Is everyone ready for the finale tonight? I can’t quite believe it’s really over. Here’s a recap of the penultimate episode, which was, on the whole, quite moving.
Is everyone ready for the finale tonight? I can’t quite believe it’s really over. Here’s a recap of the penultimate episode, which was, on the whole, quite moving.
This was an amazing episode. There were no filler scenes, which is usually a big problem; every scene was meaty and moved the plot line forward; many storylines came to well-deserved climaxes that have been coming for a long time; every major character had sympathetic motivations, even when they were at odds; and it was genuinely heartbreaking in several spots. Solid work, Nashville.
Someone over there at CBS looked at my Secret Dream Diary of Guest Stars I’d Like To See and put them all in this episode. Veronica! Owen! Zach! Marissa (I guess)! Everyone but Josh Charles, who we’re still hoping is on his way back for one more appearance.
Anyway, we come back up on the same conversation between Jason and Alicia that ended last week’s episode. Alicia repeats that she wants Jason. Which is a huge step for her, just to say what she wants (even if what she wants is kind of stupid). Jason confirms that she’s not getting divorced because of him: it would be a bad idea because he doesn’t know what they are yet.
Men who are this afraid of commitment are really kind of arrogant, aren’t they? He’s acting like she’s too stupid to notice that they haven’t made any commitments to each other yet, or too blinded by love of him to understand what a risk it would be to give up marriage for undefined FWB situation. Calm down, buddy. I don’t think she’s going to perish for love of you quite yet.
Nice title, right? Like, I hope that describes every episode of any show I might write someday, otherwise I’m probably doing it wrong.
That said, there were some pretty good twists in this episode, so we have to hand it to the writers!
We ended last week’s episode on what was supposedly a cliffhanger, but if you were looking forward to seeing the resolution of that big question (will Alicia wait to divorce Peter till after his legal troubles are over) happen onscreen, you’ll be disappointed.
That said, this episode finally zoomed up to full speed and delivered a whole bunch of major plot developments. I also had the privilege of seeing this screened with a large and very engaged audience at the Tribeca Film Festival (my write-up is here), which made it really fun.
About your recapper: I haven’t read any of the relevant comic books, but I do know that The Punisher will be showing up in this season, played by Jon “M’ask you sum’min” Bernthal. (I also watch The Walking Dead. Let’s not talk about that right now.) I’m also technically writing this having already watched the whole season, because I couldn’t stop. This will make it slightly awkward when I make fun of the show for awkwardly telegraphing things that are obviously going to happen, but I think we can all get over it—and I promise to warn you before any actual-factual spoilers, but there shouldn’t be any.
About the show: Charlie Cox is Matt Murdock is Daredevil. He has a cool suit. Vincent D’Onofrio a.k.a. Kingpin a.k.a. Wilson Fisk is in jail. Karen Page killed a guy last season and feels guilty about it. Foggy is Matt’s buddy, and law partner, and knows that Matt is Daredevil. He doesn’t really approve.
Let’s get started!
Previously on Nashville: Star Autumn Chase almost took Layla on tour with her, then went with Scarlett and Gunnar instead; Maddie thought something might be wrong with Colt; some girl named Vita stole from Deacon and disappeared, which somehow made Rayna really passionate about helping troubled girls; Luke asked Will to come back to his label; and Juliette quit a movie to be with her daughter.
Scarlett and Gunnar are in Dallas to join Autumn Chase’s tour. Scarlett is freaking out about “remeeting” Autumn—even her hair, which has a sort of “twelve-year-old boy who just woke up” vibe to it right now, looks freaked out. Gunnar light-heartedly teasing her for her fangirlishness, so she teases him back about his love for James Taylor.
They arrive at Autumn’s tour meeting, and Autumn gives them big hugs and a glowing introduction to her crew. Scarlett gushes under her breath to Gunnar about how amazing Autumn is, only to watch Autumn wrap up the meeting by coolly firing a guy in front of everyone. She strolls away, and Scarlett and Gunnar make “oh fuck” faces.

Previously on Nashville: Will was gay, and Luke dropped him; Will met a girl who released her album independently; Deacon turned the Bluebird into the Deacon and Rayna and Beverly Show, so Frankie relapsed; Avery agreed to let Juliette have supervised visits with Cadence; and Vita stole from Deacon and Frankie, and Rayna found her car all burned up in the parking lot of a motel.
We open on Juliette. Juliette’s back, guys! YAY. Juliette (sporting a new tousled bob, and a soft pink sweater that I think represents her newly warm and fuzzy spirit), is changing Cadence in a pink-wall-papered, golden-lit room. It’s all one big Hallmark card to motherhood for a moment.

She kisses and sweet-talks the baby until the therapist, with Emily looking on smiling, tells her it’s time to go. Juliette gives her to Emily with a little bit of sadness but no fireworks and then tells her therapist, “I’m sad to see her go. But other than that I feel good.” They agree she’s ready to go home.
Alicia is called to court one morning by Diane for another Dipple case. (For the uninitiated, Dipple is the Republican that has manipulated Diane into tying herself in knots playing “devil’s advocate” for various conservative causes.) In court, Diane’s on her own till Alicia shows up (late from a rendezvous with Jason and grinning to herself like a college kid who missed the first five minutes of a lecture because she was getting laid).
Another day, another controversial death on The 100. Regardless of your opinions on the two major character deaths that have occurred in the last three episodes, there’s no denying that The 100 has inspired a ton of constructive discourse (as well as some counterproductive ad hominem attacks) about social issues, the responsibility of media creators to their fans, and the role of violence on television. Even when it makes mistakes, The 100 is thoughtful enough to stimulate important conversations, which I would say is commendable in itself.
All right. Let’s do this. Continue reading →