Title:Nashville "Your Good Girl's Gonna Get Bad"
Writers:Meredith Lavender & Marcie Ulin
Manager:Mario Van Peebles
Network:ABC
Original Airdate: 30 April 2014
I often depictNashville (2012- ) as a guilty pleasure. Created by Callie Khouri, it tells the stories of a handful of singers, songwriters and musicians in "Music City", from seasoned professionals at the acme of their powers to upwards-and-coming artists trying to break into the scene. In the corking state tradition, their personal lives are car crashes (a metaphor rent none-too-subtly literal in the show's get-go season finale, "I'll Never Get out of this Earth Live"). Yet in a serial often given to fast-moving, improbable and exaggerated plot developments, what emerges from "Your Good Girl's Gonna Become Bad"—a recent episode set in the lead-up to the Flavour Two finale—is a surprisingly sensitive and nuanced delineation of a very public mental breakup and the beginnings of a recovery.
Scarlett O'Connor (Clare Bowen) is a gifted poet and musician, the niece of country royalty in Deacon Claybourne (Charles Esten), a troubled soul who also has a complex history with her mentor, Rayna James (Connie Britton). Rayna is the well-established "Queen of Country" and has recently prepare up her ain characterization, Highway 65, as a mode both of retaining control over her own career and nurturing new artists. Signing Scarlett as her first creative person, she has used her considerable influence to secure her protege a huge opportunity with the supporting slot on her most recent signing, country crossover star Juliette Barnes' (Hayden Panettiere) latest tour.
Even so for Scarlett, things are moving also fast. She never craved the limelight, but has gone along with decisions that have thrust her firmly into its glow. During recording sessions for her debut album, she has developed a reliance upon "uppers" as a outcome of a casual suggestion from her hot-shot producer. She is a delicate soul under intense pressure level. Tellingly, a trigger bespeak arrives in the grade of an unexpected visit from her controlling and overbearing mother, Beverly O'Connor (Dana Wheeler-Nicholson). One night on the tour, finding information technology all likewise much and, having pleaded unsuccessfully with Juliette for a night off, Scarlett downs a couple of large whiskies before taking to the stage, where she very quickly has a very public breakup.
Nashville is, to a large extent, pure soap melodrama. Just there is also an extra dimension at play, and I would venture that this emanates in large part from the series' unique and celebrated soundtrack. Curated past respected producer T Bone Burnett and singer/songwriter Buddy Miller, it has highlighted the very best—and, often, the most overlooked or underrated—talent from the Nashville and Americana music scenes, showcasing thoughtful songs to a primetime audience. These songs are advisedly selected to fit both storyline and theme and, as such, provide insight by becoming a character'south inner monologue or narrating a potted back story. Accordingly, Scarlett'southward circuitous if not downright poisonous human relationship with her mother was established in the previous episode, "Crazy", when she acerbically defended a rehearsal functioning of her composition "Black Roses" (actually written specifically for the series by songwriter Lucy Schwartz) to Beverly. Her mother could only stand by and listen, embarrassed and insensed.
On stage, Scarlett suffers a psychotic episode. Her visions blurs, and so she begins railing against an invisible enemy—clearly her bullying mother—earlier crawling under a stage piano and clinging onto it for love life. She is unceremoniously escorted from the stage, sedated past a personal physician, then whisked via Juliette's private jet to a top-notch hospital. When she wakes, she is horrified to notice herself secured to the bed, and her mother in attendance. She freaks out, escapes (somehow) her bonds, and flees the hospital. Her mother gives chase, yelling after her in her ain, counter-productively neurotic way, just it is Rayna'southward contrasting, calming influence that is able to reason with Scarlett:
The causes of psychosis are varied. In Scarlett's case, there are a number of factors seemingly at play. Feet is certainly one, both in terms of her unhappiness at the management her career is taking, and due to the sudden appearance of her mother. Trauma or abuse at her female parent's hands is heavily implied to exist some other, as is a hereditary component. To the writers' credit, Beverly is illustrative of most of the characters inNashville in that she is neither all good nor all bad. She has conspicuously suffered at the hands of her own abusive father, and is careful to advise Scarlett'southward doctor that both her and her grandmother have suffered psychotic episodes. Her constant arguments with her blood brother Deacon, who is also an alcoholic and cautions Scarlett over a genetic proneness to habit, besides go some manner to hinting at the difficult upbringing they both endured. In that location are potentially both biological and social factors that can lead to cycles of such mental illness being perpetuated through the generations, and it is pleasing to run into that toxic merely not uncommon mix acknowledged here.
Scarlett heeds Rayna's request and reluctantly returns to the infirmary to continue her treatment. Here, a number of friends and family rally ane-by-one at Scarlett'south bedside, including her estranged best friend, Zoey Dalton (Chaley Rose). It is with Zoey that Scarlett feels able to talk over the uncomfortable truth that her retentivity of the incident onstage differs significantly from the truth. Initially describing information technology as a mere "hiccup", she is forced to acknowledge the true extent of the episode when she catches up with footage that appears online:
This scene highlights a agonizing aspect of psychosis and other mental illnesses, that of not existence able to trust your own thoughts or memories. What the episode skips over is the follow-up treatment or diagnosis that Scarlett receives; psychosis itself is not a diagnosis, simply rather a symptom of some other underlying problem. It remains to be seen whether or not the serial will revisit this topic equally function of Scarlett's ongoing arc, just here the details are lost to Nashville's relentless pace of storytelling.
What is handled sensitively, however, is the bear upon upon her career. For anyone suffering a permanent mental illness, the long-term bear on upon their working life tin can be severe. Scarlett benefits where many do non, from having admission to the very best wellness services and likewise an understanding boss. Rayna ignores the cynical voices that tell her that this kind of "tabloid tragedy" is what makes a country song, and that she should seek to capitalise upon it. It is something the gutter printing would do well to acquire, as would the readers who lap upward every glory'southward fall from grace when their vulnerabilities are fabricated public. Instead, once Scarlett is well plenty to take another chat Rayna, herself a female parent and very much a maternal figure in the evidence, puts her artist foremost above her own interests or those of her ailing tape label:
Information technology is a tender scene, and the heart of the episode as Scarlett finally starts to assert what will make her well. She follows this upward by confronting her mother, who is drastic for her to remain in infirmary and undergo further treatment, and telling her that the very best thing she can do for her daughter correct at present is to go back dwelling and requite her some infinite. It is odd, in the context of both the episode and the ongoing series, that Scarlett is suddenly able to find her inner strength and to admit the string of bad decisions she has made and that take gotten her to this crucial crossroads in her life. Her dialogue likewise acknowledges that extended handling served her female parent's wellbeing, such that the bear witness takes intendance not to advocate refusal of handling. What it does do finer, however, is to highlight that each individual has dissimilar needs, and that these needs should be understood and respected.
It is worth noting that all of Nashville's episode names are borrowed from vocal titles; "Your Good Daughter's Gonna Go Bad" is the title rail of Tammy Wynette'due south first album. Whilst Scarlett appears not to take suffered a powerful addiction, Wynette had a long-term trouble with painkillers, and was treated at the Betty Ford Center at around the same time she joined the cast of soap opera Capitol (1982-87), in which she played a hair stylist turned singer. Fine art imitates life imitates fine art.
Compared to a series such asPerception, in which Dr. Pierce's mental health is frequently little more a plot device, in Nashville the personal and inner lives of the characters are fundamental to the center of the drama and, naturally, the music. The sense of actuality and gravitas that flows from this focus are to Nashville's credit. Over this instalment'due south last scene, Rayna James performs the song "Wrong for the Right Reasons" (by Chris DeStefano, Rosi Golan, and Natalie Hemby), which neatly frames Red's arc and the wider themes of the episode. Some good can arise from times of crunch, it teaches us, if we let ourselves take the right lessons from our more than painful experiences.
In the words of Henry Giles, "Music is the medicine of an afflicted listen". Given both its meridian soundtrack and episodes such as this one, mayhap I should stop referring toNashville as a guilty pleasure after all.
"Your Skillful Girl's Gonna Get Bad" is currently available to watch online via ABC in the USA and 4od in the UK.
Source: https://screenwritingframeofmind.com/2014/06/26/nashville-your-good-girls-gonna-go-bad/
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