Fans of serialized drama -- aka prime-time soaps --take note: a pilot worth your attention arrives this week with the debut of ABC's "Nashville" (10 p.m. Wednesday, WTAE).
Created and written by Callie Khouri, the Oscar-winning screenwriter of "Thelma & Louise," "Nashville" introduces a passel of plots in its premiere, including an "All About Eve" scenario, unrequited love, questionable paternity and family turmoil. And it all blends together in an entertaining, easily digestible hour.
And yet, ABC executives are clearly nervous about how "Nashville" will be perceived.
At the Television Critics Association summer press tour in July, any mention of the new soapy drama was met with a quick, defensive, "It's not just about country music" response.
It's an understandable reaction. The show's title alone conjures an image of honky-tonks. Sometimes image is everything.
"Nashville" stars Connie Britton, who previously led the cast of "Friday Night Lights," which had a similar perception problem. "FNL" was a character-driven, quality drama with a football backdrop but the football aspect of the show scared away viewers who usually watch quality dramas and football fans tuned out after it was clear the show was not about football.
ABC may be luckier with "Nashville" because it seems likely to draw the country music audience and the audience for serialized drama. (Just to be clear, the "Nashville"-"FNL" comparison is about form, not quality. "Nashville" is an entertaining show but the pilot lacks the heart and humanity of "FNL.")
Is "Nashville" too country? Not for me. Country music is not my genre of choice but the music in "Nashville" was not off-putting. That said, the pilot is at its best using music -- particularly in a montage near the end of the premiere -- to advance the plots rather than in straight-on performance sequences that might encourage the non-music fans to drift away from the TV.
Ms. Britton stars as Rayna Jaymes, country music's reigning female vocalist who finds her dominance of the charts eroding as a new generation of artists emerge, including Juliette Barnes (Hayden Panettiere, "Heroes"), an entitled up-and-comer with a deadbeat mom on her tail.
Rayna's dislike of Juliette's sound ("It sounds like feral cats to me") grows when new managers at Rayna's record label suggest she go on tour with Juliette and open for her, a slap to Rayna's ego.
Rayna's turmoil isn't limited to career woes. Her father, Lamar Wyatt (Powers Boothe, "Hatfields & McCoys"), schemes his way through business and politics, including a new plan that directly impacts Rayna and her husband, Teddy (Eric Close, "Without a Trace"), a down-on-his-luck businessman.
And then there's Rayna's band leader, Deacon Claybourne (Pittsburgh native Charles Esten), who has unrequited love for the singing superstar. Other characters include Deacon's niece, Scarlett (Clare Bowen), and her potentially trouble-making boyfriend (Jonathan Jackson, "General Hospital") and her Bluebird Café co-worker, Gunnar (Sam Palladio, "Episodes"), who has a crush on Scarlett.
Ms. Khouri wrote the "Nashville" pilot and executive producer R.J. Cutler ("The War Room") directed it in a way that builds a believable universe. The show feels real.
It helps that the series films on location but it's the clear writing and the blunt, brass tacks portrayal of Rayna's business dealings that give credibility to the characters and authenticity to the situations in "Nashville."tvradio
Rob Owen writes this Sunday TV column for Scripps Howard News Service. Contact him at: email@example.com or 412-263-2582. Read the Tuned In Journal blog at post-gazette.com/tv. Follow RobOwenTV on Twitter or Facebook. First Published October 7, 2012 4:00 AM