We’re only seven episodes into this season of Nashville, and we’ve already had two deaths. That’s right: After the cliffhanger (no pun intended) from two weeks ago, Nashville is back and confirming that Jeff Fordham is definitely dead, and “Can’t Get Used To Losing You” deals with all the consequences of his untimely demise.
If you were expecting an immediate breakdown from Juliette because she’s basically responsible for Jeff dying, you’d be wrong. Instead, the show plays the drunk card: When the cops knock on Juliette’s door the next morning — it took them that long to find Jeff and inform Juliette!?! — she’s bleary-eyed and hungover and completely surprised to hear of Jeff’s death. Also, she doesn’t seem to care a whole lot, a feeling that isn’t totally unwarranted considering how he treated her.
That stands in stark contrast to Layla, who’s seen crying and unable to process how the happy Jeff she said goodnight to the night before could then go on to kill himself. It doesn’t help her state of mind that Jeff’s sister Kate shows up and shuts her out of all information and funeral proceedings. Apparently coldness runs in the Fordham family.
Colt isn’t dealing so well, either, and is completely pissed at his father for not being there when he needed him. Maybe that was better, though, because when Luke does show up, he only berates his son for drinking and then doubts his story about seeing Juliette out on the roof about to jump right before Jeff saved her.
In fact, Luke is less interested in dealing with his son’s potentially traumatizing experience and is instead focused on making sure the launch of his lifestyle brand moves forward. He tells Colt to keep his story to himself for now, that it won’t do anyone any good to hear. Of course, when a secret is kept on Nashville things tend to go south real quick.
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While all of that craziness is going on during the tour, Scarlett and Gunnar are preparing for their own. For Scarlett, that involves a dramatic new haircut — bye bye, gorgeous blond locks — and for Gunnar, it means having to throw together a bunch of details in just a few days, including finding a sound engineer who isn’t booked solid.
Also back in Nashville, Deacon reveals his big purchase to Rayna, and she’s less than pleased. When she sees The Beverly she’s hesitant. Is it because of the money, because it’s a shaky investment? That might be part of it, but the larger issue is not only that Deacon didn’t run the idea by her first, but that he’ll also be spending a lot of his time at a bar, which she rightly reasons might not be the best place for a recovering alcoholic to spend his time.
Still, Deacon’s been looking for a sense of purpose ever since Beverly died and he got to live, and this is the best he can do. He’s obviously passionate about it, and the way he runs the first day of The Beverly proves that he might just have what it takes to turn the bar around. He institutes a happy hour with live music and plays the first set himself, The Beverly packed with more clients than Frankie has seen in ages.
NEXT: Lullabies and goodbyes