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更新時間：2023-08-10 17:26
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百老匯，一個充滿了夢想和希望的地方，有些人的名字在這里被永遠篆刻在榮譽碑上，而另一些人，則只能在黑暗中品嘗著夢想破碎的滋味獨自飲泣。湯姆（克里斯蒂安·鮑勒 Christian Borle 飾）和茱莉亞（黛博拉·梅辛 Debra Messing 飾）決定制作一部有關瑪麗蓮·夢露的音樂劇，此消息一經放出，立刻就吸引了公眾的目光，各路人馬猶如聞到了魚腥味的貓咪一般紛至沓來?！ ∨輪T凱倫（凱瑟琳·麥菲 Katharine McPhee 飾）擁有一副所有女人都羨慕的羨慕外表，卻在事業(yè)上屢屢遭遇挫折，和她同樣境遇的還有艾薇（梅根·希爾提 Megan Hilty 飾），兩人都將能夠扮演瑪麗蓮·夢露當成了事業(yè)和人生的突破口。隨著時間的推移，制作團隊逐漸擴大，臺上和臺下，好戲共同上演著。
長篇影評
1 ) 微評論： KAREN
從女豬被趕到配角，凱瑟琳·麥菲還真冤枉?？傮w上，本劇依然是一個癩蛤蟆吃到天鵝肉的故事，所以編劇一方面要表現KAREN鄉(xiāng)村女孩的純潔特質，另一方面又要營造出她的成功是順理成章的，這實在是太難了。更何況凱瑟琳的外形和瑪麗蓮根本完全不搭調?。「愕阶詈?，根本就沒給她留下什么發(fā)揮空間。
2 ) 微評論：S1E11
大明星鎮(zhèn)不住場啊～～唱得好弱。連每集結束時鎮(zhèn)場的壓軸曲都唱得好像在念書。。。。KAREN再次讓人失望啊，那場勾引導演的表揚一點都不媚，這種活還是讓IVY來干比較好。DEBRA被報名最佳女豬了，接下去戲份不知道會不會增加。
3 ) 第六集男生需要必學的技能
不是讓你去勾有夫之婦，對一般女生也行啊，你拒絕我？我先唱給你聽，后來你還拒絕我？用那股sexy的聲音繼續(xù)勾引著，尼瑪Michael你太有魅力，差點把哥這個直男都要迷倒了，還不行？晚上跟你家打電話，越你到那種偏僻處，不碰你，先色誘你，再盯著你，女主直接被軟化了有木有！男主見時機已到，脫下上衣，露出2塊胸肌，接下來就是一片和諧的場面
。。
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沒想到這部片子還教你怎么勾引女生，話說女主，你穿上高中校服去的話，估計男主那天晚上都硬不起來。。
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沒想到這部片子還教你怎么勾引女生，話說女主，你穿上高中校服去的話，估計男主那天晚上都硬不起來。。
4 ) Broadway?。?！
終于有這么個劇出現了，看得多年潛水的我也忍不住出來冒個泡~
每條敘事線都挺對我胃口的
Julia仍依稀帶著grace的影子和Tom也太有愛了(話說他真是直的？),和Michael的火花四濺，一向有點老大叔范兒的好老公得知真相后也爆發(fā)得巨man哪。。。還是很希望這個有愛的家庭持續(xù)下去。。
每條敘事線都挺對我胃口的
Julia仍依稀帶著grace的影子和Tom也太有愛了(話說他真是直的？),和Michael的火花四濺，一向有點老大叔范兒的好老公得知真相后也爆發(fā)得巨man哪。。。還是很希望這個有愛的家庭持續(xù)下去。。
5 ) 轉的洛杉磯時報的評論，很犀利啊，但是我還是喜歡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 ) Ivy的天真在于她相信努力有用
Smash最終話在我的射手播放器放完的瞬間，我咬了咬嘴唇，二話不說點擊播放器右上角的叉叉，然后關機去睡覺，拒絕任何的念想。
我不能想起Ivy落寞的背影，凝固的慘笑，和失魂落魄的眼神。
她的樣子和無數個失敗的自己重合在一起，只要任何一個悲傷的碎片偷溜入腦海，便不禁雙眼含淚。
讓我們來做這樣一個假設。
假設Ivy技不如人如何？
K和I究竟孰好孰壞，其實是一個見仁見智的事情。如果Ivy比Karen強，我反而不會難過，因為她總會發(fā)光，even crazy dreams come true.
但是，如果，我說如果，如果Ivy真的不如Karen呢？
我喜歡Ivy，從來都是因為她努力。
當我因為各種原因沒有接到Boss的電話，又因為各種疏忽浪費了大好機遇的時候，我聽到Ivy對Karen說: You didn’t want it enough. You didn’t fight hard enough. You didn’t
put enough on the line.那一段是全劇我最喜歡的臺詞。
“karen美麗聰明苗條聲線好，但是Ivy指責得很對，她的投入不夠。她的梳妝鏡上沒有貼滿夢露的照片，她也沒像Ivy發(fā)瘋地效仿夢露的一顰一笑。在很多事情上Obsession是重要的，瘋魔了青衣，才構成名聲大噪?！?br>
這段話大概是一個月前自己寫的，現在看來，充滿了諷刺。
諷刺什么？
諷刺就是，努力無用。
如果Ivy是才能比不上Karen，這才是讓我一想起來就流淚的悲劇。
I wanted it enough. I put it enough on the
line. But, I failed.
如果說Karen的天真在于本性純良，那么Ivy的天真就是她真的以為努力付出就可以成功。為了瑪麗蓮之夢，她做盡了該做的和不該做的事情，可是她還是淘汰出局，只是因為導演腦中的一些幻想?；蛟S唯一的選擇，真的是一把藥片。
從學校走向社會，我才真的發(fā)現讀書是一件很快樂的事情，因為它是你自己可以控制的。你努力了多少，就可以收獲多少。但是現實社會中的事情卻完全不是如此，很多非常偶然的因素，可能摧毀并抵消你所有的付出。
太多的事情，不是你盡力就能得到的。而你沒有得到，也不能證明你不夠好。
但承認自己的才能無法用努力來彌補，實在是太痛苦了。
我也不是多么飽經滄桑，但也不再是純粹的學生。從很久以前起，我就再也不信“努力就會成功”這種神話了。假如這部劇走的是這個套路，我一定會像glee一樣一集棄。之所以看到現在，就是愛它的現實，和它的復雜。
有人說Ivy的失敗在于她不自信，心態(tài)不好。
我覺得K心態(tài)好是因為她是新人，沒有什么好失去的，她是9點的朝陽，一切只會越來越好，即使沒有瑪麗蓮她也已經有很多成功的機會；而I在圈子里摸爬滾打多年被合唱團削去了光芒，這個角色是她唯一的希望。她們的心理素質或者說心態(tài)有可比性嗎？
Ivy不是心態(tài)不好，是奮戰(zhàn)多年的她已經輸不起了。
畢竟自信是新人的奢侈。
K現在還只是Norma Jean，Ivy才有著夢露內心的成熟、純真和敏感。
第二季我想要看到證明自己才是musical女王的你！
我不能想起Ivy落寞的背影，凝固的慘笑，和失魂落魄的眼神。
她的樣子和無數個失敗的自己重合在一起，只要任何一個悲傷的碎片偷溜入腦海，便不禁雙眼含淚。
讓我們來做這樣一個假設。
假設Ivy技不如人如何？
K和I究竟孰好孰壞，其實是一個見仁見智的事情。如果Ivy比Karen強，我反而不會難過，因為她總會發(fā)光，even crazy dreams come true.
但是，如果，我說如果，如果Ivy真的不如Karen呢？
我喜歡Ivy，從來都是因為她努力。
當我因為各種原因沒有接到Boss的電話，又因為各種疏忽浪費了大好機遇的時候，我聽到Ivy對Karen說: You didn’t want it enough. You didn’t fight hard enough. You didn’t
put enough on the line.那一段是全劇我最喜歡的臺詞。
“karen美麗聰明苗條聲線好，但是Ivy指責得很對，她的投入不夠。她的梳妝鏡上沒有貼滿夢露的照片，她也沒像Ivy發(fā)瘋地效仿夢露的一顰一笑。在很多事情上Obsession是重要的，瘋魔了青衣，才構成名聲大噪?！?br>
這段話大概是一個月前自己寫的，現在看來，充滿了諷刺。
諷刺什么？
諷刺就是，努力無用。
如果Ivy是才能比不上Karen，這才是讓我一想起來就流淚的悲劇。
I wanted it enough. I put it enough on the
line. But, I failed.
如果說Karen的天真在于本性純良，那么Ivy的天真就是她真的以為努力付出就可以成功。為了瑪麗蓮之夢，她做盡了該做的和不該做的事情，可是她還是淘汰出局，只是因為導演腦中的一些幻想?；蛟S唯一的選擇，真的是一把藥片。
從學校走向社會，我才真的發(fā)現讀書是一件很快樂的事情，因為它是你自己可以控制的。你努力了多少，就可以收獲多少。但是現實社會中的事情卻完全不是如此，很多非常偶然的因素，可能摧毀并抵消你所有的付出。
太多的事情，不是你盡力就能得到的。而你沒有得到，也不能證明你不夠好。
但承認自己的才能無法用努力來彌補，實在是太痛苦了。
我也不是多么飽經滄桑，但也不再是純粹的學生。從很久以前起，我就再也不信“努力就會成功”這種神話了。假如這部劇走的是這個套路，我一定會像glee一樣一集棄。之所以看到現在，就是愛它的現實，和它的復雜。
有人說Ivy的失敗在于她不自信，心態(tài)不好。
我覺得K心態(tài)好是因為她是新人，沒有什么好失去的，她是9點的朝陽，一切只會越來越好，即使沒有瑪麗蓮她也已經有很多成功的機會；而I在圈子里摸爬滾打多年被合唱團削去了光芒，這個角色是她唯一的希望。她們的心理素質或者說心態(tài)有可比性嗎？
Ivy不是心態(tài)不好，是奮戰(zhàn)多年的她已經輸不起了。
畢竟自信是新人的奢侈。
K現在還只是Norma Jean，Ivy才有著夢露內心的成熟、純真和敏感。
第二季我想要看到證明自己才是musical女王的你！
Karen唱的的I Never Met a Wolf Who Didn't Love to Howl其實還行，可是The 20th Century Fox Mambo簡直就沒法聽。。。不過最后一首歌的時候整個人都要哭斷氣了我去。。?！綢vy黨淚流滿面。。。
第一集太好看了！準備追啊！中間有些拖拉，不過還是期待第二季
討厭女主，一集棄
感覺好華麗?。。?！要看要看！！
折服在渣導的性感英音之下，故事有點俗但是人物塑造很豐富啊~
這劇的卡司簡直要逆天了！Jack Davenport的英國腔好！銷！魂！！！！每首歌都很好聽！Let me be your star單循環(huán)有木有！前半部分劇情都不錯換了個Gossip Girl的編劇后面果然開始狗血的排列組合o(╯□╰)o I hate it when things get complicated?。?！要是把整個Bomshell都拍成finale就好了！
真心不覺得會超越glee，故事太平淡了，光勵志的話真心撐不過一季，畢竟glee的主角是社會底層人士，既然是歌舞圈了，就讓娛樂圈丑聞和明掙暗斗來的更猛烈吧。。。
就非要搞點被潛規(guī)則才高興
一集棄啊……
上1次這么熱血沸騰的追劇還是8年前追主婦第1季,那是人生第一次每周"追看"美劇.每個人都那么棒,來對比女主角如此的爛(因為她扣一星).想到個最不恰當的例子,showgirl里女主Elizabeth Berkley的存在只是為了反襯女配Gina Gershon;kp存在的唯一意義只是為了成就Megan Hilty的光彩奪目.
There's a broken heart for every light on Broadway.
這是剛看前幾集時的感想→【真喜歡這種有心智健全的成年人有英國男配角有技術含量地唱歌跳舞而且每集至少都有一個gay kiss的音樂劇 Ivy一開口就瞬間從注水豬變身金嗓子猴寶非常犀利！還有Grace終于圓了五音都全的夢啊哈哈哈哈哈NBC好嘢~~】這是現在的感想→【我操憑什么啊那個弱逼面癱女╬?◥益◤
怎么無感呢。。。夢露就應該是圓滾滾的吧。。?？上Я恕?/p>
跟風什么的真無聊
雖然一早就知道肯定是假圣母演Marylin，但是最后到大舞臺的時候看了還是會一股無名火，那氣勢，演技，舞步，pop聲線不知道比ivy弱到哪里去了，我是ivy也會氣的吃安眠藥吧。最后一首歌假圣母副歌之前就是接近是念出來的，要是ivy唱多好。
最后幾集越來越好 有種黃金年代的浮華感
太棒了！
又聽到Jack Davenport那銷魂的口音了！又看到親愛的grace了！能不能不要再在評論里提glee了呀，滿屏的glee真尼瑪鬧心！唱個歌就是glee嗎，人家新白娘子傳奇也是又唱又演好不好！
提不上驚艷可是也恰到好處。and good to see Debra getting out of Gracie.---------中間許多集拖沓很久，最后一首歌舞劇味濃得剛好。
第一集還不錯