It's been several decades, since The Monkees and The Partridge Family, that a television show about fictional musicians has turned its actors into real-life singing stars. Maybe it was MTV's fault, or the flood of reality programming, but the '80s through '00s were painfully short on shows capitalizing on the dramatic opportunities begged by even the most quotidian musician's life. Not until Nashville, ABC's hourlong soap set in the country-music capital, did viewers weaned on American Idol-ish competition shows realize that other forms of music could be ready for prime time too.
True, even without all the music, Nashville would be one of the better dramas on network television. It's a well-written, well-acted, totally immersive window into a glamorous but treacherous segment of American society. Imagine Scandal with fewer skeletons in its characters' closets (but not many), or The Good Wife set backstage at the Grand Ole Opry instead of courtrooms. But Nashville, created by Thelma and Louise screenwriter Callie Khouri, came up with an ingenious twist: on this show, the songs and the characters are for all intents and purposes inseparable.