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更新时间：2023-08-15 21:16
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百老汇，一个充满了梦想和希望的地方，有些人的名字在这里被永远篆刻在荣誉碑上，而另一些人，则只能在黑暗中品尝着梦想破碎的滋味独自饮泣。汤姆（克里斯蒂安·鲍勒 Christian Borle 饰）和茱莉亚（黛博拉·梅辛 Debra Messing 饰）决定制作一部有关玛丽莲·梦露的音乐剧，此消息一经放出，立刻就吸引了公众的目光，各路人马犹如闻到了鱼腥味的猫咪一般纷至沓来。 女演员凯伦（凯瑟琳·麦菲 Katharine McPhee 饰）拥有一副所有女人都羡慕的羡慕外表，却在事业上屡屡遭遇挫折，和她同样境遇的还有艾薇（梅根·希尔提 Megan Hilty 饰），两人都将能够扮演玛丽莲·梦露当成了事业和人生的突破口。随着时间的推移，制作团队逐渐扩大，台上和台下，好戏共同上演着。
长篇影评
1 ) 仅推荐给爱看歌舞剧的人，不要错过第一季！
歌舞一级棒，剧情一级渣！
本来想在season2的链接写评论的，但是对这部剧的痴迷皆源于第一季的歌舞片段，所以还是回到这边来写。
热爱舞台剧的人可以欣赏一下，第一季的原创歌舞精彩到逆天的程度！以至于观众可以原谅幕后创作团队没有多余的精力再去雕琢剧情。确实，凭心而论，每首歌曲3、4分钟的长度，一集还不止一首，这样的剧中剧编排，放在一集45分钟的剧长里，人物的故事根本没有多余的篇幅再去展开。加上电视剧一周一集的拍摄周期，演员练歌练舞都累个半死，也不可能再有时间精力。
基于以上原因，虽然每看一集都感叹美剧的肥皂程度可以穿越到这种程度（剧情狗血到类似30年前的戏码），但仍然不妨碍每周焦急的盼望，之后再急切地等待原声大碟，以便把歌曲放在MP4里反复repeat。
表演而言，一大堆拿过tony奖的百老汇演员助阵，一群电影圈多有成就的大牌撑场，却仍没办法挽救女一业余的表演。由于女一的业余，也使得剧情严重缺乏说服力，最后编导逐渐向女二倾斜，于是女二的剧情越来越饱满有力。第二季针对女一的问题做了调整，让第一季浓墨重彩的剧中舞台剧得以保留最佳阵容，并进一步丰富剧情。可是，为了这个目的而生造出来的新舞台剧，却过于儿戏，以至于最后争夺tony奖时候的平分秋色更显得像编导的自说自话。
今天这部戏止步于2季的长度，彻底结束了。
最后两集的紧凑和丰富，终于回归到美剧的正常水平，好几次让人激动落泪，与剧集一起感受舞台制作的艰辛、不易和最终苦尽甘来的甜美。这个结局使得这部戏有个精彩的结尾。作为热爱这部戏2年的观众来说，非常感谢最后的这个圆满，This show deserves it！
本来想在season2的链接写评论的，但是对这部剧的痴迷皆源于第一季的歌舞片段，所以还是回到这边来写。
热爱舞台剧的人可以欣赏一下，第一季的原创歌舞精彩到逆天的程度！以至于观众可以原谅幕后创作团队没有多余的精力再去雕琢剧情。确实，凭心而论，每首歌曲3、4分钟的长度，一集还不止一首，这样的剧中剧编排，放在一集45分钟的剧长里，人物的故事根本没有多余的篇幅再去展开。加上电视剧一周一集的拍摄周期，演员练歌练舞都累个半死，也不可能再有时间精力。
基于以上原因，虽然每看一集都感叹美剧的肥皂程度可以穿越到这种程度（剧情狗血到类似30年前的戏码），但仍然不妨碍每周焦急的盼望，之后再急切地等待原声大碟，以便把歌曲放在MP4里反复repeat。
表演而言，一大堆拿过tony奖的百老汇演员助阵，一群电影圈多有成就的大牌撑场，却仍没办法挽救女一业余的表演。由于女一的业余，也使得剧情严重缺乏说服力，最后编导逐渐向女二倾斜，于是女二的剧情越来越饱满有力。第二季针对女一的问题做了调整，让第一季浓墨重彩的剧中舞台剧得以保留最佳阵容，并进一步丰富剧情。可是，为了这个目的而生造出来的新舞台剧，却过于儿戏，以至于最后争夺tony奖时候的平分秋色更显得像编导的自说自话。
今天这部戏止步于2季的长度，彻底结束了。
最后两集的紧凑和丰富，终于回归到美剧的正常水平，好几次让人激动落泪，与剧集一起感受舞台制作的艰辛、不易和最终苦尽甘来的甜美。这个结局使得这部戏有个精彩的结尾。作为热爱这部戏2年的观众来说，非常感谢最后的这个圆满，This show deserves it！
2 ) 微评论： KAREN
从女猪被赶到配角，凯瑟琳·麦菲还真冤枉。总体上，本剧依然是一个癞蛤蟆吃到天鹅肉的故事，所以编剧一方面要表现KAREN乡村女孩的纯洁特质，另一方面又要营造出她的成功是顺理成章的，这实在是太难了。更何况凯瑟琳的外形和玛丽莲根本完全不搭调啊！搞到最后，根本就没给她留下什么发挥空间。
3 ) 微评论：S1E13
果然！果然！！我就知道DEREK这花花公子不会被IVY栓住！！不过DEV啊，你也该清醒了吧？别人KAREN什么时候把你当盆菜过了～～难道IVY和DEV？？同是天涯沦落人，配对倒也不错～～另外REBECCA总算有些明星气质出来了，前两集的表现和村姑没什么区别～～
4 ) Ivy的天真在于她相信努力有用
Smash最终话在我的射手播放器放完的瞬间，我咬了咬嘴唇，二话不说点击播放器右上角的叉叉，然后关机去睡觉，拒绝任何的念想。
我不能想起Ivy落寞的背影，凝固的惨笑，和失魂落魄的眼神。
她的样子和无数个失败的自己重合在一起，只要任何一个悲伤的碎片偷溜入脑海，便不禁双眼含泪。
让我们来做这样一个假设。
假设Ivy技不如人如何？
K和I究竟孰好孰坏，其实是一个见仁见智的事情。如果Ivy比Karen强，我反而不会难过，因为她总会发光，even crazy dreams come true.
但是，如果，我说如果，如果Ivy真的不如Karen呢？
我喜欢Ivy，从来都是因为她努力。
当我因为各种原因没有接到Boss的电话，又因为各种疏忽浪费了大好机遇的时候，我听到Ivy对Karen说: You didn’t want it enough. You didn’t fight hard enough. You didn’t
put enough on the line.那一段是全剧我最喜欢的台词。
“karen美丽聪明苗条声线好，但是Ivy指责得很对，她的投入不够。她的梳妆镜上没有贴满梦露的照片，她也没像Ivy发疯地效仿梦露的一颦一笑。在很多事情上Obsession是重要的，疯魔了青衣，才构成名声大噪。”
这段话大概是一个月前自己写的，现在看来，充满了讽刺。
讽刺什么？
讽刺就是，努力无用。
如果Ivy是才能比不上Karen，这才是让我一想起来就流泪的悲剧。
I wanted it enough. I put it enough on the
line. But, I failed.
如果说Karen的天真在于本性纯良，那么Ivy的天真就是她真的以为努力付出就可以成功。为了玛丽莲之梦，她做尽了该做的和不该做的事情，可是她还是淘汰出局，只是因为导演脑中的一些幻想。或许唯一的选择，真的是一把药片。
从学校走向社会，我才真的发现读书是一件很快乐的事情，因为它是你自己可以控制的。你努力了多少，就可以收获多少。但是现实社会中的事情却完全不是如此，很多非常偶然的因素，可能摧毁并抵消你所有的付出。
太多的事情，不是你尽力就能得到的。而你没有得到，也不能证明你不够好。
但承认自己的才能无法用努力来弥补，实在是太痛苦了。
我也不是多么饱经沧桑，但也不再是纯粹的学生。从很久以前起，我就再也不信“努力就会成功”这种神话了。假如这部剧走的是这个套路，我一定会像glee一样一集弃。之所以看到现在，就是爱它的现实，和它的复杂。
有人说Ivy的失败在于她不自信，心态不好。
我觉得K心态好是因为她是新人，没有什么好失去的，她是9点的朝阳，一切只会越来越好，即使没有玛丽莲她也已经有很多成功的机会；而I在圈子里摸爬滚打多年被合唱团削去了光芒，这个角色是她唯一的希望。她们的心理素质或者说心态有可比性吗？
Ivy不是心态不好，是奋战多年的她已经输不起了。
毕竟自信是新人的奢侈。
K现在还只是Norma Jean，Ivy才有着梦露内心的成熟、纯真和敏感。
第二季我想要看到证明自己才是musical女王的你！
我不能想起Ivy落寞的背影，凝固的惨笑，和失魂落魄的眼神。
她的样子和无数个失败的自己重合在一起，只要任何一个悲伤的碎片偷溜入脑海，便不禁双眼含泪。
让我们来做这样一个假设。
假设Ivy技不如人如何？
K和I究竟孰好孰坏，其实是一个见仁见智的事情。如果Ivy比Karen强，我反而不会难过，因为她总会发光，even crazy dreams come true.
但是，如果，我说如果，如果Ivy真的不如Karen呢？
我喜欢Ivy，从来都是因为她努力。
当我因为各种原因没有接到Boss的电话，又因为各种疏忽浪费了大好机遇的时候，我听到Ivy对Karen说: You didn’t want it enough. You didn’t fight hard enough. You didn’t
put enough on the line.那一段是全剧我最喜欢的台词。
“karen美丽聪明苗条声线好，但是Ivy指责得很对，她的投入不够。她的梳妆镜上没有贴满梦露的照片，她也没像Ivy发疯地效仿梦露的一颦一笑。在很多事情上Obsession是重要的，疯魔了青衣，才构成名声大噪。”
这段话大概是一个月前自己写的，现在看来，充满了讽刺。
讽刺什么？
讽刺就是，努力无用。
如果Ivy是才能比不上Karen，这才是让我一想起来就流泪的悲剧。
I wanted it enough. I put it enough on the
line. But, I failed.
如果说Karen的天真在于本性纯良，那么Ivy的天真就是她真的以为努力付出就可以成功。为了玛丽莲之梦，她做尽了该做的和不该做的事情，可是她还是淘汰出局，只是因为导演脑中的一些幻想。或许唯一的选择，真的是一把药片。
从学校走向社会，我才真的发现读书是一件很快乐的事情，因为它是你自己可以控制的。你努力了多少，就可以收获多少。但是现实社会中的事情却完全不是如此，很多非常偶然的因素，可能摧毁并抵消你所有的付出。
太多的事情，不是你尽力就能得到的。而你没有得到，也不能证明你不够好。
但承认自己的才能无法用努力来弥补，实在是太痛苦了。
我也不是多么饱经沧桑，但也不再是纯粹的学生。从很久以前起，我就再也不信“努力就会成功”这种神话了。假如这部剧走的是这个套路，我一定会像glee一样一集弃。之所以看到现在，就是爱它的现实，和它的复杂。
有人说Ivy的失败在于她不自信，心态不好。
我觉得K心态好是因为她是新人，没有什么好失去的，她是9点的朝阳，一切只会越来越好，即使没有玛丽莲她也已经有很多成功的机会；而I在圈子里摸爬滚打多年被合唱团削去了光芒，这个角色是她唯一的希望。她们的心理素质或者说心态有可比性吗？
Ivy不是心态不好，是奋战多年的她已经输不起了。
毕竟自信是新人的奢侈。
K现在还只是Norma Jean，Ivy才有着梦露内心的成熟、纯真和敏感。
第二季我想要看到证明自己才是musical女王的你！
5 ) 转的洛杉矶时报的评论，很犀利啊，但是我还是喜欢Katharine
'Smash' finale recap: Let Megan Hilty be your star
May 15, 2012 | 11:36 am
Just before the last episode of the first season of “Smash” aired, show runner Theresa Rebeck announced that she would not be returning for Season 2. Instead, Josh Safran, a "Gossip Girl” producer, is coming in to, in the words of Tom (nee Christian Borle), “reboot” the entire show.
Though this type of personnel change isn’t unheard of, it is rare for a major show to lose its captain this way, and one can only guess that Rebeck, a creature of the theater, decided that some of the magic that she was hoping to translate onto the screen was irretrievably lost and that she was better equipped to work on a smaller scale with the strong stuff, rather than the diluted version writ large. Or perhaps she just realized that the show, as it stands now, is massively flawed and that the energy it would take to right the ship wasn’t something she was willing to waste on Katharine McPhee’s mealy-mouthed line readings anymore. Or perhaps she was asked to gracefully exit to make room for a helmer who understands how to take the show’s potential and deliver something worthy.
Because this show does have potential! When I watched the pilot back in January (doesn’t it feel like years ago?), I knew that this was a show that would live or die on the score. Marc Shaiman and Scott Wittman came out of the gate blazing, with numbers like “Let Me Be Your Star” and “The National Pasttime” that have held up throughout a season of listening to them -- at least as well as any Broadway soundtrack holds up. And with the exception of a miscalculated Ryan Tedder number and that bizarre turn to Bollywood, the show’s best element has always been its original music.
Take the closing number from Monday night, “Don’t Forget Me,” a final energetic ballad that led into a “Let Me Be Your Star” reprise. Even though I was furious that it was McPhee singing it and not Megan Hilty -- but more on that in a bit -- the song moved me, and I thought it was a fitting way to end a musical about the life of Marilyn Monroe. She pleads for the audience to remember her good qualities, how hard she strived, and not how hard she suffered. She wants to be a legend. A tall order, but as Marilyn is the textbook definition of legend in our culture, it doesn’t feel stretched, and even the fade-in of a large projection of her face comes at just the right moment. It’s sappy and overstated, sure, but so is much of the best work on Broadway, and I know I would have applauded like mad for that finale had I been in the audience.
So what we’re left with at the end of the first season -- and they haven’t even made it to Broadway yet, oy -- is that the show within a show works on some basic level. The thing that doesn’t work is the outer shell, the NBC show, and I think Rebeck saw the writing on the wall about that. But because NBC is pressing toward Broadway with this thing, they will have to figure out a way to make it better. And I think we all know that means not just handing over the reins to Karen.
Here’s the thing: I see what they’re doing here. Karen is the more moldable, malleable, Norma-Jeanable option for the role; she is the pre-Marilyn Marilyn, prone to fits of shyness and doubt and occasional reveries of intense talent. But she’s also boring and stiff, and those are two things that Norma Jean never was.
I understand why Derek is seeing her strange ghost wander around the halls like a specter from his own personal version of “Scrooge.” His vision of Marilyn is that of an innocent, a child, a ball of beautiful clay that men shape. And while it's problematic that the director of “Bombshell” has a misogynistic skew on the whole story, it does fit right into Derek’s persona. He likes his women to be little girls, delicate flowers, requiring his attention. It’s worth noting that when he was the sweetest to Ivy, she was at her lowest point, abusing drugs and getting kicked off stages. He wants to be the big daddy in the room, and Karen is a canvas on which he can paint that fantasy, down to her backstage melt-down. He has to coax the performance out of her as if she’s a baby bird, rubbing her curves and telling her that she’s a star, that he loves her. There were many men that treated Marilyn this way, and it possibly killed her. Which is to say, Derek has chosen Karen for now, so that he can treat her and mold her however he likes. I’m just not sure that it won’t kill her in Season 2. Just wait until she sleeps with him and he loses interest (and he will).
It wouldn’t be such a problem that Derek went with Karen as the big choice if the show didn’t have such a captivating starlet in Hilty. McPhee did a serviceable job on that last number, but I kept thinking that Ivy would have brought something else to the song entirely. Karen’s “Don’t Forget Me” felt like a pleading, a wish. I bet Ivy’s would have felt like a command. The show is so miscast, in that Hilty is clearly a Broadway performer with the chops for that kind of theater, and McPhee is more of a pop star who somehow keeps beating out the Broadway performer -- it doesn’t make logical sense. We are all supposed to suspend our logic and go with the idea that Karen’s the raw talent who is secretly a genius, but I don’t know why they keep pushing that narrative when clearly it isn’t true.
Hilty is the real genius in the Marilyn role -- even Anjelica Huston knows that, even if she couldn’t sway Derek -- and if I were here, I would be contemplating the fistful of pills as well. The show wants us to care about Karen and to despise Ivy, who sleeps with other people’s boyfriends and tries to sabotage everything. But the best person in real life is not always the best person for the job, especially when it comes to show business. I hope that next season they let Ivy redeem herself and take her place. Bernadette Peters needs something else to do besides look devastated.
Borle told the L.A. Times that next season will focus more on the nuts and bolts aspects of putting on a Broadway show, and less on the soapy drama, to which I say (like Sam) hallelujah! My favorite little bits of this episode were Julia and Tom trying to hammer out orchestrations and the stage manager trying to keep everyone happy during a crash run-through. I’d gladly take more of the technical behind-the-scenes sausage, which the pilot was so good at portraying with auditions rather than plot lines involving Dev or Michael Swift. I can’t even get up the energy to worry about the fate of Karen and Dev. She’s a star now, so I’m assuming that relationship is going to fizzle under her spotlight. As for Michael Swift, he may have impregnated Jules, but that doesn’t make him less creepy or predatory. All he has done is thwart their Chinese baby plans.
The only side character who remains compelling at the end is Ellis, who threatens to enact revenge on “Bombshell” while wearing a red devil suit. His little speech to Eileen about doing what needed to be done (a.k.a. nearly murdering a movie star) and how near-murderers never get coffee for anyone was preposterous, and he deserved to be fired. But part of me thinks that in 15 years, Ellis is going to be one of Broadway’s most successful producers. He is not afraid to get his hands dirty with peanut shavings or possibly blood, and showbiz tends to reward insane ruthlessness. I hope the second season explores this dark patch instead of just making him the villain. Ambition does have its place on Broadway, and I’m interested to see where Ellis lands once he learns to harness his.
And that’s all she wrote, folks. See you next year, when we hit the Broadway stage. Will Karen even do a hip thrust that doesn’t make her look like a fembot? Will Ivy channel Marilyn even more than she already does with an overdose? Will Nick Jonas give back the Degas? Will Ellis burn down a theater while he stands there cackling? Will Anjelica Huston ever sing again? And how long can Julia hide her belly beneath her flowy Eileen Fisher garb? All will be revealed soon. Until then, don’t forget Marilyn, or she will haunt you.
The Songs!
“Mr and Mrs Smith” 2 out of 5 Jazz Hands. Karen has about as much chemistry with Michael Swift as Julia has with her own husband. Not a great start to her star turn.
“Howl” 3 out of 5 Jazz Hands. I really love this song and the jingoistic USO choreography, but I don’t love Karen in it. Ivy standing backstage imagining her own rendition (P.S. “Smash,” please stop with all the flashbacks in Season 2 -- it’s like shaking your own hand) doesn’t help Karen any, as she was so clearly better, effortless and charming at it. Karen gets through the number, but I am not seeing this extra spark that Derek tells Ivy about. She looks mechanical and scared.
“Don’t Forget Me” 4.5 out of 5 Jazz Hands. And then she brings it home, and it’s magical. This is one of Tom and Julia’s best songs yet. Maybe they should always cram in a new ending on the day of the show to keep things fresh. I wasn’t feeling Karen’s tragic sexuality in her suicide scene, but her begging not to be forgotten in this number made me forget how much better Ivy would have been and just focus on McPhee in the role. Because we are stuck with Karen as Marilyn going into Season 2 -- at least for a little while -- any number that makes her more likable is a good thing.
http://latimesblogs.latimes.com/showtracker/2012/05/smash-finale-recap.html
May 15, 2012 | 11:36 am
Just before the last episode of the first season of “Smash” aired, show runner Theresa Rebeck announced that she would not be returning for Season 2. Instead, Josh Safran, a "Gossip Girl” producer, is coming in to, in the words of Tom (nee Christian Borle), “reboot” the entire show.
Though this type of personnel change isn’t unheard of, it is rare for a major show to lose its captain this way, and one can only guess that Rebeck, a creature of the theater, decided that some of the magic that she was hoping to translate onto the screen was irretrievably lost and that she was better equipped to work on a smaller scale with the strong stuff, rather than the diluted version writ large. Or perhaps she just realized that the show, as it stands now, is massively flawed and that the energy it would take to right the ship wasn’t something she was willing to waste on Katharine McPhee’s mealy-mouthed line readings anymore. Or perhaps she was asked to gracefully exit to make room for a helmer who understands how to take the show’s potential and deliver something worthy.
Because this show does have potential! When I watched the pilot back in January (doesn’t it feel like years ago?), I knew that this was a show that would live or die on the score. Marc Shaiman and Scott Wittman came out of the gate blazing, with numbers like “Let Me Be Your Star” and “The National Pasttime” that have held up throughout a season of listening to them -- at least as well as any Broadway soundtrack holds up. And with the exception of a miscalculated Ryan Tedder number and that bizarre turn to Bollywood, the show’s best element has always been its original music.
Take the closing number from Monday night, “Don’t Forget Me,” a final energetic ballad that led into a “Let Me Be Your Star” reprise. Even though I was furious that it was McPhee singing it and not Megan Hilty -- but more on that in a bit -- the song moved me, and I thought it was a fitting way to end a musical about the life of Marilyn Monroe. She pleads for the audience to remember her good qualities, how hard she strived, and not how hard she suffered. She wants to be a legend. A tall order, but as Marilyn is the textbook definition of legend in our culture, it doesn’t feel stretched, and even the fade-in of a large projection of her face comes at just the right moment. It’s sappy and overstated, sure, but so is much of the best work on Broadway, and I know I would have applauded like mad for that finale had I been in the audience.
So what we’re left with at the end of the first season -- and they haven’t even made it to Broadway yet, oy -- is that the show within a show works on some basic level. The thing that doesn’t work is the outer shell, the NBC show, and I think Rebeck saw the writing on the wall about that. But because NBC is pressing toward Broadway with this thing, they will have to figure out a way to make it better. And I think we all know that means not just handing over the reins to Karen.
Here’s the thing: I see what they’re doing here. Karen is the more moldable, malleable, Norma-Jeanable option for the role; she is the pre-Marilyn Marilyn, prone to fits of shyness and doubt and occasional reveries of intense talent. But she’s also boring and stiff, and those are two things that Norma Jean never was.
I understand why Derek is seeing her strange ghost wander around the halls like a specter from his own personal version of “Scrooge.” His vision of Marilyn is that of an innocent, a child, a ball of beautiful clay that men shape. And while it's problematic that the director of “Bombshell” has a misogynistic skew on the whole story, it does fit right into Derek’s persona. He likes his women to be little girls, delicate flowers, requiring his attention. It’s worth noting that when he was the sweetest to Ivy, she was at her lowest point, abusing drugs and getting kicked off stages. He wants to be the big daddy in the room, and Karen is a canvas on which he can paint that fantasy, down to her backstage melt-down. He has to coax the performance out of her as if she’s a baby bird, rubbing her curves and telling her that she’s a star, that he loves her. There were many men that treated Marilyn this way, and it possibly killed her. Which is to say, Derek has chosen Karen for now, so that he can treat her and mold her however he likes. I’m just not sure that it won’t kill her in Season 2. Just wait until she sleeps with him and he loses interest (and he will).
It wouldn’t be such a problem that Derek went with Karen as the big choice if the show didn’t have such a captivating starlet in Hilty. McPhee did a serviceable job on that last number, but I kept thinking that Ivy would have brought something else to the song entirely. Karen’s “Don’t Forget Me” felt like a pleading, a wish. I bet Ivy’s would have felt like a command. The show is so miscast, in that Hilty is clearly a Broadway performer with the chops for that kind of theater, and McPhee is more of a pop star who somehow keeps beating out the Broadway performer -- it doesn’t make logical sense. We are all supposed to suspend our logic and go with the idea that Karen’s the raw talent who is secretly a genius, but I don’t know why they keep pushing that narrative when clearly it isn’t true.
Hilty is the real genius in the Marilyn role -- even Anjelica Huston knows that, even if she couldn’t sway Derek -- and if I were here, I would be contemplating the fistful of pills as well. The show wants us to care about Karen and to despise Ivy, who sleeps with other people’s boyfriends and tries to sabotage everything. But the best person in real life is not always the best person for the job, especially when it comes to show business. I hope that next season they let Ivy redeem herself and take her place. Bernadette Peters needs something else to do besides look devastated.
Borle told the L.A. Times that next season will focus more on the nuts and bolts aspects of putting on a Broadway show, and less on the soapy drama, to which I say (like Sam) hallelujah! My favorite little bits of this episode were Julia and Tom trying to hammer out orchestrations and the stage manager trying to keep everyone happy during a crash run-through. I’d gladly take more of the technical behind-the-scenes sausage, which the pilot was so good at portraying with auditions rather than plot lines involving Dev or Michael Swift. I can’t even get up the energy to worry about the fate of Karen and Dev. She’s a star now, so I’m assuming that relationship is going to fizzle under her spotlight. As for Michael Swift, he may have impregnated Jules, but that doesn’t make him less creepy or predatory. All he has done is thwart their Chinese baby plans.
The only side character who remains compelling at the end is Ellis, who threatens to enact revenge on “Bombshell” while wearing a red devil suit. His little speech to Eileen about doing what needed to be done (a.k.a. nearly murdering a movie star) and how near-murderers never get coffee for anyone was preposterous, and he deserved to be fired. But part of me thinks that in 15 years, Ellis is going to be one of Broadway’s most successful producers. He is not afraid to get his hands dirty with peanut shavings or possibly blood, and showbiz tends to reward insane ruthlessness. I hope the second season explores this dark patch instead of just making him the villain. Ambition does have its place on Broadway, and I’m interested to see where Ellis lands once he learns to harness his.
And that’s all she wrote, folks. See you next year, when we hit the Broadway stage. Will Karen even do a hip thrust that doesn’t make her look like a fembot? Will Ivy channel Marilyn even more than she already does with an overdose? Will Nick Jonas give back the Degas? Will Ellis burn down a theater while he stands there cackling? Will Anjelica Huston ever sing again? And how long can Julia hide her belly beneath her flowy Eileen Fisher garb? All will be revealed soon. Until then, don’t forget Marilyn, or she will haunt you.
The Songs!
“Mr and Mrs Smith” 2 out of 5 Jazz Hands. Karen has about as much chemistry with Michael Swift as Julia has with her own husband. Not a great start to her star turn.
“Howl” 3 out of 5 Jazz Hands. I really love this song and the jingoistic USO choreography, but I don’t love Karen in it. Ivy standing backstage imagining her own rendition (P.S. “Smash,” please stop with all the flashbacks in Season 2 -- it’s like shaking your own hand) doesn’t help Karen any, as she was so clearly better, effortless and charming at it. Karen gets through the number, but I am not seeing this extra spark that Derek tells Ivy about. She looks mechanical and scared.
“Don’t Forget Me” 4.5 out of 5 Jazz Hands. And then she brings it home, and it’s magical. This is one of Tom and Julia’s best songs yet. Maybe they should always cram in a new ending on the day of the show to keep things fresh. I wasn’t feeling Karen’s tragic sexuality in her suicide scene, but her begging not to be forgotten in this number made me forget how much better Ivy would have been and just focus on McPhee in the role. Because we are stuck with Karen as Marilyn going into Season 2 -- at least for a little while -- any number that makes her more likable is a good thing.
http://latimesblogs.latimes.com/showtracker/2012/05/smash-finale-recap.html
6 ) 女二的宿命
Smash的剧情设定真的很渣，从第一集就能对走向略窥一二：青涩邻家女逆袭专业心机女二号成就smash。不评判KM的表演，这个单薄的角色设定就已经限制住她了。又要扮好人，还要作为女一多唱流行歌巩固市场，虽然出不了彩，但是按照众星捧月的套路应该也比较保险。
小白兔灰姑娘的故事在自影视平民化开始已经辉煌了两个世纪。无论冲突多么狗血女主多么单纯到让人捶胸，只要结局美好，总有观众愿意为他们的草根明星梦买单。只是在选秀节目过分曝光后，所有人都看清风光背后永远有累累血泪。在这个没有童话的世界，选一个从选秀中摸爬滚打出来的歌手再扮回童话已经不再有什么说服力。
在女一单薄化的同时，她的宿敌女二形象却在日益丰满。而Megan不只有“丰满”的背景故事和细腻的感情转变，更有“丰满”的声线和“身材”。这才是怎样的剧情粉饰也装不出盖不住的star quality。
有点跑题了咳咳。回归主题，最后一集为Ivy哭惨了，她的绝望和无奈，以及专心致志的坚持让人心碎。Art is never therapy; art is poison.我只是重复的想如果被一个不远如我用心的新手抢走角色和一切，我会怎么做。 要承认的是在艺术里本就没有公平和正义可言。只是作为女二的你我，既不能为了那些抓不住的幸运荒废了用心，也不能让得失心太重拖累了最初的纯粹。
我相信Ivy总能在重生后在那么多欣赏她的人的推荐下找到自己的smash。
小白兔灰姑娘的故事在自影视平民化开始已经辉煌了两个世纪。无论冲突多么狗血女主多么单纯到让人捶胸，只要结局美好，总有观众愿意为他们的草根明星梦买单。只是在选秀节目过分曝光后，所有人都看清风光背后永远有累累血泪。在这个没有童话的世界，选一个从选秀中摸爬滚打出来的歌手再扮回童话已经不再有什么说服力。
在女一单薄化的同时，她的宿敌女二形象却在日益丰满。而Megan不只有“丰满”的背景故事和细腻的感情转变，更有“丰满”的声线和“身材”。这才是怎样的剧情粉饰也装不出盖不住的star quality。
有点跑题了咳咳。回归主题，最后一集为Ivy哭惨了，她的绝望和无奈，以及专心致志的坚持让人心碎。Art is never therapy; art is poison.我只是重复的想如果被一个不远如我用心的新手抢走角色和一切，我会怎么做。 要承认的是在艺术里本就没有公平和正义可言。只是作为女二的你我，既不能为了那些抓不住的幸运荒废了用心，也不能让得失心太重拖累了最初的纯粹。
我相信Ivy总能在重生后在那么多欣赏她的人的推荐下找到自己的smash。
折服在渣导的性感英音之下，故事有点俗但是人物塑造很丰富啊~
第一集还不错
真心不觉得会超越glee，故事太平淡了，光励志的话真心撑不过一季，毕竟glee的主角是社会底层人士，既然是歌舞圈了，就让娱乐圈丑闻和明挣暗斗来的更猛烈吧。。。
There's a broken heart for every light on Broadway.
上1次这么热血沸腾的追剧还是8年前追主妇第1季,那是人生第一次每周"追看"美剧.每个人都那么棒,来对比女主角如此的烂(因为她扣一星).想到个最不恰当的例子,showgirl里女主Elizabeth Berkley的存在只是为了反衬女配Gina Gershon;kp存在的唯一意义只是为了成就Megan Hilty的光彩夺目.
虽然一早就知道肯定是假圣母演Marylin，但是最后到大舞台的时候看了还是会一股无名火，那气势，演技，舞步，pop声线不知道比ivy弱到哪里去了，我是ivy也会气的吃安眠药吧。最后一首歌假圣母副歌之前就是接近是念出来的，要是ivy唱多好。
太棒了！
又听到Jack Davenport那销魂的口音了！又看到亲爱的grace了！能不能不要再在评论里提glee了呀，满屏的glee真尼玛闹心！唱个歌就是glee吗，人家新白娘子传奇也是又唱又演好不好！
討厭女主，一集棄
怎么无感呢。。。梦露就应该是圆滚滚的吧。。。可惜了。
这是刚看前几集时的感想→【真喜欢这种有心智健全的成年人有英国男配角有技术含量地唱歌跳舞而且每集至少都有一个gay kiss的音乐剧 Ivy一开口就瞬间从注水猪变身金嗓子猴宝非常犀利！还有Grace终于圆了五音都全的梦啊哈哈哈哈哈NBC好嘢~~】这是现在的感想→【我操凭什么啊那个弱逼面瘫女╬ﾟ◥益◤
提不上惊艳可是也恰到好处。and good to see Debra getting out of Gracie.---------中间许多集拖沓很久，最后一首歌舞剧味浓得刚好。
感觉好华丽啊！！！要看要看！！
Karen唱的的I Never Met a Wolf Who Didn't Love to Howl其实还行，可是The 20th Century Fox Mambo简直就没法听。。。不过最后一首歌的时候整个人都要哭断气了我去。。。【Ivy党泪流满面。。。
最后几集越来越好 有种黄金年代的浮华感
跟风什么的真无聊
第一集太好看了！准备追啊！中间有些拖拉，不过还是期待第二季
就非要搞点被潜规则才高兴
这剧的卡司简直要逆天了！Jack Davenport的英国腔好！销！魂！！！！每首歌都很好听！Let me be your star单循环有木有！前半部分剧情都不错换了个Gossip Girl的编剧后面果然开始狗血的排列组合o(╯□╰)o I hate it when things get complicated！！！要是把整个Bomshell都拍成finale就好了！
一集弃啊……