Smash: That "Bombshell" Finale

True story. When I pressed play on the DVR to write up this last Smash post of the season, the TV "resumed play" in the middle of the episode somehow though I'd already watched the whole thing through. The mute button was on. Chorus girl Ivy (Megan Hilty) was pulling a ring box from her purse. The ring wasn't hers but fellow chorus girl Karen's (Katharine McPhee) whose fiance had left the ring in Ivy's hotel room after a drunken one night stand. At the exact moment that Ivy opened the ring box, the unmistakably familiar siren song of the ice cream truck sounded outside my apartment. 

I'm not sure where I'm going with this so let it suffice to say that this final episode of Smash's first season was nothing at all like a refreshing creamy treat. The only similarity was that I felt sick to my stomach after devouring it. I don't mean to be a drama queen but at episode's end when Ivy reached for a bottle of pills in her last vain attempt to commune with Marilyn Monroe, that dream role long since torn from her, I knew where she was coming from. I too felt robbed. 

This is not to say that I ever expected Ivy to get the Marilyn role in this fictional soap opera about the creation of a Broadway musical. NBC's peacock of choice from the beginning was the creamy lovely generic American Idol alum Katharine McPhee. The "who will get the role?" drama always felt a little forced since all the marketing was built around McPhee and the show took frequent awkard pains to insist that Katharine McPhee/Karen had "it" while Megan Hilty/Ivy was merely a competent seasoned performer but not a star. I've spent a lot of time shaking my head about the show's absolute inability to notice that the show doesn't play like that at all and they should have rethought their game plan. Megan Hilty has IT in so much bold all caps that it's like she's carting around her own spotlight and orchestra. Every time she performs the show lifts off to a higher level and every time the show tells us she doesn't have charisma, the show becomes as far-fetched as "Bombshell's" narrative that you can rejigger an entire show, rehearse a new lead, refit all the costumes and write a new song and everything will go off without a hitch mere hours later! 

It occurred to me afterwards and somewhat perversely that perhaps Katharine McPhee's generic charms are not the problem but it's Megan Hilty who is miscast. If Smash is not secretly a show about an otherwise talented director (Jack Davenport's Derek) who is terrible at casting --McPhee is beautiful and talented but sounds and moves nothing like Marilyn while Ivy is beautiful and talented and makes a very convincing musical Monroe -- than it is failing terribly. 

...sadly I was hoping she would.Set List: Standards - none; Contemporary - none; Originals -"Don't Forget Me" which is the second worst original song in a generally sensational musical score 
<--- B♡bby & Dennis: This one goes to Dennis (Phillip Spaeth) who is, as ever, adorable. And he always looks so happy!
Anjelica Awesomeness: "Wonderful!" Eileen's what now? exasperation that her ex-husband bought a ticket to the show. 
Best Moment: Sadly, the best moment by far was the little flashback inserts of Megan Hilty doing "Wolf" and Megan Hilty doing the epic "Let's Be Bad" the two best numbers ever seen on the show. But I also loved the sudden change in the title card. It was no longer "Smash" with an orchestra tuning up but "Smash" with an overture. Nice touch now that the show is playing (albeit in out of town tryouts).

Curtain Call: Skinny Katharine McPhee belting the anthemic ballad "Don't Forget Me" a weak song that sounds suspiciously like one of those interchangeable anthemic ballads that they always end American Idol with. In short, "Bombshell"'s finale was 100% Marilyn Monroe free; no blonde wig on McPhee could ever bridge that infinitesimal gap.
Grade: C-
Season as a Whole: B/B- though the first half of the season, particularly episodes four through six suggest that this could be an A level show. Here's to next season. Break a leg!

American Idol Katharine McPhee as American Idolesque American Icon Marilyn Monroe

Previously on Smash
1.1 "Pilot" |  1.2-1.3 "The Callback" & "Enter Joe DiMaggio" |  1.4-1.6 "The Cost of Art", "Let's Be Bad" & "Chemistry" |  1.7 "The Workshop" with Bernadette Peters! |  1.8 "The Coup"...the worst episode |  1.9-1.10 "Hell on Earth", "Understudy" |  1.11-1.12 "The Movie Star", "Publicity" with Uma! |  1.13-1.14 "Tech" & "Previews" with Uma!

Season Awards
Best Episode - The Cost of Art | Best Actress - Debra Messing (and yes I'm surprised by this) | Best Actor - Jack Davenport | Best McPhee Number - "Rumor Has It" from The Cost of Art | Best Hilty Number - "Let's Be Bad from Let's Be Bad | Best Production Number - "Let's Be Bad" in Let's Be Bad | Best Number Not Staged -  "Wolf" in The Cost of Art | Best Number That Doesn't Feature Hilty or McPhee - "Say Yes" with Christian Borle from Understudy | Best Anjelica Huston - Anjelica Huston | Amount of Joy I Suspect I Would Feel If They Staged the Entire "Bombshell" on Broadway with Megan Hilty in the Lead Role - ∞

A Drowning Woman Takes Down Those Nearest

JA from MNPP here. Well it's official! As rumored slash threatened, Lindsay Lohsan will be playing Elizabeth Taylor in a Lifetime channel bio-pic centering on Liz's back-and-forth paparazzi-bait romance with Sir Richard Burton. I thought maybe this would go the way of Linds playing Lovelace and end up no more than hot air, but it appears it's for real, and she's maybe cleaned her act up enough...?

I'm forced by the sheer weight of the past several years sordid history to end that sentence with a question mark. Nevermind if this is even a good idea or not - skepticism regarding any project involving LL has become too deeply ingrained in me. Until this thing's actually on my TV screen, I will doubt.

What say y'all? Is it too soon after losing the legend to even contemplate this? Does Lindsay have what she needs to nail this... or to even walk away unscathed? Is it a gutsy move on her part or just a symptom of derangement? And who would you cast as Dick? So many question marks.

Alfred Hitchcock, Alfred Hitchcock, and Alfred Hitchcock

Look! It's Anthony Hopkins and Toby Jones as the great Alfred Hitchcock and the great Alfred Hitchcock in the upcoming movies Alfred Hitchcock and The Making of Psycho (2013) about, you guessed it, the making of Psycho, and The Girl (2012... post production but I'm guessing also 2013) about the making of The Birds. We keep forgetting that the second one exists (Cinema Blend recently reminded us while talking to Tippi Hedren at the Tribeca Film Festival) which is the second time that's happened to a Toby Jones biopic. First Capote, now Hitch? Poor guy.

All of which begs for us to make it a trinity...

 Who else should play Hitchcock and which movie other than Psycho & The Birds deserves this "making of" dramatization. For some reason I'm tempted to say Frenzy (1972) to get a late career trying to keep up with the times mixed reception drama but I could go for Torn Curtain (1966) just to see who they'd cast as Julie Andrews and Paul Newman. Or maybe my ol' favorite Rope (1948) for the one shot technical challenge and lots of queerness courtesy of Farley Granger. 

You?

April Foolish Predictions: Best Actor

Every year on the 1st of April we begin consulting our well used crystal ball. It's like "the Oscars, again? Don't you wanna know winning lottery numbers or something?" It's foolish to predict the Oscars before practically any of the contenders have screened but foolish can be fun.

This year the contest might be between two men playing beloved US presidents, Bill Murray as FDR in Hyde Park on Hudson and Daniel Day Lewis as Abraham Lincoln in Lincoln, and even if it isn't that angle will get media play. Streep's win a month ago reminded us that Oscar has always loved political performances (if not overtly political films) and they literally can't go one year without having one of the four acting winners playing a real life character. (Benjamin Walker is also playing Abraham Lincoln this year but he's playing him as a vampire hunter so he doesn't figure into the chart.) 

Ryan Gosling has a few leading roles again this year but after the past few years it's clear that Oscar just isn't that into him. So we look to people they love nearly without fail like Philip Seymour Hoffman in The Master. It's possible that he'll overplay the role of a charismatic cult leader but that might actually help with Oscar. They love Clint Eastwood more as a director than an actor but one last chance to honor him for The Trouble With the Curve, a father/daughter road trip drama might be too much to pass up.

At this point I'm most curious about Hugh Jackman's chances for Les Misérables -- I'm guessing they're very good but I'm also guessing that that opinion won't be shared by all -- and whether John Hawkes can fend off dozens of upcoming contenders and keep the heat from his Sundance success in The Surrogate as a man in an iron lung. 

Numerous leading men are coming but only five of them can win Oscar love. Other possibly interesting lead performances are on the way from Bradley Cooper, Brad Pitt, Oscar Isaac, and of course Jamie Foxx as Django Unchained.

Who will it be? Here's my new guesswork.

How would you shift it?
Whose work are you most curious to see? 

A "Game Change" for Julianne Moore

When celebrities play celebrities, the anticipation is half of the buzz.

Will they nail the voice? Will they smile and move like the other famous person? If other celebrities have played this celebrity will they surpass previous incarnations? Will the transformation be all surface or will it dig deep? Can anyone notice the difference since all high profile biopics win acting kudos? How many reviews will work some variation on "________ IS _________ !!!" as the reviewer falls under the actor's spell?

Since most famous actors who are cast in biopics can act, they usually succeed at their impersonations and we move from "will they?" regarding the performance to "will they?" regarding awards wins. In both cases the answer is generally "yes". For reasons The Film Experience has never quite pinned down, these metamorphoses surprise the world each time as if we've never seen their like. Occasionally we even doubt the answer to the first "will they?"

But for all the familiarity of this showbiz narrative, in Julianne Moore's case Game Change may actually be a game change. Her work as Sarah Palin was one of the true nail biters in the realm of modern biographical star turns and here's why...

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