll dance with since she broke up with country music. Juliette points out that country music actually broke up with her, which he thinks is even better. It means her rebound can be bigger and bolder, and the country folks will chew their boot leather (or something) when they realize how they've alienated the goddess in their midst. He spouts some stuff about reincarnation being responsible for "Don't Put Dirt on My Grave Just Yet," though Juliette gives Avery half the credit. Howie blows off Juliette's mention of the mix that Avery produced, and says he wants to get her into the studio for something big and historic, his treat. She's game, and I will say to Howie's credit that at least it doesn't appear like he wants to sleep with her.
And then we're back in Nashville, where Zunvery -- the power country-pop trio consisting of Gunnar, Avery and Zoey -- are working out some three-part Lady Antebellum harmonies for a new song. And whatever, they sound amazing. Deacon walks in, telling them that the song and sound were killer. He's been trying to reach Gunnar and Avery all day and now understands why they didn't answer. (This also explains the drop-by.) In any case, Deacon wants to know if one of them would like to play guitar at his gig tonight, for little to no money. Avery says he'd love to, and Deacon doesn't have to play him a dime. Gunner offers to play drums, and Avery says he can find them a bass player. Zoey then pipes in to say she'd be happy to sing backup, and Gunnar gives her a look. She reminds him that she can sing (as was evidenced in the song they all just did together), and he quite condescending says, "Well yeah, but it's just…it's a real gig." He really is the most terrible boyfriend of all time. Deacon doesn't need a headshot and demo -- he says that Zoey's in!
Oh boy, and then Tandy comes to Rayna's place, saying she was surprised that Rayna called. Rayna, who is at the height of her gracious powers in the midst of a family tragedy, just says, "I hadn't planned to." Tandy begins to apologize profusely, and Rayna cuts her off by saying, "Daddy's dead." Tandy immediately gets quite emotional, but a flicker of caring does not pass over Rayna's face. In monotone, she says she started the ball rolling on some funeral arrangements, and is thinking they'll do something simple and private. Tandy cries somewhat dramatically and Rayna looks disgusted as she says, "Oh please, Tandy. He's a murderer. Isn't that what you said?" Tandy, meanwhile, could really use a hug. She's not getting it from Rayna, though, who leaves the room.
Teddy then gives a press conference about Lamar's death. He says that Nashville's finest paramedics took every measure to revive him, but after being transferred to Vanderbilt Medical, he was pronounced dead. Before noon, even! Teddy gives a nod to Rayna, Tandy and the girls (a metaphorical nod -- they are not in attendance), and says the city has lost a towering figure and one of its leading patrons. We see Megan's reflection in a door, and then she walks into the room. What does she have to do with a press conference? A reporter starts to ask about some sort of controversy, and Teddy cuts her off to say that he and Lamar had their differences, but he wouldn't be where he is today without his guidance. By "where I am today" he means a half-murderer.
Oh HORRORS, and then we're out at a bar with Liam and Scarlett. There are quite a few empty glasses on the table, and she wonders if they're going to finish the album before he goes jet setting off to Tokyo, Ireland and Prague. Scarlett thinks that his life sounds amazing, and Liam says that it's a lot of travel and a lot of work without much time for anything -- or anyone -- else. Yes, super-producers get lonely too. Just ask Howie V.! Liam tells her that this life can be cruel to relationships, and though he has houses on three different continents, nobody's waiting for him in any of them. (This leads to me shaking my fist in the air and screaming, "Raynaaaaaaaaaa!" in my living room.) Scarlett wonders how he copes with it, and he says he works more, plays more, records more. But, she notes, he hasn't put out any of his own stuff in a while. He admits to being a little bit stuck, and says that maybe he's trying to hide from his own music. She knows of what he speaks, even though she went from never writing songs to having a record contract in, like, three weeks. They order another round…of doom.
Megan then drops by Teddy's office, saying that he gave quite a nice speech about Lamar. He tells her he's fulfilling his mayoral duties, and also trying to be a good dad. He realizes, he claims, that if he keeps letting the ugliness in, he won't have anything left for his girls. Megan compliments him on his emotional health and maturity, and Teddy says that life's too short to hold on to resentment. I guess you see that really concretely when you let a man die in front of you. He gleaned this advice from Megan, and she's happy to hear that he was listening to all of her psycho babbling. Teddy thanks her for being there for him when no one else was, and then they share a few awkward glances before Teddy says he needs to get back to work.
We cut to Howie's studio, which is basically an enormous space filled with an orchestra arranged in a big circle. Juliette stands in the middle and puts on headphones. The orchestra -- including a harpist! -- plays the intro, and Juliette begins to sing. And say what you will about what a creepy weirdo Howie is: the strings in particular are inspired. We get a view of the sound booth, where Howie is dancing around like a big dork and Glenn looks troubled.
Oh boy, and then Scarlett and Liam are walking in the rain. He thanks her for looking at his lyrics, and she tells him that after their record is done he should lock himself away and work on his own music. He says that he'll miss working with her, and then goes in for a kiss. He must be really drunk, because the rain has obviously re-scraggled Scarlett's weave to epic proportions! She backs away, wondering what he's doing, and then says it's not a very good idea. She walks off to find a cab while Liam looks puzzled. At this point I had a glimmer of hope that things might not turn into full-scale disaster, but it was not to last long.
And then we're at Deacon's dinky little dive gig. He and Zunvery are all ready to go on stage, and then the announcer tells the audience to get ready for this very special last minute-booking of…The Wild Feathers. It turns out that Deacon's been bumped from the 10:30 slot to midnight. Deacon yells at the venue guy that nobody's going to be around listening to music at midnight, and the guy tells him to take it or leave it. Deacon looks pissed, and tells Zunvery that he's out -- he can take a lot, but draws the line at lack of respect. Avery tells Deacon not to cancel on their account -- they don't care what time he goes on. Gunnar and Zoey cosign, and then Zunvery refuses to leave. Deacon looks tickled, and says that they'll stay and play.
Cut to a close-up on some flowers with a note that reads, "Ray, My heart breaks for you. Sending you all my love, Luke." Rayna is on the phone with "Wheels Up" himself, and is forbidding him to come back from Australia for the funeral. Side note: I was in Nashville last week and totally saw Luke Wheeler in my hotel! He looked… Wheeler-ish. When Rayna gets off the phone, Bucky arrives with lasagna in tow. He sympathizes with how rough it is to lose a parent, and says that he's rescheduled her meetings and press events for the time being. She'd love him to be at the small funeral, and laughs at the suggestion that she might do a song, even though I'd venture that "Buried Under" would be more than appropriate.
And then I guess it's midnight, because Deacon and Zunvery and friends are on stage. There handful of folks in the audience grows as the song gets going, and Zoey sounds great on harmonies. Success all around!
In L.A., Glenn shares the news that Rayna's father died, and Juliette texts her to find out details about the funeral. Glenn tells her that it's going to be a small funeral, and besides they're on Howie V. time now. Speaking of, Howie joins their table. Glenn says that he's made some calls to his Nashville contacts about the two of them working together. In turn, Howie says that he slipped a copy of the track they laid down to Interscope and Sony Warner, since if they're going to take over the world Juliette needs to start thinking bigger than Nashville. He suggests that she move out to L.A., and she says that Angelenos drive a little too much for her taste. Still, Howie thinks it's the right move -- new look, new home, new Juliette. Once they strip the last little bit of country twang out of her voice, the transformation will be complete. Glenn is clearly getting uncomfortable, though it's hard to tell if it's because he thinks Howie is full of it, or if he's just feeling very little-fish in this moment. Howie then says he's been talking to a buddy at Rolling Stone about getting Juliette on the cover, a prospect that clearly pleases her. The contact is dragging his feet, so Howie has staged a photo shoot of his own tomorrow to better impart the genius nature of the idea. Juliette toasts to the cover of Rolling Stone, and nobody bothers to clink glasses with Glenn. Sad face!
Deacon finishes up his set to enthusiastic applause, and the venue guy approaches him to say that he'd like to have Deacon back soon and often as a headliner. But Deacon is distracted by a text from Maddie, telling him that Lamar died. We then cut to Rayna sitting alone on her bed, where she gets a call from Deacon. He says he's sorry, and asks how she's doing. She admits that it sucks, and Deacon notes that Maddie sounded very teary on the phone. He says he can get out of the venue quickly and get over to her, but she tells him not to bother since she just got the girls down and doesn't want them to wake up and start crying again. Deacon asks what he can do, and she's got nothing. Deacon then says that even though he and Teddy have been having their problems, he thinks he should be at the funeral, for the girls. Rayna wouldn't have it any other way, and tells Deacon that he's family. Oh, sigh. Deacon then acknowledges that he knows Rayna has other shoulders to cry on, but he's there for her. Rayna says she's not crying -- in fact, she's fine. Deacon knows her well enough to know she's not fine. She doesn't care to hear this, though, and reiterates that she's fine before saying "I'll talk to you" and hanging up the phone.
After a break, we're in Juliette's crazy ghoulish cemetery photo shoot. She's got one of Scarlett's old scraggly wigs on her head, and one of Stevie Nicks' rejected stage outfits on her body, and a mask spray painted across her eyes, and it's cool but also maybe a little much. Glenn says that it's "interesting," and Juliette wonders if it's too weird. He mentions that it also might be kind of tacky, given her association with Rayna, whose father has just died. Glenn tells her that if she's not comfortable they can change things up, but then Howie walks up and says this may be his best work ever. Juliette decides that she's over-thinking it, and heads back on set. Glenn mentions to Howie that this is a little extreme, and Howie in turn asks him to go on a coffee run. Ouch.
Tandy then shows up at Rayna's house with a few of Lamar's suits, to potentially put on his dead body. Rayna isn't into helping choose a tie, though. She says that if it were up to her, Lamar would be buried in a pine box (naked, I guess?) and nowhere near their mother. You could maybe dump him near Peggy -- those two were birds of a feather. Tandy notes that she understands how Rayna feels, but Lamar was still their father. Rayna in turn points out that Lamar has been a mustachio-twirling uber villain his entire life, and they just found out about the worst of it at the end. Tandy says she wanted Lamar punished but not dead (though, let's face it, he totally would have rotted in jail), and can't believe that Rayna doesn't feel anything. Rayna feels like she would have liked to have been adopted at an early age. She tells Tandy to bury Lamar in whatever the hell she wants.
At Deacon's place, Megan runs into Scarlett, who's looking vaguely tweaked out. Scarlett wonders where Deacon is, and is surprised to learn that he's got his old Thursday night slot at the Bluebird. She mumbles that he forgot to tell her, then marches off like the weirdo that she is. Megan looks vaguely disturbed.
After the photo shoot, Glenn approaches Juliette with his bag packed. He says that he doesn't belong there -- e.g., the coffee thing was the last straw. Glenn is proud of how far Juliette has come, but thinks it's time for him to step away. She's on the verge of doing something incredible, and he can't be the dead weight holding her back. Juliette tells Glenn that he's not dead weight, and he's NOT quitting. Glenn says that throughout all their battles over the years, he always had her best interest at heart, and that's still true. He's got to get out of the way and let her be a superstar. I thought she already was a superstar? Glenn gives Juliette the details on Lamar's funeral, kisses her forehead, and walks off. She has tears in her eyes, and totally needs Avery's life coaching right about now.
Then we're at the Bluebird. Deacon first has the crowd bow their heads in a moment of prayer for Rayna and her daughters, given the recent death in the family. And speaking of deaths in the family, Deacon calls Avery, Gunnar and Zoey up on stage, much to their surprise. Deacon jokes that they're the younger crowd he's been hanging out with, and also they saved his butt at the night's gig. As he's calling them up, Scarlett approaches the outside of the venue and is perchance a bit surprised at what's happening. Deacon continues that Zunvery reminded him what he loves about making music. It's not about fame, or being a big star, or how bad your time slot is. It's about bringing people together and making a sweet sound. And Deacon wants them to kick off the night with their sweet sound. Scarlett LOVES that. I mean, no she doesn't. But she doesn't go all rabid squirrel on them or anything. Maybe the pills have evened her out?
Juliette walks in and gets a big smile on her face when she hears how great Zunvery sounds. Deacon gives her some good-natured ribbing about how she loooooves Avery, then admits that he's great and Juliette would be wise not to lose him. Juliette wonders how Rayna's doing, and Deacon says that she's fronting like she's okay but he's worried. Speaking from personal experience, Juliette says that he probably should be.
We then see Juliette and Avery listening to Howie V.'s mix of "Don't Put Dirt on My Grave Just Yet." Avery calls it something else, and adds that it's huge, epic, and Juliette should be really happy. She would be if Glenn weren't such a buzz kill. Avery wonders if she wants to talk about it but she doesn't. Instead, she wants to talk about how great Avery was on stage at the Bluebird. He says he was in good company, playing with friends. That gets him in the music and makes all the difference. Juliette nods her head, somewhat woefully.
Deacon then shows up at Rayna's house, noting that he doesn’t much care for it when someone hangs up on him. She says all bratty, "I know," and tells him once again that she's fine. Deacon wants her to cut the act, since this is too big for her to shove it down and deal with it later. He wants to talk. Instead, she offers him tea. Deacon thinks that he understands just how complicated her relationship with Lamar was, since he was there. She assures him that he really doesn't, unnecessarily adding that he hasn't been there in a long time. I know she's going through a tough time, but that's no reason to be a bitch to Deacon when he's trying to be a friend. She kind of realizes that, and says that the last time she saw Lamar, she told him he was dead to her. And then he WAS dead. Deacon says he's sorry, but Rayna's not sure if she is. She then tells him that Lamar probably ran her mother off the road, and "other horrible things" that she's not going to go into at the moment. She says that Tandy knew all along, and she comes from a family full of liars. Deacon is sorry about it all, and says that even though she's angry she might consider that her family was hiding some of that truth to protect her. Rayna is all, "NO, they were lying." And THEN Deacon says that sometimes people do the wrong things for the right reasons, and they don't intend to harm you -- they're just trying to make the best of a bad situation. I suppose that's more tactful than saying, "Speaking of lying, how about that time you didn't tell me I had a daughter for thirteen years?" Rayna gets a hard look on her face, saying, "Sometimes people do that. But not this time." Oy.
Oh Lord, and then Megan shows up at Teddy's office, in response to a text he's sent. It turns out his guilty conscience has been nagging, and he feels the need to confess to Megan that he told Lamar about Tandy, and then did nothing during Lamar's heart attack. He just stood there and watched him die. Then Megan goes home and slips into bed with Deacon, at 3 a.m. She apologizes for being late, but doesn't say where she's been. Deacon rolls over and says that they need to talk. And it's SO Deacon to lead with that for a relatively innocuous conversation. Learn basic social cues, brother! Anyway, he says that he went over to Rayna's, and she's shut down because she's so angry. Maddie's a wreck, and he feels like he should go to Lamar's memorial. Megan thinks it's a good idea, and it's important to be there for people in need. PEOPLE IN NEED? Who says that? She deserves Teddy, for sure. As Deacon goes back to sleep, Megan looks rather conflicted.
And then we're at the memorial. Juliette walks up to the gravesite in a military-inspired black Jacket as the preacher preaches about fathers and mansions. Appropriate! Juliette walks up and stands by Rayna, who has sunglasses on and her hair half-up. It is not her best look, which I guess is appropriate for a funeral. All the people you expect to be there are there, and Teddy manages not to blurt out anything embarrassing.
And then Zunvery officially decide to form a band! Totally unexpected, I know. We cut to Juliette, who's just gotten some of her photos from Howie V. and looks skeptical. And then: DOOM. Nostradamus foretold it, I believe. Liam walks into the studio to find Scarlett sleeping on the couch. He wonders if she's okay, and she says she's not. Liam thinks this is about his kiss attempt, and tells her not to make something out of nothing. But that's not the issue… it's the fact that Deacon and Zunvery are BFFs. And…okay, the kiss was an issue a little bit. Liam asks if she's worried that the non-kiss will affect their working relationship, and she says that without the work that they're doing in the studio…she doesn't have anything else. You know, except a record deal. Liam assures her that they're fine, and he's not going anywhere. She then kisses him. He briefly says that they shouldn't do this, she says probably not, and then they go into full bone mode. Kill me, seriously.
Glen then shows up to Juliette's door. She opens it, and tells him he's not quitting -- she's not about to let him go just when things are getting interesting. Between Jeff Fordham, Marshall Evans, and Howie V., Juliette has a lot of dudes in her life who want her to be somebody she's not. Glen is the only person who has ever stood by her choice to be herself. He knows who she is, and would never make her dress up like a cemetery ghost to be on the cover of Rolling Stone. Glen says that if she turns her back on Howie V. she's missing a big opportunity, but Juliette says that she wants the world to hear Avery's version of the song, it's got grit. And also, Howie seemed a little too eager to get her away from country music, and she's not ready to pull the stakes up just yet. Glen and his magnificent toupee are IN.
We then see Rayna in Lamar's office, wearing a dress that's much too banging for a funeral, if you ask me. She looks at Lamar's collection of family photos, pours herself a scotch, and then starts crying. She throws the glass against the wall, then smashes a whole bunch of other glass things while wailing. Eventually she collapses to the floor in tears, while Tandy and Teddy enter and look at her. Rayna cries that all the lying has to stop, which I'm sure makes Teddy feel even MORE like shit.
week: Jeff wants Juliette back, Deacon gets propositioned, and Rayna is pissed that Liam and Scarlett are boning. Me too, Ray.
Potes writes and sings songs, too, and hopes one day to audition to be "the fourth Zunvery." Listen to her music at www.traciepotochnik.com, tweet @traciepotes, or email potesypotes@gmail.com.