Ken Tucker's TV Prime-Time TV commentary

Tag: Nashville (1-4 of 4)

'Nashville' midseason finale review: Narrowly avoiding 'Glee'-fulness, will the series find its way in the future?

Nashville‘s mid-season finale on Wednesday night offered examples of what this fascinating production does right, does wrong, needs improvement on, and should just plain get rid of. Oh, plus one absolutely shameless scene that I sorta loved. The show is clearly a work-in-progress, but that doesn’t mean it’s in artistic trouble — it means the folks making this show seem to be trying hard to stay true to the pilot’s original conception and also reach out to a larger audience.

Warning: Spoilers ahead for this week’s Nashville. READ FULL STORY

'Nashville' review: Contracts, bribes, and broken hearts: The business and politics of Nashville

This week’s Nashville was the one that confirmed how complicated it’s going to allow its two main protagonists to become. Connie Britton’s Rayna is a torn soul now fully entering a mid-life crisis, not sure how she should present her music (to herself; to the masses) or her feelings (to her true love Deacon; to her husband, Teddy). Hayden Panettiere’s Juliette is a three-layered soul: all smiley and upbeat in public; all toughness and anger with her employees and family; and, down deep, aching for love. Love in the form of respect from her professional betters; from a mother she wishes was clean and sober; and from her true love Deacon. Whom she wants to put, natch, under an “exclusive contract” — in her band and in her bed. SOME SPOILERS AHEAD IF YOU HAVEN’T SEEN THIS WEEK’S NASHVILLE. READ FULL STORY

'Nashville' week two review: Pickin', grinnin', and skinny-dippin'

The second episode of Nashville kicked off a scene showing Juliette Barnes (Hayden Panettiere) filming a video for for new single “Telescope,” a bit of jaunty pop-country that’s been released in the real world as a single to country radio. It seems like a bit of a risky move: If the song as sung by Panettiere sinks without a trace, doesn’t it suggest that Juliette Barnes isn’t a powerhouse hit maker? Not really: The majority of viewers watching Nashville aren’t also keeping their eyes on the music charts. Nope, it’s the mixture of drama and music that’s going to make or break Nashville, and this week’s episode, written as last week’s pilot was by creator Callie Khouri, revealed more of the series’ strengths and weaknesses. READ FULL STORY

'Nashville' premiere review: The season's best new show, some sources of its music and its drama: 'What the hell was THAT?'

One of the great pleasures of Nashville is that it arrived fully formed, with a sure sense of what it wants to accomplish dramatically, and with a masterful command of atmosphere and setting. No other new show this season projects such effortless assurance, hits so many notes of emotion. Hell, no other scripted show hits so many just plain notes: Its music is as interesting as its storytelling. READ FULL STORY

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