TV: ‘Smash’ series finale

By Meryl Gottlieb| mg986611@ohiou.edu| @buzzlightmeryl
Rating: 1.5/ 5

As much as I hate to admit it, I am going to miss the crazy awfulness that is Smash. It definitely does not deserve a third season because if they cannot figure out some character development in two seasons then I doubt a third will help. However, I love the angelic voices of Megan Hilty and Jeremy Jordan and just want to hear them single wonderful songs each week. Here’s hoping they return to Broadway — where they truly belong — as soon as possible.

I have two episodes to review so stick with me since this is my last time to review the show and pick out the insane moments.

The finale begins with Ivy (Megan Hilty) singing “Feelin’ Alright,” which perfectly matched her situation. Congrats writers. You managed to do what Glee struggles with every episode.

Throughout both episodes was an incredibly tedious storyline involving Ivy’s struggle to tell Derek (Jack Davenport) about the baby. Why she ever even had to be pregnant is a mystery. I think it’s a terrible way to end her storyline. I thoroughly hate this and couldn’t stand that it comprised 80 percent of Hilty’s screen time.

Tom (Christian Borle) breaks a big rule in theater: checking your phone during a performance. What a faux pas. Honestly, I don’t care if you are anxious to check the Outer Critics Circle nominations. I’m sick of you obsessing over being a director. He even manages to annoy Patrick Dillon (Luke MacFarlane), someone he has a major crush on who also happens to be on the Tony nominating committee. Throughout both episodes, there is so much pointless back and forth between these two characters. Sure, Borle shined and was hilarious but that is because he’s fabulous. However, I could have done without this storyline.

Karen (Katharine McPhee) confronts Daisy (Mara Davi) about making the better choice and leaving the show so Ana (Krysta Rodriguez) can come back, even though she has filed a wrongful termination suit against Derek and Jerry (Michael Cristofer). Of course, Daisy says no, mentioning that after 10 years of being in the theater, you do what it takes. You were in the chorus, not jail.

Jimmy (Jeremy Jordan) is determined to get Kyle a Tony, which means getting him press and bashing Julia (Debra Messing) for making it seem like she was heavily involved with writing the show.

Speaking of Julia, her divorce is suddenly a storyline again. This honestly came out of nowhere. Frank (Brian d’Arcy James) is set on taking everything from her for ruining their marriage. To skip over this nonsense, she tells him the truth about her relations with Michael Swift (Will Chase) — remember him? — and all of a sudden Frank is chill. There, I just saved you a ton of agony that no one needed to endure.

Ana sings “If You Want Me” for an audition for a Once tour, and, of course, is brilliant. I love her voice and so desperately wish she had sang more, especially those Diva songs that Daisy sang. Ana finds out that Derek set up the audition, which deters her from taking it but eventually she accepts it.

Now we come to the OCC Awards ceremony. Julia acts all high and mighty — which she does for the rest of the show — by dedicating her award to Kyle — and now my head hurts from all the eye rolls — and Tom makes an incredibly awkward statement involving Lena Dunham and bras.

I would like to take a moment and rant about the fact that Daphne Rubin-Vega and Jesse L. Martin — who mysteriously vanished without a proper write-out — NEVER SANG. Why on earth would you bring them on and not have them sing?! You’ll let Debra Messing sing, yet you won’t let two original Broadway cast members of Rent sing?! Look at your life; look at your choices.

Speaking of missed opportunities, there was entirely too little Bobby (Wesley Taylor) in the finale, let alone the series. Every scene he was in was full of sarcastic wit that I always loved. Spin-off anyone?

And here is what we have been waiting for the entire episode: the Tony nominations, with Bombshell getting 12 nominations and Hit List getting 13.

Derek was nominated for Choreography for his work in Hit List and Bombshell. Kyle and Julia get nominations for Best Book. Both shows get nominations for Best Original Score. Tom and Derek both get Best Director nominations. Ivy and Leigh (Bernadette Peters) have both been nominated for Best Featured Actress, with Ivy’s nomination from her work in Liaisons. Guess what? Daisy was also nominated… I’ll leave it at that. Even more of a surprise came when Karen was nominated alongside Ivy for Best Lead Actress. Apparently “actress” is taken very lightly.

To start the very last episode, “The Tonys,” the entire regular cast — even Julia, Eileen (Anjelica Huston) and Derek — sings “Under Pressure.” I could have done without Julia and Eileen, but the rest of the cast was great. I actually liked it; go figure. And did anyone else catch that Rent tribute with the way the cast stood in a line on stage? Anyone else annoyed with the amount of Rent allusions?

Leigh Conroy shines as she prepares Ivy for the Tonys by making her watch her own old acceptance speech — an actual tape from Peters’ win for Annie Get Your Gun. I have never loved Peters more. This scene was top-notch. Her character was well written tonight. Peters and Hilty work excellently together.

Derek went public about how Daisy got the role of the Diva and sulks in a messy apartment for weeks. Not even his muse can snap him out of it, but Ivy manages to convince him to go to the Tonys.

Eileen and Nick (Thorsten Kaye) get back together, and I utter an incredibly apathetic sigh.

Jimmy packs up the apartment, making us think he is going to skip the Tonys. However, he shows up last minute to take Karen and gives Kyle’s ticket to Ana who can apparently get ready for the biggest award show in the theater world in 15 minutes. By the way, I need to take a second to mention how FANTASTIC Jeremy Jordan looks in a tuxedo. Yumz.

And now we have come to the main event: the Tonys where there is no host and a thousand and one cameos from the theater world. Daisy wins over Ivy and Leigh, so obviously it’s a dream sequence because there is no way in reality that would EVER happen. Tom and Julia are too busy being friends again to hear that they won the Tony. Derek wins for Choreography for Hit List. Kyle wins for Best Book and Jimmy finally shows he can act and gives a very moving acceptance speech.

I understand the importance to make another connection to Rent by having Kyle win for Best Book as Jonathan Larson did, however I think it should be the opposite. The score for Hit List dances circles around Bombshell and I don’t think anyone can make a fair judgment on the book because we never get to see more than the musical numbers.

Derek finally mans up and gets rid of Daisy. For their Tony performance, the Hit List cast does an a cappella version of “Broadway, Here I Come,” and I loved it. I have always loved that song and I’m glad I have a new version to love and listen to over and over again.

After the previously mentioned pointless storyline between Tom and Patrick Dillon, the two kiss, even though Dillon is supposedly straight. I assume Safran thought he had a chance at a third season and was going to pursue that romance then. Oh well.

The moment I have been waiting for since the beginning of the show finally came: it has been proven that Ivy is better than Karen for she wins the Tony!!! IVY WINS!! I would have thrown a fit if Karen had won. At least the writers got one thing right. I can’t wait to actually see Hilty accept a Tony one-day, and hopefully it’s soon!

Rosie O’Donnell appears again for some reason to present the Best Musical award, and it goes to Bombshell. Personally, I’ve come to love Hit List much more than Bombshell, but I don’t deny it would probably make for a great show.

Because he was lacking a troubled past, Jimmy tells Karen he once watched a girl overdose and just ran away. But because she makes him want to be a better person, he has finally turned himself in, but things are even better because she didn’t even die! However, he will get six to 18 months jail time. Talk about throwing in unnecessary, last minute storylines. This literally came out of nowhere! But I guess we are supposed to assume Karen will just wait for him until then.

Though no words were said, we see Derek touching Ivy’s belly so it’s another safe assumption to say that those two will raise a very messed up, egotistical child. And in other horrible storyline wrap-ups, Julia goes back to Michael Swift!!!!! WHAT?! I have lost the ability to even try to rationalize the writers’ decisions.

All the wrap-ups happen while Karen and Ivy sang “Big Finish” at the Tonys, a number that apparently Julia and Tom wrote in seconds and is apparently supposed to be the Tonys’ closing number. The song was very Chicago-esque, which I loved, but let’s talk about those less than subtle lyrics: “Let’s give them that big finish/ And leave them wanting more/ Hear the angels shout ‘Encore!’/ Yeah we’ll leave them, leave the people wanting/ More!”

Well played Shaiman and Wittman.

And that’s all folks. No longer will we reconvene to discuss our hatred and addiction to this terrible awfulness. I’ll miss the songs more than anything. I will not miss the horrible acting and shoddy writing. What will I remember the most from my time with Smash? The stinging reminder of a show that had so much potential — it was about the Broadway world! — but crashed so badly. One can only dream that someone will get this idea right.

What were your thoughts on the series’ wrap ups? Will you miss Smash? Let me know @buzzlightmeryl.

TV: ‘Smash’ flops before its season finale

By Meryl Gottlieb| mg986611@ohiou.edu| @buzzlightmeryl
Smash season two finale will air Sunday, May 26 at 9 p.m.
Rating: 1.5/ 5

Tonight’s episode of Smash, “The Transfer,” was certainly not an episode worth watching. A disastrous plot twist was revealed, egos are running on high and Katharine McPhee’s acting is worse than ever.

Opening with Karen (Katharine McPhee) singing “Pretender” from Hit List, we see that the show has moved to Broadway and is in previews. Everything is going as desired for a Tonys route except something is off, and Derek (Jack Davenport) thinks it is Ana (Krysta Rodriguez), who has had trouble adjusting to the larger stage.

Continuing her publicity plan, Eileen (Anjelica Huston) holds a tribute night in honor of Tom (Christian Borle) and Julia (Debra Messing). She even wants the two to sing together. Oh, honey, have you ever heard Messing sing on Will & Grace, because believe me, it’s not pretty.

Agnes (Daphne Rubin-Vega) says a Tony nomination is almost secured for Best Score; Best Director will be a surprise; and Ivy (Megan Hilty) might have trouble getting Best Actress because of some past scandals, such as supposedly sleeping her way to the top and popping pills. She must now go through image rehab and appear squeaky clean.

May I just say that Hilty is the best? Her reaction to Agnes’ rattling off the accusations was hilarious, and I’m glad the character is finally getting somewhere. Too bad it took her two seasons to develop and that she won’t have any more time since NBC officially cancelled Smash after this season.

Derek gives Ana a day off and puts Daisy (Mara Davi) in to see if she does better. It is fixed!! Daisy is one of the dancers who came forward with allegations against Derek, who we then saw him hook up with after being rejected after the Bombshell opening.

I cannot explain my frustration. Ana is amazing as the Diva. The fact that this is happening is annoying.

Julia figured out what was wrong with the show: the context is gone. The audience is too disconnected from the performance. Now that they have found the problem, Derek assigns her and Jimmy (Jeremy Jordan) ten hours to fix it before the night’s performance. How can people make all of these changes hours before the show is supposed to go on? Stop this nonsense. You did it so many times with Bombshell, do not do it again with Hit List.

When Karen asks if Derek is replacing Ana, he gives one of the best scenes of the entire episode, or maybe even of the entire season. He admits that he has to question every decision he makes to see if that was what Kyle would have wanted. He has to decide if it is good for Kyle’s memory or good for the show, which are not always the same thing.

I am more than thrilled they put this into the show because it is so true with an artist’s work. People are afraid to change something because that is how the deceased artist left it. However, that may not have been the final draft and things may need to be changed. It is an ongoing issue that survivors must face any time someone dies. They do not want to tarnish the memory by making it seem that something was wrong, however they must face the reality that they need to continue and thrive, which may mean changes are necessary.

In order to help swing a Tony nomination for directing, Tom changes all of the plans for the tribute night and makes it into a revue set in 1950s Vegas with strippers, gamblers and gangsters. He essentially gives everyone one day to rehearse. Ok, again, this is nonsense.

Also, please stop trying for this directing nomination. This storyline is quite flat.

Julia and Jimmy go to Kyle’s apartment to look for ideas he left behind. They find a notecard labeled “Newsreel,” in which he wanted a modern version of a newsreel with tweets, chat room messages and any other modern technology updates shown on stage. He and Jimmy also dreamed of sending out live updates to each audience member on their cell phones.

OK, that is cool. And it works. The audience loved it.

Eileen leaked that Tom and Julia split — another Tony campaign stunt — making it ever more important that Julia show for the revue. However, she is busy helping Hit List. Tom is disappointed she feels no need to be with him on this last night of their partnership.

Ivy is afraid to do the show now because it may hurt the nice image she is trying to put across for nominations. Very out of the ordinary, Eileen gives Ivy a pep talk that doesn’t seem like it should have helped but ended up helping Ivy. Ugh, Eileen needs to leave already. Her character was never appealing.

Ivy performs a strip tease to “Grin and Bear It.” Except, I’m not sure her part was exactly a strip tease. The girls behind her stripped but she just teased. I don’t understand why she was so against doing that performance. Vocals were absolutely amazing of course.

Daisy is in fact blackmailing Derek, not from the first time they had relations but for the time after the Bombshell opening, which she taped. She also taped him saying that he would give her a role if she slept with him. Oh Derek.

Karen and Daisy perform “I’m Not Sorry,” where the Diva and Amanda battle at the VMAs. I would have loved it a lot more if Ana had been the Diva. I cannot express how disappointed I am I didn’t get to see Ana and Karen duet. There better be a version with Rodriguez’s vocals somewhere.

Julia showed up for the revue just in time for her and Tom’s duet to “The Right Regrets,” and Messing is absolutely terrible. Who thought she could sing? Who allowed this? Honestly, it was so bad; I cannot even describe it. Also, there was no need for a montage of Tom and Julia.

Jimmy wants Julia to help write the rest of the transitions, which she refuses, saying she only signed on to help with the transfer. He accuses her of having to stay away because the shows are competing now for the Tonys, which is true.

Derek fires Ana because Jerry likes Daisy. When everyone is conveniently in the same bar, Ana, for some reason, approaches Ivy about her past with Derek and how her role in Bombshell changed when she was off and on with Derek, things that Karen has told her all about. Oh snap. Ivy does not approve of Karen spilling her secrets so she tells her about it. The two are now enemies again and I love it. The rivalry should have remained throughout the entire show.

What isn’t amazing is the last “cliffhanger” the writers end on: Ivy is pregnant. Of all cliché storylines to use, you have to do this. I will miss the original songs but, yes, I cannot wait for this show to be done.

TV: NBC cancels ‘Smash’

By Meryl Gottlieb| mg986611@ohiou.edu| @buzzlightmeryl
Smash airs Saturdays at 8 p.m. on NBC

With all the renewals and cancellations coming in from the networks, one decision has been on the minds of many all season-long: Would NBC even consider renewing Smash?

Despite many fans’ pleas for a continuation, NBC officially cancelled Smash on Friday evening.

But with a move from Tuesday nights to Saturday nights, can anyone say they are truly surprised?

Smash showrunner Josh Safran told TV Line he had hoped for a different outcome.

“We’re all aware that the show is not successful, but I goes I had hoped we would see what happened when The Voice came back (or) maybe they’d move us to a better time slot.”

Still, I’m not sure what they were expecting. Ratings have plunged 25 and 39 percent since the first season finale, along with hits in viewership, according to TV Line.

According to Buzzfeed, even the show’s creator, and original showrunner, Theresa Rebeck, called the second season a “complete disaster.”

Somewhat accurate but harsh.

I have not re-watched the first season — and let’s face it no one should waste their time doing that — but I am not sure I can definitely declare the second season worse than the first. I mean both were pretty bad. The second season, however, had original songs that I cannot get out of my head. While the songs from Bombshell are good, the songs from Hit List are unbelievably amazing. In neither season did I find the acting to be decent. In neither season were the characters truly developed. I hate-watched both seasons, so who can really declare one better than the other?

While my reviews may soon be a thing of the past, we still have three more episodes left. The two-hour season finale will air Sunday, May 26 at 9 p.m.

TV: ‘Smash’ tries to turn ‘Hit List’ into ‘Rent’

By Meryl Gottlieb| mg986611@ohiou.edu| @buzzlightmeryl
Smash airs Saturdays at 8 p.m. (another time change) on NBC
Rating: 4/5

Tonight, I was truly torn as to whether or not I loved Smash or whether I hated for it for what it was trying to do. Fasten your seatbelts; it’s going to be an emotional ride.

Jimmy sings “High and Dry” as he watches himself meander through Adam’s nasty apartment — trying a little too hard, tone it down — go to Kyle’s (Andy Mientus) apartment and eventually end up at Karen’s (Katharine McPhee). Of course, his vocals are top-notch, but I was amazed that I did not hate this montage — and that’s saying a lot.

He goes to Karen’s window, asking her what he should do so he can be the man she loved. Then, he sees Derek (Jack Davenport), who stayed the night, and storms off.

Eileen (Anjelica Huston) and Agnes (Daphne Rubin-Vega) are feeling fairly confident that Bombshell has good odds for the Tony’s. Ivy (Megan Hilty) should be up for Best Actress in a Musical while also being nominated for Best Supporting Actress for her work in Liaisons, putting her up against Leigh (Bernadette Peters) who should get a nomination for Bombshell.

While Derek and Karen walk to the theater, they meet Tom outside who tells them he got a call from the police after he had tried to call Kyle earlier. Kyle DIED. Yes, that’s right. They killed off Kyle. I told myself that there was no way he would actually die from the car accident; yet, I was incredibly wrong. I honestly played that scene a few times to make sure that I heard Tom correctly.

And so begins where I was torn throughout the entire episode… the writers’ comparison of the Hit List misfortune to the tragedy that occurred around Rent’s opening, when its creator, Jonathan Larson, died before he got to see the show open on Broadway. I think the show handled Kyle’s death very well, writing and even acting wise. However, I am not so sure I liked how much they paralleled the events. I almost feel as if it trivialized what happened with Rent, yet I still think it did a good job. I’m honestly torn.

But it also makes me call in question whether or not the show brought in Jesse L. Martin and Rubin-Vega to make an even bigger impact and connection. For those of you who somehow don’t know all about the history of Rent, Martin and Rubin-Vega were two original cast members who had to suffer through losing Larson before the show opened. I remember in the beginning of the season, they compared Hit List to Rent but I never assumed they would go this far.

Throughout the episode, characters remember certain moments they had with Kyle. Tom remembers a night he serenaded Kyle with Billy Joel’s “Vienna;” Julia (Debra Messing) remembers storyboarding with him; and Karen remembers him sticking up for Jimmy (Jeremy Jordan) the night Bombshell opened.

The flashbacks got me, especially Tom’s moment, and I never ever liked the idea of those two being together. I was not a fan of the overt flirty banter, but it was such a sweet moment. The storyboarding moment evoked a different emotion: frustration. Everyone talks about Kyle’s talent in this episode, and that’s very true, but we never really got to see it that much. I remember Karen’s friends telling Kyle the story was weak and the songs were the only good thing. I remember Kyle being second to Scott (Jesse L. Martin) and Julia’s connection when they were all storyboarding.

They should not have waited to jam pack what Kyle meant to everyone into one episode. A little development over time would not have done any harm.

Scott is really adamant about not cancelling the show, saying they should honor Kyle’s work. However, Derek and everyone else feel they should cancel.

When Jimmy comes to get his things from back stage, he finally learns what happens. Oh, my poor baby! I cannot even imagine how he must have felt. My heart broke so many times this episode.

Tom wanted to dissolve his and Julia’s partnership so that she can op to do all the projects on her own without him having any stake in it, including Gatsby. Awh, he wasn’t a monster after all!! I knew it.

Despite being canceled, people are still lining up to see Hit List. Everyone decides to honor Kyle by just doing a staged reading of the show — another similarity to Rent. When Larson died, they decided to not cancel but instead have the cast do a staged reading. Stop it! My heart cannot take this.

Bernadette Peters performs a thirty-second clip of “At Your Feet.” I think it should have been shown on Bombshell’s opening night episode, but it tied in a suggestion Kyle had given Tom earlier, so I guess it fit.

Karen finds Jimmy in what he called his and Kyle’s spot that overlooks the city. He blames himself for Kyle’s death — something I understand but is too cliché and unneeded. Then, she makes it about herself!! GET OUT!!! No one needs you right now. Stop being so selfish. He is not upset because of you and Derek, which apparently didn’t even happen, his best friend just died. Before she leaves, Karen tells him she loves him. Oh good. Totally rooting for you two, not.

Scott never actually canceled the show, and Julia is not OK with that. She says he is exploiting Kyle’s death so he can save his career. And she’s right. He is, but he is also helping everyone get through this difficult time. Cancelling the show won’t make anyone feel better about losing Kyle. Nevertheless, she said Hit List is “all he has left,” implying she will not be doing Gatsby with him.

And now comes Jimmy’s flashback. He and Kyle discuss the second act and how to use a new song, “The Love I Meant to Say.” In the flashback, Kyle mentions how Jesse will finally learn something after Amanda’s death, paralleling Jimmy and Kyle’s relationship. All of these references and connections are just too much.

Jimmy joins the cast right as they get to where “The Love I Meant to Say” will be performed. Instead of continuing the staged reading, he wants to perform the song, just like what happened with Rent! This song was so beautiful. Rarely do I pick out song lyrics, but I can’t help but to give a special mention of the last lines: “Sorry, that’s the word I want to sing to you/ The other word is stay.” I’m fine; these are tears of joy. But in all seriousness, that song was so incredibly beautiful and fit the context of both shows — Smash and Hit List — so well. Not to mention that Jimmy finally showed some emotion as his eyes filled with tears toward the end. I’m going to go cry in a corner now. As you can see, Karen remains unchanged.

Derek pleads Ivy to not leave him because of Karen, but she brings up a good point: there will always be a “Karen” with him. Well, that storyline is finally put to rest. Thank goodness.

Jerry (Michael Cristofer) has committed to Hit List after seeing the staged reading. Looks like Bombshell will have competition at the Tony’s after all. I cannot wait for that showdown!!!

The theater housing Bombshell dims its lights to honor Kyle, a tradition typically only done for Broadway veterans.

Though it could not avoid the clichés, I think this is one of the best episodes Smash has had in a while.

TV: Hit List rocks ‘Smash’

By Meryl Gottlieb| mg986611@ohiou.edu| @buzzlightmeryl
Smash airs Saturdays at 9 p.m. on NBC
Rating: 3.5/ 5

Here is something I never thought I would say again: Smash was ok. Seriously! The songs, of course, were amazing and some of the storylines were not that bad. I think this is a major milestone for them.

And yet, the first “oh really” moment was the opening scene: Kathie Lee Gifford was wearing a Marilyn wig. Because of Agnes (Daphne Rubin-Vega) and Eileen’s (Anjelica Huston) plan to get to the Tony’s, they are running an intense publicity campaign since ticket sales aren’t exactly what they want. This publicity campaign is running Ivy (Megan Hilty) ragged. And that’s her storyline — definitely not enough of her tonight.

For this Kathie Lee segment, Ivy does her version of “The 20^th Century Fox Mambo.” Finally! I have waited so long for her version, and I loved it!

Eileen tells Tom (Christian Borle) about Julia’s (Debra Messing) plans for Gatsby, so he goes to her and tells her to call it off with Scott (Jesse L. Martin) so they can do it together. Ok, this is the first time I dislike Tom. I cannot get over how selfish he is being, making it the first time I relate to Julia. I know; I don’t know what’s gotten into me either.

When Julia tells Scott about this, he tells her to obviously keep doing it as a play because Tom is just scrambling now that he does not have the director gig anymore. He also informs her that if Hit List does not take off, his career will be done if he does not have something strong like Gatsby to follow up with next season.

Derek (Jack Davenport) is holding auditions for Jimmy’s (Jeremy Jordan) understudy, and Sam (Leslie Odom Jr.) gets it! I am so excited. I love Sam and am so happy he gets to do something. There are so many great secondary characters that do not get enough attention, especially Bobby (Wesley Taylor).

Kyle’s (Andy Mientus) parents are in to see the show, and I have never seen worst acting. Even the extras are bad! You would think they would audition a few more people. How do these people even get hired?! His mother was so insanely annoying.

Julia tells Tom that she is doing Gatsby with Scott, and he plays the lawyer card because she took the rights out in their company name. I’m disgusted with his actions. The two battle it out in a Q&A, which Ivy moderates, and Tom ends up saying that they are breaking up. After, she begs him to let her do Gatsby because it’s the first thing that has made her happy in years. Ouch. I actually like the deterioration of their partnership. I’m sad they won’t be working together, but it has finally given Julia a storyline I do not detest.

Hit List has a special preview to entice producers to sign onto the project. Here, we actually get a preview of what the show would be like, unlike the Bombshell opening night episode. And it was amazing!!! I honestly prefer Hit List to Bombshell. Sure, Bombshell is great and I love Ivy, but its music pales in comparison.

Two new songs were performed: “Don’t Let Me Know” and “The Goodbye Song.” “Don’t Let Me Know” shows Amanda stealing Jesse’s songs and her rise to fame. “The Goodbye Song” is the finale and is just another amazing song to add to the list of my favorites from the show. Karen (Katharine McPhee), of course, looks awkward but everyone else in the cast is phenomenal.

Agnes had her and Eileen go so Eileen could think about her next project. Eileen admits she liked Hit List. Oh man. I don’t know how she would get the money to produce both but that would make for great drama. However, she must be torn because after the publicity campaign, Bombshell’s sales are going up.

Looks like there will be a showdown at the Tony’s after all.

The show would have been phenomenal for everyone if Jimmy had not gotten high before the performance, causing him to mess up choreography and miss cues. One of the cues he missed was when Amanda is shot by the Diva and he is supposed to catch Karen. I didn’t feel bad; I laughed a little. Is that mean?

Derek says he is replacing Jimmy because of all the stunts he’s pulled, which prompts Jimmy to make a speech at the after-party. He tells Kyle’s boyfriend about how Kyle cheated on him and then he makes a crack about Karen being emotionless. I’m not a fan of Jimmy, but that was good.

Ivy has been blowing Derek off because of her “busy schedule.” He sits at the bar alone until Karen comes over. All of a sudden she seems in to him and tells him to walk her home. Oh brother. What is this fascination with Derek all about? Why do both Ivy and Karen keeping going back and forth with him?!

After Jimmy’s stint, Kyle has decided to cut Jimmy out of his life. He sings “The Last Goodybe” as he packs up an army duffle bag — oh how thespian of you. He takes the bag to Adam’s house because apparently Jimmy has been staying there! What on earth!?! Kyle gives a great performance here.

Right as he finishes, headlights fill his face and everyone can guess a car hit him. I was more surprised by this than I think I should have been. For some reason, I think I actually jumped. Kyle’s character really lacks depth, but I was just starting to like him again. What purpose will his injury serve? Who knows? That would mean there would be thought behind what the Smash writers do and let’s not give them that much credit.

TV: Bombshell opens on ‘Smash’

By Meryl Gottlieb| mg986611@ohiou.edu| @buzzlightmeryl
Smash airs Saturdays at 9 p.m. on NBC
Rating: 2.5/ 5

“Opening Night” featured some great moments (courtesy of Megan Hilty) but more so terrible ones (courtesy Katharine McPhee and the return of Emory Cohen). While I love watching this train wreck unfold, I can honestly say I will not miss this show once it is cancelled, which it most likely will be. I will miss Hilty and a few of the actors (the very underappreciated and wonderful Wesley Taylor, who plays Bobby), but I can always wait for their next Broadway appearance.

Before opening night, Ivy (Megan Hilty) is afraid to read any reviews of her performance, but in this age of the ever-present media, she cannot escape them.

Julia (Debra Messing) is running ideas by Tom (Christian Borle) for their next project. Because nothing screams musical like Lord of the Flies or The Very Hungry Caterpillar. Seriously; those were her suggestions.

Hit List has sold out for the rest of its run, and the cast has been invited to Bombshell’s opening night, to Karen’s (Katharine McPhee) dismay.

Tom is asked to be the director for a revival of City of Angels — as long as his Bombshell director reviews are good. However, this would be a full time job, leaving no time for a new collaboration with Julia. Oh heavens; what will he do?

Leo (Emory Cohen) is back and worse than ever. One of the first things he says is a remark about seeing Ivy naked. Gross. Also, that haircut. Wow. That’s bad.

Insight into Jimmy’s (Jeremy Jordan) past is supposed to be a main focus of tonight’s episode; except, nothing is a surprise. That mysterious guy is Adam (David Call), Jimmy’s brother, who is the one that got Jimmy into that bad boy life after issues with their dysfunctional family took a turn for the worse. And, of course, Kyle (Andy Mientus) is the one who saved him.

Jimmy could have been such a great character had someone put a little bit of thought into him. Why does this show excel in writing beautiful lyrics, yet is terrible in attempting to write a simple storyline? They need a dramaturg and bad.

Whoever thought pairing up Adam and Ana (Krysta Rodriguez) is, well, an idiot. Do not put her in harm. She is one of the few characters I can tolerate. Also, he is NOT that good looking so I do not see the strange attraction she has to him.

Julia pitches doing a Great Gatsby musical to Tom who is only hesitant because he might get that directing job. Oh, backstabbing is always a great way to go.

Eileen (Anjelica Huston) and Richard (Jamey Sheridan) officially break it off and only Agnes (Daphne Rubin-Vega) is upset. Honestly, was anyone rooting for that couple? There was no chemistry between those actors, so how did this become a storyline?

Let’s take a moment to reflect on Karen’s outfit for the opening. As a friend of mine would say: “Look at your life. Look at your choices.” Is that flapper style really working for you? I know nothing about fashion and even I know you look ridiculous. Ivy, on the other hand, looked fabulous.

Before the curtain rises, Ivy quickly talks with her mom, Leigh (Bernadette Peters), about her nerves. For the first time, a truly great mother-daughter moment happened as all the adorableness flowed from Hilty and Peters. Love those two.

Unfortunately, we only got to see the curtain rise before a cut to commercial. Seriously?! No montage of those wonderful performances? Nothing?! What a rip off.

But I was incredibly excited to see Hilty’s version of “Don’t Forget Me.” It is WAY better than McPhee’s, which even Karen could tell as she looked uncomfortable, again.

WHY was Rosie O’Donnell in the audience? What purpose did that serve? Of all the celebrities to choose, you choose Rosie. “Look at your life. Look at your choices.” Then to add insult to injury, Rosie is the one to spill the beans to Julia about Tom’s possible directing gig.

While that guest actor was terrible, Rubin-Vega was amazing in her role as the pushy PR agent. I think her scene, as she waited for the reviews to come in, was the only realistic scene that has ever been on the show. Finally, some insight as to how the Broadway world actually works; it only took 27 episodes.

When Julia confronts him, Tom explains that he wasn’t expecting her to wait around while he worked for the Angels production. He wanted to focus on his directing career. However, his dream is crushed when the reviews come in and praise everything but his directing. Then, he wants to consider doing Gatsby, which Julia doesn’t fall for.

Karen and Ivy are acting all chummy in the bathroom, giving each other half-hearted compliments about the other’s talents. The two then duo to “That’s Life,” in which Ivy confirms that she is way better than Karen – singing and performing wise. They sound great together, but McPhee just pales in comparison to Hilty’s vocals.

An altercation occurs between Jimmy and Adam at the opening, which Eileen solves by coolly dumping a bucket of ice on them. Ha! I wish it had been a giant glass of wine.

Karen tells Jimmy she is scared of him and that he can’t change despite the fact that he says he is trying. My goodness, I hate her more and more. She is way too judgmental and just terrible.

Derek (Jack Davenport) wants to take Hit List to Broadway this season, putting it in direct competition with Bombshell at The Tony’s. Oh my goodness. FINALLY a storyline I can get excited about! Derek, you wonderful British man you.

Upon Ivy’s questioning, Karen tells Ivy that Derek had asked her out a few weeks ago, meaning he came to Ivy after Karen rejected him, again. Awh, I was actually ok with their relationship this time. Now, Ivy is irritated and gives Derek the boot, which leads to him hooking up with that one dancer who announced their past relationship a few episodes back.

Scott (Jesse L. Martin) tells Julia to do Gatsby as a play since the New York Times review praised her as a playwright, not a simple book writer. Ok, another storyline I could get into.

Tom and Kyle leave together to go hook up. NO. STOP IT NOW. Not ok.

Eileen tells Agnes to double the advertising budget so that Bombshell can sweep The Tony’s. Listen, I love your enthusiasm but you need a reality check.