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小說(shuō)家西蒙·海斯（SimonHayes）事業(yè)一直郁郁不得志，一次偶然的機(jī)會(huì)他借由女性筆名薩莉·卡邁克爾（SallyCarmichael）創(chuàng)造了一個(gè)浪漫的愛(ài)情故事，沒(méi)想到震驚四座，名聲大噪。但是大家都沒(méi)有見(jiàn)過(guò)這個(gè)“女”作家本人，大家對(duì)作者的好奇再次助漲了作家的名氣。但是作為西蒙·海斯（SimonHayes）主人公是痛苦和糾結(jié)的，因?yàn)樗恢毕胱龅氖莿?chuàng)作嚴(yán)肅并被世人認(rèn)可的作品?，F(xiàn)在的愛(ài)情故事雖然頗受歡迎，但是冒用女名的他感覺(jué)羞愧難當(dāng)。接下來(lái)與讀者見(jiàn)面的事情更是讓他焦頭爛額，一場(chǎng)搞笑又機(jī)智的大戲即將上演。
長(zhǎng)篇影評(píng)
1 ) 轉(zhuǎn)的洛杉磯時(shí)報(bào)的評(píng)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
2 ) 僅推薦給愛(ài)看歌舞劇的人，不要錯(cuò)過(guò)第一季！
歌舞一級(jí)棒，劇情一級(jí)渣！
本來(lái)想在season2的鏈接寫評(píng)論的，但是對(duì)這部劇的癡迷皆源于第一季的歌舞片段，所以還是回到這邊來(lái)寫。
熱愛(ài)舞臺(tái)劇的人可以欣賞一下，第一季的原創(chuàng)歌舞精彩到逆天的程度！以至于觀眾可以原諒幕后創(chuàng)作團(tuán)隊(duì)沒(méi)有多余的精力再去雕琢劇情。確實(shí)，憑心而論，每首歌曲3、4分鐘的長(zhǎng)度，一集還不止一首，這樣的劇中劇編排，放在一集45分鐘的劇長(zhǎng)里，人物的故事根本沒(méi)有多余的篇幅再去展開(kāi)。加上電視劇一周一集的拍攝周期，演員練歌練舞都累個(gè)半死，也不可能再有時(shí)間精力。
基于以上原因，雖然每看一集都感嘆美劇的肥皂程度可以穿越到這種程度（劇情狗血到類似30年前的戲碼），但仍然不妨礙每周焦急的盼望，之后再急切地等待原聲大碟，以便把歌曲放在MP4里反復(fù)repeat。
表演而言，一大堆拿過(guò)tony獎(jiǎng)的百老匯演員助陣，一群電影圈多有成就的大牌撐場(chǎng)，卻仍沒(méi)辦法挽救女一業(yè)余的表演。由于女一的業(yè)余，也使得劇情嚴(yán)重缺乏說(shuō)服力，最后編導(dǎo)逐漸向女二傾斜，于是女二的劇情越來(lái)越飽滿有力。第二季針對(duì)女一的問(wèn)題做了調(diào)整，讓第一季濃墨重彩的劇中舞臺(tái)劇得以保留最佳陣容，并進(jìn)一步豐富劇情。可是，為了這個(gè)目的而生造出來(lái)的新舞臺(tái)劇，卻過(guò)于兒戲，以至于最后爭(zhēng)奪tony獎(jiǎng)時(shí)候的平分秋色更顯得像編導(dǎo)的自說(shuō)自話。
今天這部戲止步于2季的長(zhǎng)度，徹底結(jié)束了。
最后兩集的緊湊和豐富，終于回歸到美劇的正常水平，好幾次讓人激動(dòng)落淚，與劇集一起感受舞臺(tái)制作的艱辛、不易和最終苦盡甘來(lái)的甜美。這個(gè)結(jié)局使得這部戲有個(gè)精彩的結(jié)尾。作為熱愛(ài)這部戲2年的觀眾來(lái)說(shuō)，非常感謝最后的這個(gè)圓滿，This show deserves it！
本來(lái)想在season2的鏈接寫評(píng)論的，但是對(duì)這部劇的癡迷皆源于第一季的歌舞片段，所以還是回到這邊來(lái)寫。
熱愛(ài)舞臺(tái)劇的人可以欣賞一下，第一季的原創(chuàng)歌舞精彩到逆天的程度！以至于觀眾可以原諒幕后創(chuàng)作團(tuán)隊(duì)沒(méi)有多余的精力再去雕琢劇情。確實(shí)，憑心而論，每首歌曲3、4分鐘的長(zhǎng)度，一集還不止一首，這樣的劇中劇編排，放在一集45分鐘的劇長(zhǎng)里，人物的故事根本沒(méi)有多余的篇幅再去展開(kāi)。加上電視劇一周一集的拍攝周期，演員練歌練舞都累個(gè)半死，也不可能再有時(shí)間精力。
基于以上原因，雖然每看一集都感嘆美劇的肥皂程度可以穿越到這種程度（劇情狗血到類似30年前的戲碼），但仍然不妨礙每周焦急的盼望，之后再急切地等待原聲大碟，以便把歌曲放在MP4里反復(fù)repeat。
表演而言，一大堆拿過(guò)tony獎(jiǎng)的百老匯演員助陣，一群電影圈多有成就的大牌撐場(chǎng)，卻仍沒(méi)辦法挽救女一業(yè)余的表演。由于女一的業(yè)余，也使得劇情嚴(yán)重缺乏說(shuō)服力，最后編導(dǎo)逐漸向女二傾斜，于是女二的劇情越來(lái)越飽滿有力。第二季針對(duì)女一的問(wèn)題做了調(diào)整，讓第一季濃墨重彩的劇中舞臺(tái)劇得以保留最佳陣容，并進(jìn)一步豐富劇情。可是，為了這個(gè)目的而生造出來(lái)的新舞臺(tái)劇，卻過(guò)于兒戲，以至于最后爭(zhēng)奪tony獎(jiǎng)時(shí)候的平分秋色更顯得像編導(dǎo)的自說(shuō)自話。
今天這部戲止步于2季的長(zhǎng)度，徹底結(jié)束了。
最后兩集的緊湊和豐富，終于回歸到美劇的正常水平，好幾次讓人激動(dòng)落淚，與劇集一起感受舞臺(tái)制作的艱辛、不易和最終苦盡甘來(lái)的甜美。這個(gè)結(jié)局使得這部戲有個(gè)精彩的結(jié)尾。作為熱愛(ài)這部戲2年的觀眾來(lái)說(shuō)，非常感謝最后的這個(gè)圓滿，This show deserves it！
3 ) History is made at night 歌詞試譯
History is Made At Night
歷史夜晚醞釀
Song by Smash Cast
譯：大夢(mèng)齋主人
(可以直接按中文詞來(lái)唱哦)
女：
Put down the playbook
劇本放一放
cuz the things I want to show you cant be written down
我把不能上映的戲給你講一講
Let my lips do the teaching
用雙唇帶你起航
男：
Turn of the camera
把鏡頭關(guān)上
kick your shoes off for this scene you should be sitting down
這場(chǎng)戲你要把所有束縛都松綁
yes sitting close enough for reaching
哦，近一些靠著我肩膀
女：
Turn down the lamp
燈光太亮
for the last page has been turned
劇本到此該合上
男：
when the dawns breaking through
直到日出東方
女：
we can stop and review
我們停下回想
合：
all the lessons you have learned
黑暗是我們的課堂
Cuz history is made at night
歷史在夜晚醞釀
so close the books turn off the light
拋下書(shū)本關(guān)掉電燈
and listen
去飛翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
沒(méi)誰(shuí)可以亂吵嚷
as we review the lessons you've been missing
不曾學(xué)的知識(shí)今晚都補(bǔ)上
let the moon be our only light
現(xiàn)在我們只有月光
cuz history is made at night
因?yàn)闅v史夜晚醞釀
男：
I see the questions
我看到疑惑
burning in your eyes or is it just reflections
在你眼底閃爍或只是在反射
of the stars high above you
一天璀璨的星火
女：
I'm just a student
我有些困惑
and i hope you wont be shy please make corrections
你千萬(wàn)不要害羞告訴我怎么做
yeah on the sweetest way to love you
要如何愛(ài)你才是揮霍
男：
Come whisper close
輕聲訴說(shuō)
tell me just when to say when
要把時(shí)間告訴我
女：
Then we'll sleep through the day
最好白天睡過(guò)
男：
Then whenever you say
月亮升太陽(yáng)落
合：
Thats when school begins again
我們開(kāi)始新的一課
Cuz history is made at night
歷史在夜晚醞釀
so close the books turn off the light
拋下書(shū)本關(guān)掉電燈
and listen
去飛翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
沒(méi)誰(shuí)可以亂吵嚷
as we review the lessons you've been missing
不曾學(xué)的知識(shí)今晚都補(bǔ)上
let the moon be our only light
現(xiàn)在我們只有月光
cuz history is made at night
因?yàn)闅v史夜晚醞釀
女：
Come here
Oh, oh, yeah, someday they'll write lots of books about our fame and glory
Come here
有一天，人們會(huì)拼命書(shū)寫我們今天的榮光
男：
but if all their reports are just movies and sports
但是電影和棒球根本不能描寫我
合：
They'll be missing the whole story
們相戀的模樣
Cuz history is made at night
歷史在夜晚醞釀
so close the books turn off the light
拋下書(shū)本關(guān)掉電燈
and listen
去飛翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
沒(méi)誰(shuí)可以亂吵嚷
as we review the lessons you've been missing
不曾學(xué)的知識(shí)今晚都補(bǔ)上
let the moon be our only light
現(xiàn)在我們只有月光
cuz history is made at night
因?yàn)闅v史夜晚醞釀
yes our history was made at night...........
我們的歷史今夜醞釀
歷史夜晚醞釀
Song by Smash Cast
譯：大夢(mèng)齋主人
(可以直接按中文詞來(lái)唱哦)
女：
Put down the playbook
劇本放一放
cuz the things I want to show you cant be written down
我把不能上映的戲給你講一講
Let my lips do the teaching
用雙唇帶你起航
男：
Turn of the camera
把鏡頭關(guān)上
kick your shoes off for this scene you should be sitting down
這場(chǎng)戲你要把所有束縛都松綁
yes sitting close enough for reaching
哦，近一些靠著我肩膀
女：
Turn down the lamp
燈光太亮
for the last page has been turned
劇本到此該合上
男：
when the dawns breaking through
直到日出東方
女：
we can stop and review
我們停下回想
合：
all the lessons you have learned
黑暗是我們的課堂
Cuz history is made at night
歷史在夜晚醞釀
so close the books turn off the light
拋下書(shū)本關(guān)掉電燈
and listen
去飛翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
沒(méi)誰(shuí)可以亂吵嚷
as we review the lessons you've been missing
不曾學(xué)的知識(shí)今晚都補(bǔ)上
let the moon be our only light
現(xiàn)在我們只有月光
cuz history is made at night
因?yàn)闅v史夜晚醞釀
男：
I see the questions
我看到疑惑
burning in your eyes or is it just reflections
在你眼底閃爍或只是在反射
of the stars high above you
一天璀璨的星火
女：
I'm just a student
我有些困惑
and i hope you wont be shy please make corrections
你千萬(wàn)不要害羞告訴我怎么做
yeah on the sweetest way to love you
要如何愛(ài)你才是揮霍
男：
Come whisper close
輕聲訴說(shuō)
tell me just when to say when
要把時(shí)間告訴我
女：
Then we'll sleep through the day
最好白天睡過(guò)
男：
Then whenever you say
月亮升太陽(yáng)落
合：
Thats when school begins again
我們開(kāi)始新的一課
Cuz history is made at night
歷史在夜晚醞釀
so close the books turn off the light
拋下書(shū)本關(guān)掉電燈
and listen
去飛翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
沒(méi)誰(shuí)可以亂吵嚷
as we review the lessons you've been missing
不曾學(xué)的知識(shí)今晚都補(bǔ)上
let the moon be our only light
現(xiàn)在我們只有月光
cuz history is made at night
因?yàn)闅v史夜晚醞釀
女：
Come here
Oh, oh, yeah, someday they'll write lots of books about our fame and glory
Come here
有一天，人們會(huì)拼命書(shū)寫我們今天的榮光
男：
but if all their reports are just movies and sports
但是電影和棒球根本不能描寫我
合：
They'll be missing the whole story
們相戀的模樣
Cuz history is made at night
歷史在夜晚醞釀
so close the books turn off the light
拋下書(shū)本關(guān)掉電燈
and listen
去飛翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
沒(méi)誰(shuí)可以亂吵嚷
as we review the lessons you've been missing
不曾學(xué)的知識(shí)今晚都補(bǔ)上
let the moon be our only light
現(xiàn)在我們只有月光
cuz history is made at night
因?yàn)闅v史夜晚醞釀
yes our history was made at night...........
我們的歷史今夜醞釀
4 ) 微評(píng)論：S1E13
果然！果然?。∥揖椭繢EREK這花花公子不會(huì)被IVY栓?。。〔贿^(guò)DEV啊，你也該清醒了吧？別人KAREN什么時(shí)候把你當(dāng)盆菜過(guò)了～～難道IVY和DEV？？同是天涯淪落人，配對(duì)倒也不錯(cuò)～～另外REBECCA總算有些明星氣質(zhì)出來(lái)了，前兩集的表現(xiàn)和村姑沒(méi)什么區(qū)別～～
5 ) 第六集男生需要必學(xué)的技能
不是讓你去勾有夫之婦，對(duì)一般女生也行啊，你拒絕我？我先唱給你聽(tīng)，后來(lái)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(diǎn)把哥這個(gè)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(jiàn)時(shí)機(jī)已到，脫下上衣，露出2塊胸肌，接下來(lái)就是一片和諧的場(chǎng)面
。。
。
沒(méi)想到這部片子還教你怎么勾引女生，話說(shuō)女主，你穿上高中校服去的話，估計(jì)男主那天晚上都硬不起來(lái)。。
。。
。
沒(méi)想到這部片子還教你怎么勾引女生，話說(shuō)女主，你穿上高中校服去的話，估計(jì)男主那天晚上都硬不起來(lái)。。
6 ) 微評(píng)論：S1E11
大明星鎮(zhèn)不住場(chǎng)啊～～唱得好弱。連每集結(jié)束時(shí)鎮(zhèn)場(chǎng)的壓軸曲都唱得好像在念書(shū)。。。。KAREN再次讓人失望啊，那場(chǎng)勾引導(dǎo)演的表?yè)P(yáng)一點(diǎn)都不媚，這種活還是讓IVY來(lái)干比較好。DEBRA被報(bào)名最佳女豬了，接下去戲份不知道會(huì)不會(huì)增加。
一集棄啊……
Karen唱的的I Never Met a Wolf Who Didn't Love to Howl其實(shí)還行，可是The 20th Century Fox Mambo簡(jiǎn)直就沒(méi)法聽(tīng)。。。不過(guò)最后一首歌的時(shí)候整個(gè)人都要哭斷氣了我去。。?！綢vy黨淚流滿面。。。
這劇的卡司簡(jiǎn)直要逆天了！Jack Davenport的英國(guó)腔好！銷！魂?。。。∶渴赘瓒己芎寐?tīng)！Let me be your star單循環(huán)有木有！前半部分劇情都不錯(cuò)換了個(gè)Gossip Girl的編劇后面果然開(kāi)始狗血的排列組合o(╯□╰)o I hate it when things get complicated?。。∫前颜麄€(gè)Bomshell都拍成finale就好了！
怎么無(wú)感呢。。。夢(mèng)露就應(yīng)該是圓滾滾的吧。。?？上Я恕?/p>
第一集太好看了！準(zhǔn)備追?。≈虚g有些拖拉，不過(guò)還是期待第二季
感覺(jué)好華麗?。。?！要看要看??！
就非要搞點(diǎn)被潛規(guī)則才高興
第一集還不錯(cuò)
There's a broken heart for every light on Broadway.
真心不覺(jué)得會(huì)超越glee，故事太平淡了，光勵(lì)志的話真心撐不過(guò)一季，畢竟glee的主角是社會(huì)底層人士，既然是歌舞圈了，就讓娛樂(lè)圈丑聞和明掙暗斗來(lái)的更猛烈吧。。。
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。
太棒了！
跟風(fēng)什么的真無(wú)聊
雖然一早就知道肯定是假圣母演Marylin，但是最后到大舞臺(tái)的時(shí)候看了還是會(huì)一股無(wú)名火，那氣勢(shì)，演技，舞步，pop聲線不知道比ivy弱到哪里去了，我是ivy也會(huì)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(lái)的，要是ivy唱多好。
這是剛看前幾集時(shí)的感想→【真喜歡這種有心智健全的成年人有英國(guó)男配角有技術(shù)含量地唱歌跳舞而且每集至少都有一個(gè)gay kiss的音樂(lè)劇 Ivy一開(kāi)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(mèng)啊哈哈哈哈哈NBC好嘢~~】這是現(xiàn)在的感想→【我操憑什么啊那個(gè)弱逼面癱女╬?◥益◤
最后幾集越來(lái)越好 有種黃金年代的浮華感
討厭女主，一集棄
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(gè)人都那么棒,來(lái)對(duì)比女主角如此的爛(因?yàn)樗垡恍?.想到個(gè)最不恰當(dāng)?shù)睦?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.
折服在渣導(dǎo)的性感英音之下，故事有點(diǎn)俗但是人物塑造很豐富啊~
又聽(tīng)到Jack Davenport那銷魂的口音了！又看到親愛(ài)的grace了！能不能不要再在評(píng)論里提glee了呀，滿屏的glee真尼瑪鬧心！唱個(gè)歌就是glee嗎，人家新白娘子傳奇也是又唱又演好不好！