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名声大噪第一季美剧免费高清在线观看全集。
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。妈妈的神奇小子粤语版黑暗之罪沧月绘信条2020疯狂动物城+交响情人梦最终乐章前篇天纵神笔天堂的祝福胖妞2022东京之日香肠派对9号秘事第四季比佛利山超级警探2为你取名的那一天反贪风暴2(粤语版)诅咒玩命直播国语情满大湾白鬃野马大热门Believe－通往你的桥－七大罪 怨嗟的爱丁堡 前篇撒谎大师2Brothers大李小李和老李科搜研之女2018秋季特别篇艳遇（1965）王牌逗王牌冰雪勇士3泰坦 第二季荷兰人沉默的舰队第一季～东京湾大海战～快乐星球 第二部守望春天的我们伏妖白鱼镇魔力1978五岛医生诊疗所你的管家妖怪名单第一季寒战2狂恋诗
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。妈妈的神奇小子粤语版黑暗之罪沧月绘信条2020疯狂动物城+交响情人梦最终乐章前篇天纵神笔天堂的祝福胖妞2022东京之日香肠派对9号秘事第四季比佛利山超级警探2为你取名的那一天反贪风暴2(粤语版)诅咒玩命直播国语情满大湾白鬃野马大热门Believe－通往你的桥－七大罪 怨嗟的爱丁堡 前篇撒谎大师2Brothers大李小李和老李科搜研之女2018秋季特别篇艳遇（1965）王牌逗王牌冰雪勇士3泰坦 第二季荷兰人沉默的舰队第一季～东京湾大海战～快乐星球 第二部守望春天的我们伏妖白鱼镇魔力1978五岛医生诊疗所你的管家妖怪名单第一季寒战2狂恋诗
长篇影评
1 ) 这是什么赞美和力捧
从海报的女主角感和人物的设定——karen从小地方来到大都市什么的 参加同学会婴儿洗礼什么的唱red neck woman，就是要体现出这个女主的纯洁质朴。那当然就要体现这种质朴纯真，方式很简单——让她被邪恶的二号女主角坑，反复被其他人践踏几遍。奇怪的事情就在这里，我一点都不同情她的所谓的痛苦——因为让我们现实点，那真的不算什么。ivy的设定就更是奇葩，你要捧女主你干吗前面一直铺垫二号女主的美艳不可方物和奋斗啊，还加强心理戏，体现ivy的脆弱和没有安全感，还一直让ivy出来表现唱功，甚至还找来大咖演她吹毛求疵的妈，任何人，任何人如果不同情不为这姑娘感动那简直是不可能的。
女主角简直气场太弱了，以至于好几次我一看她出来都楞一下，哎呀，怎么把她忘了，干什么去了这女的又。一点不让人想念的一人，一集不出来都没人注意。
还要就是我觉得导演什么的也发现这女的不行，你看ivy和各种高手对唱过多少遍，karen就不行，一方面是角色设定，另一方面，可能真的能力也不行。
哪有这么捧人的啊 还搞出一个不会唱的大明星，简直像是一个大大的比喻啊 大家看啊 这就是karen的现实版啊——虽然她没有那么大牌
女主是一个没有和导演上床却让非常像是潜规则上位的人
太令人崩溃的剧情设定了 只听歌不看剧
女主角简直气场太弱了，以至于好几次我一看她出来都楞一下，哎呀，怎么把她忘了，干什么去了这女的又。一点不让人想念的一人，一集不出来都没人注意。
还要就是我觉得导演什么的也发现这女的不行，你看ivy和各种高手对唱过多少遍，karen就不行，一方面是角色设定，另一方面，可能真的能力也不行。
哪有这么捧人的啊 还搞出一个不会唱的大明星，简直像是一个大大的比喻啊 大家看啊 这就是karen的现实版啊——虽然她没有那么大牌
女主是一个没有和导演上床却让非常像是潜规则上位的人
太令人崩溃的剧情设定了 只听歌不看剧
2 ) 第六集男生需要必学的技能
不是让你去勾有夫之妇，对一般女生也行啊，你拒绝我？我先唱给你听，后来你还拒绝我？用那股sexy的声音继续勾引着，尼玛Michael你太有魅力，差点把哥这个直男都要迷倒了，还不行？晚上跟你家打电话，越你到那种偏僻处，不碰你，先色诱你，再盯着你，女主直接被软化了有木有！男主见时机已到，脱下上衣，露出2块胸肌，接下来就是一片和谐的场面
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没想到这部片子还教你怎么勾引女生，话说女主，你穿上高中校服去的话，估计男主那天晚上都硬不起来。。
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没想到这部片子还教你怎么勾引女生，话说女主，你穿上高中校服去的话，估计男主那天晚上都硬不起来。。
3 ) 微评论：S1E11
大明星镇不住场啊～～唱得好弱。连每集结束时镇场的压轴曲都唱得好像在念书。。。。KAREN再次让人失望啊，那场勾引导演的表扬一点都不媚，这种活还是让IVY来干比较好。DEBRA被报名最佳女猪了，接下去戏份不知道会不会增加。
4 ) 这部揭秘音乐剧产业的美剧，卡司表可能要跪着看
给大家安利一部来头非常大的美剧《名声大噪》（smash）!
这部剧来头大到什么程度呢？
它的制片人是大名鼎鼎的斯皮尔伯格。剧中一半以上的演员都是百老汇的音乐剧明星，随便找个客串都是头顶几座托尼奖。《汉密尔顿》里因为饰演Aaron Burr而摘得托尼奖最佳男主角桂冠的Leslie Odom Jr，当年在这部戏里也仅仅是个小配角，饰演其中一位男主的男朋友。
谁还没有个打酱油的时候~
如果你想了解百老汇的音乐剧生态，看这部戏准没错。
《名声大噪》从一个制作概念开始，讲述了制作人和词曲作者是怎么集合到一起的，如何选择导演、如何面试演员，如何排练，怎么开展剧本朗读会，如何预演等等，甚至还包括一些不可说的“潜规则”。
我觉得它的副标题完全可以叫做“一部音乐剧的诞生”。
在这部剧中，著名的词曲作家组合Tom和Julia试图打造一部以好莱坞传奇女星玛丽莲·梦露的生平事迹为主题的百老汇音乐剧。
消息传开后，吸引了很多来面试的演员。乡下女孩Karen渴望在大城市里闯出一番事业，而拥有多年舞台经验的资深演员Ivy下决心要摆脱一辈子只能唱和声的尴尬命运，由此，两人展开了一番较量。
制作人Eileen发现“玛丽莲·梦露主题音乐剧”这个项目之后，立即决定参与其中。她还带来了一位优秀的导演，但是，这位导演虽然才华横溢，但却是个狡诈、自私自利的人，在业界的名声非常糟糕。
如果你就是冲着听歌去的，本剧也绝对是“音乐剧粉丝友好”。里面的歌非常好听，时至今日我还在单曲循环。
与同样是歌舞剧集的《欢乐合唱团》（Glee）不同，《smash》的大多数曲目为原创，为玛丽莲·梦露音乐剧《性感炸弹（bombshell）》量身打造。在2015年，主创团队甚至还动用原班人马，重新把这部戏中戏真正的搬上了舞台，虽然只为慈善晚宴演出了一次，但要求复排的呼声一直很高。
LetMeBeYourStar[ExtendedIntro] KatharineMcPhee/MeganHilty-Bombshell
（点击收听玛丽莲梦露的出场曲，非常有舞台的感觉！ ）
如果你是冲着音乐剧明星去的，那可就挖到宝了！
不完全统计，片中的音乐剧明星有这些：
Megan Hilty，片中的两位女主之一Ivy的扮演者，常年活跃在音乐剧舞台上。她是《魔法坏女巫（Wicked）》继原版卡司KC之后最受欢迎的“好女巫”葛琳达扮演者。Megan金发碧眼，娇俏可爱，又拥有一把甜美浑厚的好嗓音，非常葛琳达了！
她还在2016年凭借《糊涂戏班（Noises Off）》获得了托尼奖最佳话剧女演员的提名，这样唱演俱佳的美国甜心真的不多，爱了爱了。
Christian Borle，剧中的作曲家Tom，常年饰演Gay而本人竟然是直男。演戏什么都是小意思，这位不过是2次托尼奖提名，2次获奖而已。代表作有《天使在美国》《火腿骑士》《西区故事》《演砸了！》《律政俏佳人》等等。
说起来，他的前妻Sutton Foster比他还厉害一点，4次提名，2次最佳女主角。演戏神仙们的世界我不太懂……
Leslie Odom, Jr. 对，就是《汉密尔顿》中的男主之一Aaron Burr！他也凭借这个角色获得了当年的托尼奖最佳音乐剧男主角奖。
在这部剧里，你可以看到他7年前青涩娇俏的模样。而当年就看过这部剧并粉上Leslie的朋友们，怕不是捡到宝了！
Jeremy Jordan，第二季中Karen的男友。此小哥就是电影版《过去五年》中杰米的饰演者，还凭借音乐剧《报童传奇》获得过托尼奖最佳男主角提名。
Bernadette Peters，饰演女主角Ivy的妈妈。托尼奖5次提名，2次最佳女主角。这位属于神级人物，曾经是桑德海姆老爷子的御用女主。
代表作有《魔法黑森林》《飞燕金枪》《玫瑰舞后》《星期天和乔治在公园》等等，她在剧中献唱的一曲《Everything’s Coming Up Roses》真是全剧的高亮时刻。
这张照片也是非常母女了，慈爱地注视着才华横溢的后辈什么的~
Brian d'Arcy James，三次托尼奖提名，他就是音乐剧《怪物史莱克》中的史莱克本克，可惜本剧中没怎么唱。
Nick Jonas，饰演一个流行歌手。他吧，勉强也算音乐剧明星，毕竟参演过大名鼎鼎的《悲惨世界25周年纪念版演唱会》什么的，江湖人称小神马……我还是不多说了……
Jennifer Hudson,饰演一位托尼奖获奖女星。在现实中，她曾经加盟《紫色姐妹花》《发胶星梦live版》《长发》等音乐剧，也和霉霉、Ian爵爷等大牌共同参演了电影版《猫》。
Andy Mientus&Krysta Rodriguez，这俩还一起合作过《春之觉醒》
Andy Mientus（左），除了春醒，还演出过《悲惨世界》的小马。他的老公Michael Arden凭借《春之觉醒》获得最佳音乐剧导演提名，好一口狗粮！
Krysta Rodriguez（右），除了春醒，还演出过最近来华的《歌舞线上》中的Diana。
除了音乐剧明星之外，本剧还有影视大牌加持：
乌玛瑟曼，对，就是那个《低俗小说》《杀死比尔》的乌玛瑟曼。情不自禁地放一张经典美图：
Debra Messing，饰演歌词作者Julia。艾美奖影后，6次金球奖提名，4次艾美奖提名，老牌电视剧明星。
Anjelica Huston，饰演制作人Eileen。她曾凭借《普里兹家族的荣誉》获得奥斯卡最佳女配奖，使得Huston家族成为了第一个“三代奥斯卡”家族。她的爸爸和爷爷也同样是获奖者。
Jack Davenport，饰演戏份很重的渣男导演。没错，他就是《王牌特工1》中大家以为是主角，出场没几分钟就被切成两半但依旧很帅的兰斯洛特。除此之外，大家印象最深的应该是《加勒比海盗》中狡猾又刻板的，风度翩翩的诺林顿准将。
Katharine McPhee，女主之一，美国偶像第五季亚军，同时也是小有名气的流行歌手。
总之，这张卡司表可能要跪着看完……
最后最后，如果你单纯的只是想看一部剧休闲一下，也完全可以看看《名声大噪》。
拥有绝佳演技和唱功的俊男美女谈谈恋爱本来就很养眼，再加上一些职场潜规则什么的，刺激。
（我先去把键盘上的鼻血擦一擦……）
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 ) Go on smash and Be on top
费翔，阿云嘎，郑云龙，他们选择燃烧自己的青春为了在舞台上将自己的姿态和声音，搭配上现场器乐演奏，一次又一次地将这个世界上最上头的关于理想和生活的态度，用一种歌唱加上舞蹈的方式，传达给有缘亲临现场的观众。本片用真实又更戏剧性的方式完成了对这个迷人产业的每个环节的运作，那些发生在参与音乐剧制作中的曲折，冲突以及情感。 世界上总有一些瑰宝只有少数人能够欣赏，但是对于进入像音乐剧这样的小世界，能够让人发现传统电影，统戏剧之外的一种迷人的情绪能量的传递方式。好的音乐剧电影，像近年的《爱乐之城》，也能证明这个风格的影片也能引起大多数观众的青睐。这部以音乐剧幕后为蓝图的剧让人大饱耳福又大开眼界，也让我们更期待我们的国产音乐剧能够跻身世界音乐剧前十的榜单。
感觉好华丽啊！！！要看要看！！
一集弃啊……
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.
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。。。
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。
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~
There's a broken heart for every light on Broadway.
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◤
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
太棒了！
跟风什么的真无聊
就非要搞点被潜规则才高兴
第一集还不错
最后几集越来越好 有种黄金年代的浮华感
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
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。
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。。。
怎么无感呢。。。梦露就应该是圆滚滚的吧。。。可惜了。
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！