剧照
剧情介绍
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。尤哈幸色的一居室孽海痴魂渔夫日记我是拳王阿里霹雳飞龙特派先锋西域响马企业战士2001山庄2灰色的灵魂一个父亲的寻肝之路沙家店粮站零异频道第四季在黑暗中回家拉字至上第四季处刑人画江湖之不良人网剧版 第二季亲人之间消失的初恋龙咁威国语出租家人普通话版紧急审讯室4大陆酒店第一季绯闻女孩第二季小小港湾谋爱上瘾美杜莎毒液黑梦惊悚之夜和声假冒女团王者之舞曹操创业年代[DVD版]商道顽皮鬼5假如没有遇见你优秀巫师贾斗心克隆特工之极限对决为何已成过去鬼脸儿杜兴孙中山
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。尤哈幸色的一居室孽海痴魂渔夫日记我是拳王阿里霹雳飞龙特派先锋西域响马企业战士2001山庄2灰色的灵魂一个父亲的寻肝之路沙家店粮站零异频道第四季在黑暗中回家拉字至上第四季处刑人画江湖之不良人网剧版 第二季亲人之间消失的初恋龙咁威国语出租家人普通话版紧急审讯室4大陆酒店第一季绯闻女孩第二季小小港湾谋爱上瘾美杜莎毒液黑梦惊悚之夜和声假冒女团王者之舞曹操创业年代[DVD版]商道顽皮鬼5假如没有遇见你优秀巫师贾斗心克隆特工之极限对决为何已成过去鬼脸儿杜兴孙中山
长篇影评
1 ) 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……）
2 ) 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
3 ) History is made at night 歌词试译
History is Made At Night
历史夜晚酝酿
Song by Smash Cast
译：大梦斋主人
(可以直接按中文词来唱哦)
女：
Put down the playbook
剧本放一放
cuz the things I want to show you cant be written down
我把不能上映的戏给你讲一讲
Let my lips do the teaching
用双唇带你起航
男：
Turn of the camera
把镜头关上
kick your shoes off for this scene you should be sitting down
这场戏你要把所有束缚都松绑
yes sitting close enough for reaching
哦，近一些靠着我肩膀
女：
Turn down the lamp
灯光太亮
for the last page has been turned
剧本到此该合上
男：
when the dawns breaking through
直到日出东方
女：
we can stop and review
我们停下回想
合：
all the lessons you have learned
黑暗是我们的课堂
Cuz history is made at night
历史在夜晚酝酿
so close the books turn off the light
抛下书本关掉电灯
and listen
去飞翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
没谁可以乱吵嚷
as we review the lessons you've been missing
不曾学的知识今晚都补上
let the moon be our only light
现在我们只有月光
cuz history is made at night
因为历史夜晚酝酿
男：
I see the questions
我看到疑惑
burning in your eyes or is it just reflections
在你眼底闪烁或只是在反射
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
你千万不要害羞告诉我怎么做
yeah on the sweetest way to love you
要如何爱你才是挥霍
男：
Come whisper close
轻声诉说
tell me just when to say when
要把时间告诉我
女：
Then we'll sleep through the day
最好白天睡过
男：
Then whenever you say
月亮升太阳落
合：
Thats when school begins again
我们开始新的一课
Cuz history is made at night
历史在夜晚酝酿
so close the books turn off the light
抛下书本关掉电灯
and listen
去飞翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
没谁可以乱吵嚷
as we review the lessons you've been missing
不曾学的知识今晚都补上
let the moon be our only light
现在我们只有月光
cuz history is made at night
因为历史夜晚酝酿
女：
Come here
Oh, oh, yeah, someday they'll write lots of books about our fame and glory
Come here
有一天，人们会拼命书写我们今天的荣光
男：
but if all their reports are just movies and sports
但是电影和棒球根本不能描写我
合：
They'll be missing the whole story
们相恋的模样
Cuz history is made at night
历史在夜晚酝酿
so close the books turn off the light
抛下书本关掉电灯
and listen
去飞翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
没谁可以乱吵嚷
as we review the lessons you've been missing
不曾学的知识今晚都补上
let the moon be our only light
现在我们只有月光
cuz history is made at night
因为历史夜晚酝酿
yes our history was made at night...........
我们的历史今夜酝酿
历史夜晚酝酿
Song by Smash Cast
译：大梦斋主人
(可以直接按中文词来唱哦)
女：
Put down the playbook
剧本放一放
cuz the things I want to show you cant be written down
我把不能上映的戏给你讲一讲
Let my lips do the teaching
用双唇带你起航
男：
Turn of the camera
把镜头关上
kick your shoes off for this scene you should be sitting down
这场戏你要把所有束缚都松绑
yes sitting close enough for reaching
哦，近一些靠着我肩膀
女：
Turn down the lamp
灯光太亮
for the last page has been turned
剧本到此该合上
男：
when the dawns breaking through
直到日出东方
女：
we can stop and review
我们停下回想
合：
all the lessons you have learned
黑暗是我们的课堂
Cuz history is made at night
历史在夜晚酝酿
so close the books turn off the light
抛下书本关掉电灯
and listen
去飞翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
没谁可以乱吵嚷
as we review the lessons you've been missing
不曾学的知识今晚都补上
let the moon be our only light
现在我们只有月光
cuz history is made at night
因为历史夜晚酝酿
男：
I see the questions
我看到疑惑
burning in your eyes or is it just reflections
在你眼底闪烁或只是在反射
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
你千万不要害羞告诉我怎么做
yeah on the sweetest way to love you
要如何爱你才是挥霍
男：
Come whisper close
轻声诉说
tell me just when to say when
要把时间告诉我
女：
Then we'll sleep through the day
最好白天睡过
男：
Then whenever you say
月亮升太阳落
合：
Thats when school begins again
我们开始新的一课
Cuz history is made at night
历史在夜晚酝酿
so close the books turn off the light
抛下书本关掉电灯
and listen
去飞翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
没谁可以乱吵嚷
as we review the lessons you've been missing
不曾学的知识今晚都补上
let the moon be our only light
现在我们只有月光
cuz history is made at night
因为历史夜晚酝酿
女：
Come here
Oh, oh, yeah, someday they'll write lots of books about our fame and glory
Come here
有一天，人们会拼命书写我们今天的荣光
男：
but if all their reports are just movies and sports
但是电影和棒球根本不能描写我
合：
They'll be missing the whole story
们相恋的模样
Cuz history is made at night
历史在夜晚酝酿
so close the books turn off the light
抛下书本关掉电灯
and listen
去飞翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
没谁可以乱吵嚷
as we review the lessons you've been missing
不曾学的知识今晚都补上
let the moon be our only light
现在我们只有月光
cuz history is made at night
因为历史夜晚酝酿
yes our history was made at night...........
我们的历史今夜酝酿
4 ) 女二的宿命
Smash的剧情设定真的很渣，从第一集就能对走向略窥一二：青涩邻家女逆袭专业心机女二号成就smash。不评判KM的表演，这个单薄的角色设定就已经限制住她了。又要扮好人，还要作为女一多唱流行歌巩固市场，虽然出不了彩，但是按照众星捧月的套路应该也比较保险。
小白兔灰姑娘的故事在自影视平民化开始已经辉煌了两个世纪。无论冲突多么狗血女主多么单纯到让人捶胸，只要结局美好，总有观众愿意为他们的草根明星梦买单。只是在选秀节目过分曝光后，所有人都看清风光背后永远有累累血泪。在这个没有童话的世界，选一个从选秀中摸爬滚打出来的歌手再扮回童话已经不再有什么说服力。
在女一单薄化的同时，她的宿敌女二形象却在日益丰满。而Megan不只有“丰满”的背景故事和细腻的感情转变，更有“丰满”的声线和“身材”。这才是怎样的剧情粉饰也装不出盖不住的star quality。
有点跑题了咳咳。回归主题，最后一集为Ivy哭惨了，她的绝望和无奈，以及专心致志的坚持让人心碎。Art is never therapy; art is poison.我只是重复的想如果被一个不远如我用心的新手抢走角色和一切，我会怎么做。 要承认的是在艺术里本就没有公平和正义可言。只是作为女二的你我，既不能为了那些抓不住的幸运荒废了用心，也不能让得失心太重拖累了最初的纯粹。
我相信Ivy总能在重生后在那么多欣赏她的人的推荐下找到自己的smash。
小白兔灰姑娘的故事在自影视平民化开始已经辉煌了两个世纪。无论冲突多么狗血女主多么单纯到让人捶胸，只要结局美好，总有观众愿意为他们的草根明星梦买单。只是在选秀节目过分曝光后，所有人都看清风光背后永远有累累血泪。在这个没有童话的世界，选一个从选秀中摸爬滚打出来的歌手再扮回童话已经不再有什么说服力。
在女一单薄化的同时，她的宿敌女二形象却在日益丰满。而Megan不只有“丰满”的背景故事和细腻的感情转变，更有“丰满”的声线和“身材”。这才是怎样的剧情粉饰也装不出盖不住的star quality。
有点跑题了咳咳。回归主题，最后一集为Ivy哭惨了，她的绝望和无奈，以及专心致志的坚持让人心碎。Art is never therapy; art is poison.我只是重复的想如果被一个不远如我用心的新手抢走角色和一切，我会怎么做。 要承认的是在艺术里本就没有公平和正义可言。只是作为女二的你我，既不能为了那些抓不住的幸运荒废了用心，也不能让得失心太重拖累了最初的纯粹。
我相信Ivy总能在重生后在那么多欣赏她的人的推荐下找到自己的smash。
5 ) katie's fame
我一直喜欢katie。我不看ai，在所有ai出道的歌手里，我就俩有印象：一个是Daughtry(拜托谁不爱Daughtry) ；一个就是她。我甚至对carrie underwood毫无感觉。可是她,她太漂亮了不是吗?
可她就是红不起来，出了几张砖也找不到路线。签了david foster，和chris botti之流厮混也没辙。滥俗中产市场不广袤啊，比不上青少年市场，这年头出不了diva，某位diva唱国歌看得我心惊胆颤。90年代太遥远，celine dion今天出来会不会红都不好说，她不会饶舌也不会耍性感。
大环境就不适合她火吧，不象carrie underwood是唱乡村的，广大农民哥们就爱金发翘臀小甜妞。不对，现在连平胸没屁股的刚成年罗利他们都收，这世道变得。
也不象lea，大嘴巴妞，意大利和犹太人混血，继承了歌剧故乡的好嗓门，老老实实从剧院唱起唱到电视。比唱功，你比不过她。
所以一开场，台词就亮了身份，我只是个邻家女孩。
没错，选秀邻家女最受落，何况是美人邻家女；做明星就两码事，乖乖牌这世道怎么混，没有气场啊。
所以我相信，nbc高层真有人铁了心要捧她吧，才有这么出戏出来。海报上那青春飞扬的架势啊，她是绝对女一号。
这配她的卡司都懒得提了，Jack Davenport同学你死哪去了！天才里普里那惊鸿一瞥从此一溜烟没了踪影，现在才出来！
看了个首集，给4星鼓励下吧，当然不能和原版fame比，但比那个莫名其妙的重拍版，也好太多了吧！
nbc拜托您这次别砸了好吗?知道你贴心，这个剧，分明就是专门给gay看的......
这话太不政治正确了，应该是，给某些gay看的。
最后一句，和glee没有可比性。
再加一句，连龙套都有alex wong!华丽得闪瞎我眼睛，nbc你要再像对待southland一样对待这个，我再也不看你这个台的戏！
可她就是红不起来，出了几张砖也找不到路线。签了david foster，和chris botti之流厮混也没辙。滥俗中产市场不广袤啊，比不上青少年市场，这年头出不了diva，某位diva唱国歌看得我心惊胆颤。90年代太遥远，celine dion今天出来会不会红都不好说，她不会饶舌也不会耍性感。
大环境就不适合她火吧，不象carrie underwood是唱乡村的，广大农民哥们就爱金发翘臀小甜妞。不对，现在连平胸没屁股的刚成年罗利他们都收，这世道变得。
也不象lea，大嘴巴妞，意大利和犹太人混血，继承了歌剧故乡的好嗓门，老老实实从剧院唱起唱到电视。比唱功，你比不过她。
所以一开场，台词就亮了身份，我只是个邻家女孩。
没错，选秀邻家女最受落，何况是美人邻家女；做明星就两码事，乖乖牌这世道怎么混，没有气场啊。
所以我相信，nbc高层真有人铁了心要捧她吧，才有这么出戏出来。海报上那青春飞扬的架势啊，她是绝对女一号。
这配她的卡司都懒得提了，Jack Davenport同学你死哪去了！天才里普里那惊鸿一瞥从此一溜烟没了踪影，现在才出来！
看了个首集，给4星鼓励下吧，当然不能和原版fame比，但比那个莫名其妙的重拍版，也好太多了吧！
nbc拜托您这次别砸了好吗?知道你贴心，这个剧，分明就是专门给gay看的......
这话太不政治正确了，应该是，给某些gay看的。
最后一句，和glee没有可比性。
再加一句，连龙套都有alex wong!华丽得闪瞎我眼睛，nbc你要再像对待southland一样对待这个，我再也不看你这个台的戏！
6 ) smash中出现的音乐剧演员大盘点
本着对音乐剧的热爱开始看此剧，发现了很多熟人，废话不多说直接上介绍
Tom Levitt（作曲家）——饰演者Christian Borle
音乐剧目：
Spamalot 火腿骑士，Legally Blonde 律政俏佳人，Jesus Christ Superstar 耶稣基督万世巨星，Amour爱，Mary Poppins 欢乐满人间，Thoroughly Modern Millie……
奖项：tony、drama desk提名，clarence derwent award、Broadway.com Audience Award获奖
必须八卦一下，他的前妻是Sutton Foster！两届tony获得者，非常著名的百老汇diva
Christian Borle表演视频：http://v.youku.com/v_show/id_XNDY0NDA0NDE2.html（legally blonde）
http://v.youku.com/v_show/id_XNDY0NDA1NjUy.html（强烈推荐，左边那位就是他的前妻sutton foster，那是他们还在一起）
Ivy Lynn——饰演者Megan hilty
音乐剧目：wicked，9 to 5（OBC）
她最著名的音乐剧角色就是wicked里面的glinda，是继Kristin Chenoweth后最受欢迎的glinda饰演者
表演视频：http://v.youku.com/v_show/id_XNDY0NDU0ODA0.html
Linda（舞台监督那位亚裔女士）——饰演者ann harada
音乐剧目：Avenue Q， 9 to 5，seussical，悲惨世界，children of eden……
最著名的角色是Avenue Q里面的Christmas eve
奖项：Broadway.com Audience Award，Outer Critics Circle Special Achievement Award获奖
表演视频：http://v.youku.com/v_show/id_XNDY0NDA5NzU2.html
Eills Boyd（讨人厌的小助理）——饰演者Jaime Cepero
音乐剧目：Jesus Christ Supersta，hair，the bubbly black girl，sheds her chameleon skin
此演员不仅会唱歌，而且十分擅长跳舞，smash的编导一点都没用到人家的长处，还让他讨人厌了一整季
表演视频：http://v.youku.com/v_show/id_XNDY0NDM1MjQw.html
Dev（Karen男友）——饰演者Raza Jaffrey
音乐剧目：孟买梦，芝加哥，妈妈咪呀
他是孟买梦伦敦西区的原版卡司，深受好评
还记得第12集的那段非常莫名其妙的宝莱坞吗，据说那一段的目的纯粹是为了让他唱歌……
表演视频：http://v.youku.com/v_show/id_XNDY0NDM3NTIw.html（chicago片段 网友现场偷拍）
Frank Houston（Julia老公）——饰演者Brian d'Arcy James
音乐剧目：Time Stands Still，Next to Normal，Shrek the Musical（怪物史莱克），The Apple Tree，The Lieutenant of Inishmore，Dirty Rotten Scoundrels，Sweet Smell of Success，Titanic，Carousel，Blood Brothers
他是音乐剧怪物史莱克百老汇原版中史莱克的饰演者，同时也是音乐剧泰坦尼克号的百老汇原版卡司，smash中他好像就唱过几句，简直大大的浪费
表演视频：http://v.youku.com/v_show/id_XNDY0NDM5ODE2.html
下面说几个大牌客场
Ivy的妈妈Leigh Conroy——饰演者Bernadette Peters
百老汇女王！7次tony提名2次获奖，8次drama desk提名3次获奖！
熟悉百老汇的应该没有人不知道她吧，出演过的剧目一大堆，音乐剧大师桑德海姆的御用
我随便列几个她出演过的剧目：song and dance（tony获奖），into the woods，Annie Get Your Gun (tony获奖)，Sunday in the Park with George，Mack & Mabel……
Lyle west——饰演者Nick Jonas
大部分人知道他应该是因为Jones brothers，不过人家也是混百老汇长大的，童星时还可爱，但是长大了唱功和演技也没见长，放音乐剧里实在太弱，尤其是在悲惨世界25周年演唱会上饰演马吕斯的杯具表现，获得封号“小神马”
演出剧目：悲惨世界（小时候演伽弗洛徐 长大了演马吕斯），音乐之声，美女与野兽，how to succeed in business without really trying（此剧在他担纲演出期间在百老汇关门大吉了）……
Michael Swift——饰演者will chase
音乐剧目：rent（吉屋出租），miss saigon（西贡小姐），秘密花园，蜘蛛女之吻，Billy Elliott，the story of my life……
他最最让人熟悉的角色应该是rent百老汇告别秀里的roger，他演出过的剧目非常多，所以不怎么样的作品也很多。。。不过他在smash里好歹唱了几首，算此次唱得多的了。
戏里Julia在怪物史莱克老公和roger之间纠结，戏外Julia的演员Debra messing约会的对象正是will chase
Eileen找的投资人randy cobra——饰演者Terrence Mann
音乐剧目：猫，悲惨世界，美女与野兽，亚当斯家族，洛基恐怖秀，the scarlet pimpernel，lennon……
这位大叔出场不多但来头很大，他是两大音乐剧猫、悲惨世界的百老汇原版卡司，在悲惨世界里饰演沙威，在猫里饰演tugger，曾获两次tony提名
还有一位大牌客串Uma Thurman，但她是电影圈的，而且太有名大家都知道，我就不介绍了~
除了以上人物之外，tom的约会对象sam，Ivy和Karen身边出场最多的几名舞者和伴唱Bobby、Jessica等也全都是货真价实的百老汇演员，个个拉出来都是能歌善舞的专业人士。
总之这部剧卡司可谓人才济济，十分强大，结果被坑爹的编导搞得如此狗血，看在原创歌舞不错的份上打个4星。
最后其实我只想说，看看这些帮你跑龙套打酱油的的演员的资历，再搭上一个艾美视后（Julia/Debra messing），一个奥斯卡影后（Eileen/Anjelica Huston），一个英伦大帅哥，Karen你好意思么，情何以堪，情！何！以！堪！呀！！！！！！！！！！！！！！！！
Tom Levitt（作曲家）——饰演者Christian Borle
音乐剧目：
Spamalot 火腿骑士，Legally Blonde 律政俏佳人，Jesus Christ Superstar 耶稣基督万世巨星，Amour爱，Mary Poppins 欢乐满人间，Thoroughly Modern Millie……
奖项：tony、drama desk提名，clarence derwent award、Broadway.com Audience Award获奖
必须八卦一下，他的前妻是Sutton Foster！两届tony获得者，非常著名的百老汇diva
Christian Borle表演视频：http://v.youku.com/v_show/id_XNDY0NDA0NDE2.html（legally blonde）
http://v.youku.com/v_show/id_XNDY0NDA1NjUy.html（强烈推荐，左边那位就是他的前妻sutton foster，那是他们还在一起）
Ivy Lynn——饰演者Megan hilty
音乐剧目：wicked，9 to 5（OBC）
她最著名的音乐剧角色就是wicked里面的glinda，是继Kristin Chenoweth后最受欢迎的glinda饰演者
表演视频：http://v.youku.com/v_show/id_XNDY0NDU0ODA0.html
Linda（舞台监督那位亚裔女士）——饰演者ann harada
音乐剧目：Avenue Q， 9 to 5，seussical，悲惨世界，children of eden……
最著名的角色是Avenue Q里面的Christmas eve
奖项：Broadway.com Audience Award，Outer Critics Circle Special Achievement Award获奖
表演视频：http://v.youku.com/v_show/id_XNDY0NDA5NzU2.html
Eills Boyd（讨人厌的小助理）——饰演者Jaime Cepero
音乐剧目：Jesus Christ Supersta，hair，the bubbly black girl，sheds her chameleon skin
此演员不仅会唱歌，而且十分擅长跳舞，smash的编导一点都没用到人家的长处，还让他讨人厌了一整季
表演视频：http://v.youku.com/v_show/id_XNDY0NDM1MjQw.html
Dev（Karen男友）——饰演者Raza Jaffrey
音乐剧目：孟买梦，芝加哥，妈妈咪呀
他是孟买梦伦敦西区的原版卡司，深受好评
还记得第12集的那段非常莫名其妙的宝莱坞吗，据说那一段的目的纯粹是为了让他唱歌……
表演视频：http://v.youku.com/v_show/id_XNDY0NDM3NTIw.html（chicago片段 网友现场偷拍）
Frank Houston（Julia老公）——饰演者Brian d'Arcy James
音乐剧目：Time Stands Still，Next to Normal，Shrek the Musical（怪物史莱克），The Apple Tree，The Lieutenant of Inishmore，Dirty Rotten Scoundrels，Sweet Smell of Success，Titanic，Carousel，Blood Brothers
他是音乐剧怪物史莱克百老汇原版中史莱克的饰演者，同时也是音乐剧泰坦尼克号的百老汇原版卡司，smash中他好像就唱过几句，简直大大的浪费
表演视频：http://v.youku.com/v_show/id_XNDY0NDM5ODE2.html
下面说几个大牌客场
Ivy的妈妈Leigh Conroy——饰演者Bernadette Peters
百老汇女王！7次tony提名2次获奖，8次drama desk提名3次获奖！
熟悉百老汇的应该没有人不知道她吧，出演过的剧目一大堆，音乐剧大师桑德海姆的御用
我随便列几个她出演过的剧目：song and dance（tony获奖），into the woods，Annie Get Your Gun (tony获奖)，Sunday in the Park with George，Mack & Mabel……
Lyle west——饰演者Nick Jonas
大部分人知道他应该是因为Jones brothers，不过人家也是混百老汇长大的，童星时还可爱，但是长大了唱功和演技也没见长，放音乐剧里实在太弱，尤其是在悲惨世界25周年演唱会上饰演马吕斯的杯具表现，获得封号“小神马”
演出剧目：悲惨世界（小时候演伽弗洛徐 长大了演马吕斯），音乐之声，美女与野兽，how to succeed in business without really trying（此剧在他担纲演出期间在百老汇关门大吉了）……
Michael Swift——饰演者will chase
音乐剧目：rent（吉屋出租），miss saigon（西贡小姐），秘密花园，蜘蛛女之吻，Billy Elliott，the story of my life……
他最最让人熟悉的角色应该是rent百老汇告别秀里的roger，他演出过的剧目非常多，所以不怎么样的作品也很多。。。不过他在smash里好歹唱了几首，算此次唱得多的了。
戏里Julia在怪物史莱克老公和roger之间纠结，戏外Julia的演员Debra messing约会的对象正是will chase
Eileen找的投资人randy cobra——饰演者Terrence Mann
音乐剧目：猫，悲惨世界，美女与野兽，亚当斯家族，洛基恐怖秀，the scarlet pimpernel，lennon……
这位大叔出场不多但来头很大，他是两大音乐剧猫、悲惨世界的百老汇原版卡司，在悲惨世界里饰演沙威，在猫里饰演tugger，曾获两次tony提名
还有一位大牌客串Uma Thurman，但她是电影圈的，而且太有名大家都知道，我就不介绍了~
除了以上人物之外，tom的约会对象sam，Ivy和Karen身边出场最多的几名舞者和伴唱Bobby、Jessica等也全都是货真价实的百老汇演员，个个拉出来都是能歌善舞的专业人士。
总之这部剧卡司可谓人才济济，十分强大，结果被坑爹的编导搞得如此狗血，看在原创歌舞不错的份上打个4星。
最后其实我只想说，看看这些帮你跑龙套打酱油的的演员的资历，再搭上一个艾美视后（Julia/Debra messing），一个奥斯卡影后（Eileen/Anjelica Huston），一个英伦大帅哥，Karen你好意思么，情何以堪，情！何！以！堪！呀！！！！！！！！！！！！！！！！
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
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~
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！
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。。。
討厭女主，一集棄
怎么无感呢。。。梦露就应该是圆滚滚的吧。。。可惜了。
最后几集越来越好 有种黄金年代的浮华感
太棒了！
就非要搞点被潜规则才高兴
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。。。
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◤
There's a broken heart for every light on Broadway.
第一集还不错
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。
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。
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！
跟风什么的真无聊