Ezra Pound????? The musical? Was that supposed to be an inside joke between Julia and Tom, and maybe the deadpan delivery got in the way? Or, is this show really being written by idiots who just filled in Ezra Pound having no idea about all the crazy fascist stuff?
This is my first post on the show in about 3 weeks because while I was still continuing my vigil, there was not much new to report. Generally, the level of terribleness has lessened. That doesn’t mean it’s good. A season highlight came a couple of weeks back with the perfect song, Let’s Start Tomorrow Tonight, which sounded like a classic from some late studio-era musical, but then they ruined the aftermath, arguing that it didn’t belong in the show and used it for the whole predictable Tom-is-now-losing-his-humanity storyline. You’ve got a song like that, you either find a place for it i Continue reading Smash – Opening Night – Now Sucking Slightly Less→
I just speed through New Guy’s songs. Is this because I am one of those olds they keep talking about who won’t appreciate them? Or is it that these songs are kind of boring? Also was that the same Gummer-girl on The Good Wife or a different one? And why don’t I like either of them? Is it them? Or does their presence remind me that there’s nepotism everywhere and life is unfair? Or are they both just a little too affected and actressy?
Of course nothing made sense because it never does. Once again we were told a whole bunch of stuff that we never knew before. Suddenly, Marilyn’s mother is vitally important to Julia. Is this a character played by an actor whom we’ve never seen? Does she have a number we’ve never heard? Again we are being asked to care about something being cut, but we have no way of knowing other than Julia’s whining about it, why we should.
It wasn’t like I actually sat down and watched. I was multi-tasking.
Here were just a few terrible moments:
Julia’s telling Tom (and the audience) that they are depressed, and this is the Chinese restaurant they go to when depressed, and this is what they order when they are depressed, and here they are again because – depressed. Does Tom have Alzheimer’s? Is that why Julia must tell him all this? Or is this yet again a sign of the writers’ laziness and contempt for an audience they think is too stupid to get it?
Julia’s “Oh my God,” at the news Jerry was paying Ellis. Has Grace just stopped trying?
The very special lesson that honesty is the best policy. Ivy tells Terry the truth about his performance and instead of firing her, the egomaniacal bully thanks her and changes his ways. And they all lived happily ever after.
New Guy saying he was going to “get high and go to work,” because heaven forbid we should forget that he uses DRUGS, or he should actually have to do any acting to show us that aspect of the character.
The list could go on and on. At this point almost every moment is bad, and not in a good way. Feel free to chime in if you think I missed any of the worst.
Caught me. Yes I did hate-watch Smash again, despite what I said last week.
I don’t think I’ve ever witnessed a television show with such an interesting cast sink so quickly. I said most of what I needed to say already, but let me reiterate one point: The writers need to keep track of what the viewers know and don’t know. They expect us to care which draft of Bombshell will be produced. But here’s the thing – we’ve never seen Bombshell. We’ve been told that one version focuses on Marilyn’s strength, and another on how she was viewed by men, and maybe there were other drafts out there, but we can’t keep track because it’s meaningless drivel. We’ve only seen a bunch of loosely connected musical numbers. We don’t have a favorite. We have no stake in which version Eileen decides on. We don’t care. And this they make into a cliff-hanger ending! Viewers care about characters. A cliff-hanger usually involves the fate of a character, and it’s often a life and death situation.
As for the ridiculous sub-plots: Karen and her gang go to Greenpoint where they discover the book for Jimmy’s musical sucks. Kyle has a sad. They decide to just make it music, like Rent. That’s it. Problem solved. It’s like the writers think DRAMA is actors singing real loud. Also why do they have to explicitly tell us what they are referencing every time they reference something? Why can’t anything ever be implied?
Then there’s Ivy’s story, now separate from everyone else’s story and other characters from last season. Ivy meets her her leading man, a Jim Carrey-like clown (and they mention Jim Carrey in case we don’t get it) who thinks he’s doing a comedy until Ivy awes him with her “acting.” Who was this written for? Is this supposed to appeal to theater-geeks who are tired of television and movie actors thinking they can do live theater? Didn’t we go there last season with Uma Thurman?
I’m starting a poll. I don’t think we’re going to see more than three more episodes of this disaster. I’ll go with two. Any challengers?
Might I suggest anyone who wants to see a GREAT behind the scenes show about theater (or theatre) check out Slings and Arrows, available at Netflix and other places? Enjoy this sample:
The days of hate-watching are over. First season Smash may have been dumb, but it was, at least occasionally, interesting.
It’s not that I don’t hate the new season. I do, but it’s no longer entertaining, and whereas before I could sort of tune-out the stupid, or groan through it until they went into some Broadway-like musical number, I can no longer even do that.
To begin with they’ve made Grace Julia super annoying. Granted she was no picnic last year either. Good that they jettisoned her husband and son though I didn’t mind Shrek so much. The forty-year old boy who still lived at home with them was awful. If they’d just cast someone who looked sixteen, and acted sixteen, maybe viewers wouldn’t have gotten so pissed off about it. The homelife versus crazy-world-of-theater could have worked. A realistic look at the pressures of being the playwright’s spouse could have been interesting. In fact, All About Eve was told from the spouse’s outsider point-of-view. Frank as narrator, or even telling the story from multiple characters’ points of view would have, at least, been different.