Nashville - Recap: Mama Was A Rolling Stone

If the episode has a shortcoming, it's that it tries to squeeze too much into its runtime. But that's always been a problem on Nashville, and I would imagine it'll continue to be a problem, barring some kind of mass house-cleaning that results in half the cast being let go. And I wouldn't really want that to happen anyway, since I generally like most of these characters, and the actors portraying them. Ultimately, what works best about "I'm Coming Home To You" is its firm grounding in a singular theme: family. This isn't simply about how celebrities deal with matters of family, but how average people also struggle to negotiate the connections they've made in life. One storyline centers on Rayna (Connie Britton) trying to land the cover of Rolling Stone by allowing a reporter (Anthony Ruivivar) to tail her while she's having what's supposed to be a family-exclusive weekend; meanwhile, another storyline centers on Scarlett (Clare Bowen) and her friendship with Terry George (Mykelti Williamson), the homeless man whom she discovers was once a soul singer in his own right. In that storyline, Scarlett learns that Terry lost his family in a car accident, which lends poignancy to the connection they're forming with one another, so that when they perform the song they wrote together at the Blue Bird it feels like a family coming together. And that's a strength for this episode, as it explores families, both real and makeshift, in interesting ways.

Credit: ABC

The Rayna story was the best of the night, as she struggles to balance her responsibilities to Rolling Stone, and her promises to Luke (Will Chase) and the kids. It results in Rayna practically missing out on her entire weekend, infuriating Luke to no end. Worse, it puts the kids in jeopardy, after Maddie (Lennon Stella) gets caught making out with Luke's son. Basically, Rayna has to give the journalist the full story on Deacon (Charles Esten) and their relationship if she wants to keep the kids out of the article, and so she goes into the sordid history of the man she almost married -- and the camera cuts away before we can learn Rayna's answer to the question of whether or not she'd still be with Deacon if he hadn't relapsed last year. I'm guessing it was probably "yes," and I'm assuming it's going to send Luke into a fury -- and, once again, give hope to Deacon, who comes to a mutual end with Pam (Brette Taylor) once it becomes apparent he'll never be over Rayna. And this is all fascinating stuff because it's all so interconnected. Rayna is trying her damndest to have some sort of family life, in addition to a love life with Luke. They haven't seen each other in two months, and are given only two days to spend together -- two days that are now compromised by the presence of an invasive reporter who doesn't know when to stop butting in. Rayna essentially has to decide between her family and the cover of Rolling Stone. Yet, by trying to have her cake and eat it too (literally, as she ends up angering Luke when she's too distracted by the reporter to take part in their wedding cake tasting), Rayna ends up not only blowing it with her family, she ends up having to reveal far more to the Rolling Stone reporter than she planned on revealing, since it was the only way to protect the family she's trying to hold together.

Credit: ABC

Similarly, Juliette (Hayden Panettiere) is trying to have some semblance of family herself, which is especially touching considering the broken home from which she came. The story is interspersed with comedy as Avery (Jonathan Jackson) has trouble buying the right crib, and expresses discomfort over the possibility of attending a Lamaze class. But it also provides serious insight into what's causing Juliette to be as angsty as she's been. It isn't simply hormones from the baby, but rather a feeling of loneliness, that she has no partner in this baby business. And so it's encouraging when, inevitably, Avery comes through for Juliette, not only being there for her Lamaze class, but also being there for the baby's second kick. In perhaps the most unexpectedly moving moment of the episode, Avery vows never to miss another kick again, and while it's more of a promise to the child than to Juliette, it can be read as a vow that Juliette will not be alone in this. And that progress in the Juliette/Avery relationship makes this one of the more productive storylines of the episode.

For once, I even liked the stuff with Gunnar (Sam Palladio) and Zoey (Chaley Rose), who have their hands full with Micah (Gunnar Sizemore). Gunnar is enjoying fatherhood, but is run ragged by it. As is Zoey, who somewhat resents Kiley (Alex PenaVega) for always leaving Micah with them while she's off seeing her new boyfriend. I'll give the story credit, I seriously was not expecting what ended up happening. Not in the least. When Kiley's relationship ends up imploding, she decides to abandon Micah to Gunnar, so she can chase after this man she loves (whom she barely knows). Her rationale is that Gunnar is a better father than she ever was a mother, but in that moment, Kiley comes across as the version of Juliette who doesn't have Avery on her side: a scared young woman who was a mother before she was ready, and who had no help whatsoever. So now Gunnar has Micah full-time, which he's in no way prepared for (although one might argue he's at least better prepared than Kiley, what with his cushy house and responsible demeanor).

Credit: ABC

It's a story that has far more resonance with the theme of the episode than the ongoing plot between Will (Chris Carmack) and Layla (Aubrey Peeples), who are horrified to see that they've been edited to look like buffoons in their reality show (think Nick Lachey and Jessica Simpson on Newlyweds). Naturally, they're even more horrified to discover it's a hit, meaning they're stuck filming the show, and any hope of a quiet divorce is out the window. It's a forced family structure, in much the same way Gunnar's new family with Micah and Zoey is forced on him by Kiley's decision to leave. It's compelling stuff, and it offers up some of the best work Peeples has done all season, as Layla gets to debut a new song that even impresses Gunnar. I'm really loving the music this season, and this was a great addition to the soundtrack, along with Scarlett and Terry's song. In fact, this was a packed episode for music. "I'm Coming Home To You" also features a great, heartbreaking Juliette track, and a fun number from Rayna, who premieres the song on Dancing With the Stars, in one of the more amusing crossover events on TV this season (despite not even being the only big crossover event on TV tonight, what with SVU and Chicago PD sharing space).

All in all, "I'm Coming Home To You" is one of the best episodes of Nashville this season, so far. And it's indicative of a show that is confidently heading in a clear direction. And I can't wait to see where that direction takes these characters, and how it unites or divides them at a thematic level (all while delivering more soapy goodness). Nashville is a lot of fun, but it can also be surprisingly touching. And that dichotomy is part of what I love so much about it.