

Patrick Stewart was also deeply involved in the creative decisions on Picard seasons 1 and 2. He got to the point where he just wanted to do what he wanted to do, and since he is Jean-Luc Picard, what he wants is ipso facto the right choice:
“What I’d like to see at the end of the show,” I told them, “is a content Jean-Luc. I want to see Picard perfectly at ease with his situation. Not anxious, not in a frenzy, not depressed. And I think this means that there is a wife in the picture.” You see, the line between Jean-Luc and me has grown ever more blurred. If I have found true love, shouldn’t he?
Sometimes you do not want your actor actually in charge of their iconic character, and genuine embrace of it can manage to make it worse if they’re not writers. I will do my occasional hornet’s-nest kicking and say that Mark Hamill’s take on Luke Skywalker after filming The Last Jedi was similarly myopic, but in a direction that more fans at least think they wanted, and since we’ll never see his choices play out he still gets the benefit of the doubt.


























I will wax a little poetic, then. ;-)
Nashville has had a machine since at least the late 60s for harvesting songs basically provided for free by writers desperate for a break, and routing them them through overproduced studios full of controllable singers even more desperate than the songwriters. Now, to be fair, the occasional gem slips through, more when the model was less refined, and then there’s folks like Dolly Parton who infiltrated it like a virus and then took it over to explode with decent music.
Still, other than what Steve Earle called “The Great Credibility Scare of the 80s” when he, Dwight Yoakam, Lyle Lovett, KD Lang, and Melissa Etheridge (among others) were allowed to bubble to the top of the scene, there’s always been a grifter business mindset that’s somehow worse in country because, as a direct outgrowth and expansion of certain varieties of folk music, audiences ask for authenticity when all they really want is cultural validation (hint: for country-adjacent music, authenticity usually looks a lot like it does in other genres). Bubblegum country therefore somehow feels dirtier than bubblegum pop, and it gets even worse as product categories ossify and Nashville country gets targeted to a more and more specific segment of the public.
I’m fully aware that even the stuff I like, the “Rockabilly [and] other various fusion efforts” broadly called “Americana,” is subject to its own tropes and business pressures, but being smaller and targeting a different niche, there’s at least room in the conversation for artistry and risk, and thankfully good music isn’t as hard to get made as some other forms of entertainment, so there’s a lot of it out there waiting to be found.
Also, nothing wrong with some nasal vocals in the right context, LOL. I do grow weary of “High and Lonesome” bluegrass vocals after about two songs, though.