Previously on Nashville: Scarlett and Caleb fought because of their long-distance woes; Colt ran away from Luke because he was done pretending; Wade Cole told Will his fans didn’t like Will’s lifestyle; Rayna told Markus that Deacon was her guy (because Deacon was being a huge fucking baby) and signed Maddie and Daphne; Avery got full custody of Cadence; and Juliette went to rehab, but Emily didn’t tell Avery.

At a big field, setup is underway for a concert while Rayna and Bucky pedeconference. Bucky’s a bit worried about Markus ending up with a half-empty lawn. A young woman with a headset comes up to tell them that even though Rayna sent Markus off to get wired for sound, he never showed. “What?” Rayna says, utterly shocked that Markus would not show up somewhere he was expected to show up, because she has learned nothing in the past three months.

Scarlett and Gunnar get off the tour bus, and it looks like their tour is over. Erin smooches Gunnar and trots off with a “See you when I see you!” Scarlett snarks about how romantic that was, and Gunnar trots out the “casual” line again. I guess he didn’t do the predictable thing of falling madly in love with Erin because she spent a few minutes listening to his artistic woes last week. Just then Deacon honks for Scarlett, because Caleb is busy with “doctor stuff,” Scarlett explains. She and Deacon have a warm reunion.

“Before you go, I just wanted to say I had a really great time,” Gunnar says. “It worked. We worked.” She says of course it did, and that they’re friends (which, if you have to say that to your ex this frequently, you’re probably not really at the “friends” stage yet). They have the world’s most awkward hug, but at least Scarlett is wearing a super cute military-looking blazer that looks like it came from Anthropologie, rather than her usual outfits, which look more like they’re bought from an off-shore Ebay-only brand advertising itself as “Anthropologie-inspired.”

Daphne’s singing to Maddie in the James kitchen, while Maddie pours herself some cereal. Daphne is stupidly talented. Seriously, this kid! But Maddie suggests that now that they have their look, they should come up with their sound—something a little more adult. “But we’re not adults,” Daphne says with a charming little smile. Maddie gives up easily on this idea, which just means she’s going to come out with something even more offensive later in the episode, I’m sure.

Gunnar arrives home to the Bro Castle to find Cadence playing on the rug in the living room, in the capable care of Will. He sweeps Cadence up for a big hug. The cuteness that happens when any of Cadence’s three father figures are in a scene with her is unbelievable. But just then Avery comes down the stairs and Juliette comes on the TV, and things get a lot less cute. “I feel like I’ve been acting my whole life,” Juliette is saying in response to “Oscar buzz” about her performance in Shenandoah Girl. Cadence smiles and reaches towards the screen, and Gunnar—pretty tone-deafly, I have to say—coos that she knows her mother. “How would she know that? Have you guys been showing her pictures or something?” Avery says, stealing Cadence back. Gunnar blathers about babies knowing their mother’s voices from in utero. Will laughs sweetly at Gunnar, who says he takes parenting “pretty seriously.” Avery, still pissed off and looking to put the boys in the wrong despite their free baby-sitting, declares that Cadence is also too young for TV. Gunnar agrees with this: “all the books say so.” Heh.

Bucky and Rayna are looking for Markus, and Rayna has found Markus’s phone on the tour bus—but no Markus. As soon as Bucky leaves to continue the search, she sees Markus up on the roof. This didn’t work out so well for the last person who tried it, Markus—you sure you want to be having your angsty moments up there?

Luke is on the phone with someone, telling him, “I owe you one.” Apparently someone named “Dirk” is going to cover Juliette. Gabriella wants him to approve photos from the Forbes shoot, but she’s picked only the choices that have Colt in them. Luke manages to stand up for Colt, too little too late of course, and says “I’ll be damned if I’m going to pour more salt in that wound.” But there are federal agents here to see him.

Luke’s not particularly worried, even when they say they’re from the IRS; he just offers to call his business manager, Hoffman. No dice: Hoffman, they say, has been embezzling—and he’s fled the country. Luke asks where he is, but they say, “That doesn’t really concern the IRS.” The reason they’re here is he owes $40 million in back taxes. Gabriella manages to give Luke a sympathetic, horrified look where it almost looks like she’s worrying about him and not about his “brand.”

Emily arrives at Avery’s, and Avery asks where she was the previous day. Emily says, “I was with Juliette and I didn’t want to lie about it.” She wasn’t sure if she should tell Avery about the text from Juliette a few days ago. Avery protests that they’re friends, but Emily says Juliette is her friend too, and also… Emily trails off. “The one who pays your salary?” Avery says with a nasty tone, like he’s calling her out on something terrible. Hi, Avery? That’s actually an important factor when deciding how to respond when the person who employs you asks you to visit her at rehab. Also, she’s your full-time, free babysitter because Juliette pays her salary. So maybe calm down.

Emily explains that Juliette’s in rehab and has checked herself into treatment for post-partum depression, and she’s working with a great doctor. Avery insists she’s using Emily to get to him. “She knows what she’s done and she’s afraid to face you,” Emily says. Avery asks her to go. She reminds him she’s here to watch Cadence, you know, for free, but Avery kicks her out anyway, looking dramatic and teary. Oh Avery, I know. The whole world is against you and nobody understands you.

Deacon and Scarlett are wandering around the bar, where Deacon has installed pews, as in, church pews. He explains that he wants to treat the music like something sacred, but I think we all know this is just one more step in his creepy mission to build a shrine to his dead sister whom he didn’t even like. Scarlett kindly says that she thinks it’s all great.

Deacon has one more bombshell. He flips a ringbox at her and shows her a giant, square diamond ring.

Rayna finds Markus outside on some balcony, sitting on a bench, and asks why he’s up here when everyone else is waiting for him. He insists with tears in his voice that he can’t do this. “I’m not a country singer, and you’re gonna put me on a stage in the heart of Nashville, they’re gonna see right through me!” But Rayna sits with him and exhorts him to believe in himself: she believes in him! “Trust me,” she says. For future reference, her voice is completely “parent figure talking to child figure,” not “lady talking to man she secretly loves and wants to make out with.”

Scarlett and Deacon finish up talking about his proposal plans, and she offers to stick around to help him out. He notices that it’s weird that she doesn’t want to go straight home after being on the road. She explains that things were a little off between her and Caleb last time. “Reentry is always tough,” he says, like she’s a returning vet or something. “The longer you put it off, the longer it’s gonna take for things to get back to normal.” Scarlett looks unconvinced.

At an interview with Good Morning America, with a giant poster of a sultry-looking Markus right next to them, Rayna and Markus sit on director’s chairs and Markus talks about all the talent in Nashville. “The music never stops,” he says. Rayna, who’s wearing a leopard-print silk blouse that looks like it belongs on Julie Cooper, agrees that Markus has been a total fanboy since he got here.

The interviewer pulls that trick that passive-aggressive people love, where he says that he doesn’t believe this, but some people aren’t convinced by his “little detour” into country music. “What do you say, Markus, to those critics who think that all of this is just a bit of a lark?” Ugh, I hate that trick. Obviously Markus is a spoiled baby who probably shouldn’t be taken seriously, but this guy is such a jerk!

Rayna looks concerned while Markus is clearly freaking out. Rayna says that she hates when people say that, that the lines are blurred, and “Frankly, this is the best music we’ve ever seen from Markus Keen” and the most authentic, too. The interviewer wraps up the interview, but Markus stares at Rayna looking absolutely panicked. It’s obvious, also, that Rayna is doing exactly what any label head would need to do in this situation, but he’s taking it as a sign that she’s, like, his knight in shining armour.

A concerned-looking Luke and Gabriella are meeting with a guy who looks like a car salesman, I think because he has too much hair on top of his head for his face shape. He explains that there have been no irregularities with Luke’s label or brand, but that he embezzled from Luke’s personal finances. Luke asks how to handle it, but when the guy suggests bankruptcy, Luke says the most important thing is his brand [Janes: This “brand” business needs to either stop or become a drinking game, because I can’t take it anymore]. “Bankruptcy is an ugly word when it comes to business!” he says. Gabriella says, “So are back taxes [sic],” and that they need to handle this quickly and quietly. Can he pay it? Of course not, he doesn’t have cash like that lying around. But they can liquidate assets. “Sell anything and everything that won’t draw attention,” Luke says.

Well, I don’t know about you guys, but I just can’t wait to find out how Luke’s brand will pull through this grave situation. Back taxes, The Brand [Janes: GAH], and liquidating assets! The show has managed to come up with a plotline less sexy than the Scarlett and Caleb relationship, which… is a feat.

Speak of the devil, here’s Caleb in a nice suit and a power tie, arriving home and kissing Scarlett and promising not to make the same mistake he made last time: he’s canceled all his appointments so he can hang out with her. They exchange I-love-you’s and a tepid kiss.

Avery, bouncing Cadence, asks his lawyer if he should get a restraining order against Juliette. The lawyer says no, she already signed the papers giving Avery full custody. I really admire this lawyer for not reacting with any kind of salacious curiosity when he learns all this juicy gossip about the show equivalent of, like, Taylor Swift. “What if she brings this doctor into it?” Avery says. The lawyer interrupts his rant and says he has the power in the situation.

Will’s at a receptionist’s desk at a recording studio. There’s some mistake with the reservation, but when Cole arrives he doesn’t seem concerned at all, just invites Will back to his place to record there. Will wonders if Cole’s wife will mind, but Cole brushes him off.

I actually didn’t put two and two together when I first saw the episode, but this scene makes what happened later super creepy! Cole obviously didn’t even bother to make the reservation, so that he could arrange for them to be back at his house. Gross. And I’m sure a young female starlet would be totally wise to this ruse, but poor Will has no idea what to watch out for and is about to be blindsided.

Markus is rehearsing on a large field (sounding great, actually) and Rayna comes up and says he sounds great, and “People are gonna be talking about this for a long time.” He’s still in freakout mode, asking what happens if no one comes, or if they don’t buy him. “You’re right, that could happen,” she says, “but we made a damn good album. If people don’t like it, screw ‘em.” He says it’s been a “hell of a ride,” and she smiles, “Let’s go down in a blaze of glory.” Poor word choice around a boy with a crush on you, Ray! They high five, but Rayna looks a little worried as he walks away.

At a big, crowded field that presumably is Markus’s concert, Deacon shepherds Maddie and Daphne through the crowd until he runs into someone named… I think… Cash? She is a young, pretty blonde, just like Markus. But try to imagine Rayna getting pouty and throwing tantrums if Deacon starts writing songs with her. Hard to imagine, right? Of course, though, when men in happy relationships on a show like Nashville run into “old friends” who look like this, your automatic assumption is that there’s going to be a love triangle. Hopefully the show doesn’t go down that road; not that I don’t enjoy a love triangle, but I think Deacon and Rayna have been around that block too many times, and it would be better to see them deal with the real issues in their relationship.

Anyway, it turns out she’s been writing with Kacey Musgraves, and Daphne thinks she has the coolest name ever. She explains she was supposed to be a boy and her parents stuck with the planned name. “Do you want to hang out with us?” Maddie asks cutely, saying that they’re going to the VIP section. Cash says that would be awesome and follows them off.

Luke’s staring at a giant proof of himself and Colt in the stable—the picture that started it all—when Gabriella comes in. She explains that while things aren’t great, they’re going to be OK and the IRS has agreed to keep things quiet. She grabs his hand and says they should go home. Luke goes emo: “It may be a house, but it’s no home, not anymore.” Gabriella says he can’t keep punishing himself, which, OK, Gabriella. It’s been ONE WEEK and Luke’s obsession with faking his whole life For The Brand drove his son out of the house. I think he can punish himself a little longer.

But Gabriella has different ideas: “Colt’s not living on the streets,” she says. Well, as long as that’s true, I guess Luke has done an awesome job being a parent! Anyway, Luke has at least some grasp on reality and says that Colt won’t talk to him; and that he’s living with the in-laws, who don’t like Luke. She apologizes, and then Luke apologizes—for what, I really don’t know—then asks if he can just see her tomorrow. Uh-oh, I think that’s the kiss of death.

The whole crowd is chanting Markus’s name while Markus leans against a chain link fence drinking out of a flask and staring out at the crowd. Rayna bounces up and grabs his shoulders, asking if he’s ready. She’s wearing a super cute black cowgirl hat, not dissimilar to the very fetching one she borrowed from Liam on their little date in season one. He’s still nervous, but she takes a sip out of his flask and they high-five again.

Rayna introduces him to the crowd and butters the crowd up by saying that Nashville knows good music. Daphne is sitting on Deacon’s shoulders in the crowd, which is adorable. When Markus comes out, he and Rayna hug, and Deacon STILL LOOKS WORRIED. Shut up, Deacon. Anyway, the music starts and Markus sounds pretty awesome. Does Riley Smith sing in real life? Is that why he’s not in enough movies? (Just looked it up—he is in a band, called Life of Riley! Cool.) Anyway, everyone is cheering, and Markus sounds awesome, and Cash leans over to Deacon and says that Markus is good. Deacon agrees, sounding almost genuine. Rayna, watching separately, nods along, looking excited and proud.

At the studio of the Bro Castle, Avery, Gunnar, and Will share a pizza as Will regales them about his day. “He didn’t make you use the back entrance?” Avery says. Oh, so many jokes present themselves here. Will says that, “If I can get a guy like Wade Cole to be more accepting, maybe there is hope for gay artists in country music.” One of the most well-done things about Will’s post-coming-out storyline has been the way the show allows him to get his hopes up that he will receive acceptance in the community, and have them cruelly dashed. It’s very painful to watch; each time, his face is so open and hopeful.

Switching the subject, Gunnar asks where Emily is. They all tease him that she’s still not in love with it and he should give it up. Finally Avery admits he “fired” her (was he paying her?) and explains why. Gunnar suggests he’s being too harsh. “It’s because Emily’s so nice that Juliette’s using her to get what she wants! And that’s why I can’t trust Emily anymore,” Avery says like a big old drama queen. Will says it’s not OK to do this and that Cadence needs Emily. “Say you’re sorry, admit that you’re a crazy person, just… get her back,” Gunnar says.

Caleb and Scarlett are lying in bed cuddling in that droopy, depressing way they have. He says he has good news: a promotion. She kisses him and calls him amazing. Then he says it’s in Seattle. “We live in Nashville,” Scarlett answers. (She catches on quick!) She says she’s part of a duo and it’s not just about her, and he immediately gives up and says he sprang it on her too quickly, and that they should think about it. He switches off the light. ON THE RELATIONSHIP. Just kidding. For now.

Markus pulls Rayna away as she and Bucky are revelling in the triumph of the night. He takes her back up to the balcony and says he wanted to take her back to where it all began, but couldn’t find a 737. She is too giddy to be suspicious, and smiles as he pops champagne and toasts, thanking her. It actually is probably true love if Markus Keen is able to pay someone else a compliment. They clink—and he kisses her.

“Markus, what the hell?” she squeals. He says, “You know we have chemistry,” but she doesn’t address this because it’s actually beside the point. “If we’re gonna work together you’ve gotta respect me. Respect my boundaries. No.” I like to see a TV character who insists on that! Whether she’s attracted to him or not actually doesn’t matter because she’s already drawn a boundary. He doesn’t get to unilaterally disrespect that just because he perceives an attraction.

Caleb and Scarlett wake up lying side by side, and she says, “I don’t want to leave Nashville.” He responds calmly, “I know. Which is why I’m going to turn down the job.” Wow, what a touching sacrifice, if we knew or cared anything about this character. He says it’s an easy decision because he doesn’t want to leave her and she doesn’t want to leave Nashville, and to forget he mentioned it. Scarlett doesn’t look super reassured as she stares up at the ceiling.

Deacon brings Rayna breakfast in bed and tells her she’s officially Nashville’s hottest label head, slash producer, slash love of his life. I guess he’s finally grown up. “You were right, that Markus isn’t so bad after all,” he says. Rayna says, well, actually he tried to kiss her and asks, “Could anybody be that stupid?”

Deacon goes Full Cowboy on her and asks where he’s staying. “His ass shoulda been kicked a long time ago.” True, but irrelevant. Just then Rayna gets a text and squeals in dismay that Markus has canceled his tour and is moving to LA. She jumps up to go talk to him, and Deacon is like “You’re going to run off to talk to Markus in the middle of a fight about Markus?”

Rayna is two for two today on combatting male privilege: she says that he kissed her, she did not kiss him, so there is nothing for them to fight about, so yes, she is going to go save Markus’s tour. You go, Rayna!

Avery opens the door to a woman who says she’s Juliette’s therapist. Somehow she manages to get in the house and get a hearing from Avery. “You do know she signed away her parental rights,” Avery says. The doctor, however, says that “To have any chance at a full recovery, she needs to bond with the child she gave birth to.”

I love when therapists on TV shows know the exact key to curing psychological illness. Strep throat? Penicillin. Influenza? Tamiflu. Complex psychological problem resulting from the stress of pregnancy, career, and reminders of early-life trauma? Just wave this baby in her face and she’ll recover in six to eight days! Because that’s how psychiatry works!

“I’m advocating for your daughter,” the doctor says next. Avery insists that he’s his daughter’s advocate. The doctor leaves after a parting shot to make Avery feel guilty that he’ll have to tell Cadence about this someday. [Janes: Yeah, seriously. Who does this woman think she is?]

Rayna knocks on Markus’s hotel door. He lets her in, looking cheerful. “So this is how you’re going to play it?” she says. But he insists that it’s all because his bandmates called him to congratulate him and they got to talking and got back together. Rayna isn’t buying it: “Don’t throw away everything we’ve worked for because of one stupid kiss.” Markus stays calm and bids her good-bye. Growing desperate, she tries to remind him that he wanted to stand on his own. “You wanted to be heard!” she says and even begs, “Pleeeease.” Wow. That’s harsh.

Gabriella storms into Luke’s office and yells, “The story’s out! We lost Ford and Wal-Mart.” Apparently the Forbes photographer did some digging (um, not the reporter?) and figured out what had happened. “The perception is that Luke Wheeler is either too dumb or too rich to notice that forty million dollars is missing.” Ouch. He shouts that “Everything I’ve done has been to protect this brand,” and blames her for his loss of Colt.

“Don’t you dare stand there and tell me that this is my fault,” Gabriella retorts.“It was my job to protect the brand. It’s your job to protect your son.” I mean, she’s right, but she still sucks. Then she says she bet on the wrong horse and that she’s done cleaning up his messes. Bye, Gabriella. I will miss having an obvious villain to root against on this show.

Deacon’s hanging out in the back of his bar staring at the ring, which he’s apparently still carrying around. Frankie asks if they’re still waiting on Rayna and Deacon says ominously, “No. Not anymore.” How many times can a recapper write “Grow the fuck up” in a single recap before people get tired of reading it? One more time? No?

Deacon goes out on stage. Gunnar is among the cheering audience, as are Maddie and Daphne and others. Scarlett, who, surprise surprise, is wearing a white lace dress that looks like a First Communion outfit, joins him onstage so that they can sing a song dedicated to “our favorite dreamer,” Beverly. The audience doesn’t exactly go wild, but Caleb gives Scarlett a soft smile. Wow, I hope these two don’t melt the roof of the bar off with their wild chemistry!

Cash is also here and she greets Maddie, asking if they’re going to play tonight. “This isn’t really our crowd. Being in a band with your twelve-year-old sister kinda limits your audience,” she says, and says she’d rather make Cash’s kind of music. Cash says that they should write together sometime, and Maddie agrees happily. I bet Daphne’s going to feel great about this.

Emily comes to see Avery and he whines, “What do you waaaant?” He says that Juliette will say whatever she needs to get what she wants. Emily protests that she’s not a monster, she’s sick. But Avery sees it differently: “This is classic Juliette. Hit rock bottom, ask for forgiveness, reel everyone back in, and then she just jumps off the rails again taking everyone down with her!” Emily pleads with him but he says she’s an Oscar-nominated actress because she’s so good at pretending. He says he’s protecting Cadence, but Emily says he’s protecting himself, and that Juliette will always be Emily’s mother. She stalks off, and Avery tears up, looking defeated.

Scarlett finds Deacon while a new performer is onstage. Outside, she tells him that Caleb’s been offered a job in Seattle. “We’re partners and I want to know what you think. I don’t know how you make a band work from opposite sides of the country. That’s crazy.” He sighs and says that it’s not ideal, but that if it makes her happy, they can make it work—they can travel back and forth. She gives a trembling sigh, and he assures her they can do it—if that’s what she wants. I guess Gunnar has taken up all the maturity points for the men in this episode.

Avery is paging through old photos: ultrasound. Juliette holding Cadence. Juliette grinning at Cadence. He looks wrecked. Cadence coos from her crib, playing with her feet. That kid! She’s too adorable.

Will and Wade are hanging out with beers by the romantic fire that Wade just happens to have lit in his fireplace. Wade offers to put some steaks on the grill, but Will says he’s got to go to Deacon’s opening. Wade sits down nearer to him and says he’s enjoyed working together. “I know I might’ve come off a bit judgmental early on, but the truth is, I admire you.” Then he GROPES WILL’S THIGH and leans in for a kiss!

When Will protests, he says, “You got no right to judge!” Gross, Wade! That doesn’t mean he has to kiss you just because he’s a gay kid!

“I got more money than I know how to spend, I got a great family… you could have had it all too, if you’d just figured out how to play it right,” Wade says. Will looks horrified at seeing what it would really have been like to have acceptance without authentic acceptance. He says he’d rather be himself.

Rayna runs up to the bar and finds Deacon outside and apologizes for missing the beginning. He accuses her of choosing Markus like she always chooses Markus. “You know how important this label is to me,” she says (let’s leave aside the fact that it’s actually not very clear how important the label is). “You’re gonna make me choose? Because you’re jealous?” she says. She walks off.

I actually feel for Deacon just this one time, because honestly, she should have been at his opening. It’s unclear how this conversation that started in the morning could’ve realistically taken till past the opening number at an evening bar opening. Like, wouldn’t she have eventually given up? Did they seriously talk for twelve hours straight? Wouldn’t Markus have gotten bored of that conversation?

Caleb emerges from the bar to find Scarlett outside on the sidewalk. He sits down next to her and sees she’s crying. She says she feels guilty because Gunnar said they could still do the band if she moved to Seattle, if it made her happy, and “It’s what I couldn’t say to you.” She says he has to take the job and that he’s brilliant. “I can’t allow you to throw away everything you’ve dreamed, everything you’ve worked for, for me. When I can’t do the same thing for you.”

He gives an angry chuckle when he realizes she’s dumping him and says, “Well, I should’ve known better.” Then he accuses her of wanting a doctor, not a boyfriend, and says he’s too normal for her. Petty and bitter is not a pretty color on you, Caleb.

Emily is back to see Avery and he’s in a totally different mood now. He apologizes and says that he’s furious at Juliette and was taking it out on her. She’s kind about it and agrees that Juliette has to prove herself. “But she needs Cadence in order to do that.” They agree that Emily will take Cadence to Juliette for a doctor-supervised visit and that she’ll promise never to leave Cadence alone with Juliette. So Avery agrees, “but the termination of parental rights stays in effect.” Emily tells him he’s doing the right thing. “Then why do I feel sick to my stomach?” he asks.

I mean, I kind of disagree with the show on this. It’s pretty clear from, for example, Juliette’s own childhood that there is sometimes a very very good reason to protect a child from her mother. There is no magical power in the mother-child bond that causes it to be healthy for the kid no matter how fucked-up the mother is. As a huge Juliette fan (and also as someone who knows Juliette’s one of the main characters of the show and thus, by soap opera convention, has to be somewhat redeemable), I don’t think Juliette is going to be as bad for Cadence as her mother was for her, but that doesn’t mean Avery should trust her with his daughter.

Luke shows up to his in-laws’ house and asks for a minute. The father-in-law looks suspicious but says nothing; Colt just calls him away (I guess they didn’t want to pay a speaking part!). Luke says he’s sorry and to please come home. “Don’t uproot your whole life just to get back at me, Nashville is your home,” he pleads. Colt says that what’s wrong between them is a big deal. Luke says that the brand is dead and begs to start over. “I promise you that I won’t make the same mistakes this time.”

“Is the brand really dead?” Colt asks. Luke says that it is, and that Gabriella’s gone too. “I guess you lost it all then, didn’t you?” Colt says with a stony face before slamming the door in Luke’s face.

You go, Colt. “My brand failed and Gabriella ditched me, so I’m going to be a great father” is not exactly the same as “I’ve seen the light and sent Gabriella packing.”

Scarlett is drinking pensively when Gunnar joins her and asks if she’s OK. She says she’s not but will be. Then Will arrives and welcomes Scarlett home; finally, Avery joins them. They get four beers, and everyone exchanges hugs. Emily’s babysitting Cadence, Avery says, and he’s agreed to let Juliette see Cadence. “No matter how rough things get, a girl never stops wanting her mama,” Scarlett says. So they toast “to us,” clink, and drink. Aww, I love this group!

Rayna’s standing outside looking out at the river, and Deacon joins her. They greet each other cautiously. “I do support you, Ray. I do. Your career, Highway 65, that means everything to me because I know how much it means to you.” Then he rambles that he was jealous because he misses working with her, and two people making music is so damn intimate. She agrees that she misses him too, and they hug and kiss.

“Sometimes I just wish I could do everything all over again,” he says. She asks what he’d change, and then he says, “Everything. Nothing.” (Has anyone on TV ever not responded to that question with that line?) But then he kneels down and offers her the ring. She cries and accepts his proposal, and they kiss again. He’s crying too as he slips the ring onto her finger, stands up, and kisses her again.

And that was the end of the winter season! Just three months later, we bring you the recap. And apparently they are getting married in tonight’s episode, so we don’t have to watch some excruciating wedding planning plotline or, worse, see them torn apart again. Happy spring premiere, Nashville fans!