Smash, the show we all (okay, a few of us, according to last night’s ratings) love to hate watch, is back! Now, we wouldn’t DARE to try to fully recap this show because our heroes over at Vulture do it so damn well. What we ARE good at here at Head Over Feels is expressing our thoughts through gifs. And so without further ado…let’s #SmashBash!
Opening Number. Say what you want about Smash, but original tunes DO deliver.
Karen to Ivy at the elevator: “You can take the next one.”
That was way harsh, Tai.
“Karen’s part of the creative team now.”
Yes, cause the nobody actress who becomes the lead overnight ALWAYS gets to have a say in who is in the cast.
“Protect the work.”
“In Six Months, this will be you”
Yes, because all Broadway dressing rooms not only open directly onto the street, the paparazzi gathers around a Tony Winner’s dressing room to get pictures like they would for Amanda Bynes showing up at the DMV.
Julia, who continues to be a stand-in for departed showrunner Theresa Rebeck , claims she doesn’t read reviews, she just reads Tom’s Face.
I’m sorry, but NO ONE WOULD TURN DOWN A TOUR OF THE BOOK OF MORMON BECAUSE THEY DON’T WANT TO LEAVE THEIR BOYFRIEND. I can’t believe that was even DISCUSSED.
I was expecting madness on the TV Comedy side this morning when The Golden Globe nominations were announced. I ranted about it yesterday in my post about the SAG nominations. So while I am not happy about the insanity that is the TV Comedy section of the Globe Nominations, as LEAST I was prepared. I was NOT prepared for the madness of the drama nominations. Let’s get right to it, shall we?
Best Television Series — Drama
THEY SNUBBED MAD MEN.
I’ll say it again.
THEY SNUBBED MAD MEN. The show that THEY were the first real champion of. The show that has won this award THREE TIMES.
The Hollywood Foreign Press is notorious for not only loving shiny new playthings but for constantly sucking up to super famous people. And The Newsroom is both a shiny new plaything and it’s from a sort of well known guy called Aaron Sorkin. So of COURSE The HFPA was going to fawn over The Newsroom. I just never thought it would be at the expense of Mad Men. (Also, I am saying all of this as someone who is a FAN of The Newsroom. I really am. But…but…MAD MEN THOUGH, YOU GUYS!!)
Also, I still don’t get the obsession with Boardwalk Empire. It bored me to tears in the first few episodes of Season One, so I gave up on it. I can see why it’s an awards magnet: it’s a lavishly designed period piece (see also: Downton Abbey, except Downton is freaking flawless and emotionally engaging). I just never really connected with Boardwalk, so I gave up. Should I try again in ALL of my free time, dear readers? Let me know.
All of this being said, I still think this award is Homeland‘s to lose.
“So you’re telling me after 21 years at this label, if I don’t open for your little ingénue, who wouldn’t even make it as one of my back-up singers, that you’re not going to support me? Well…you can kiss my decision as I’m walking out the door.”
Earlier this week, thanks to Hulu, I watched the pilot for Nashville, which premieres tonight at 10/9C on ABC.
As a woman, a native Nashvillian and a rabid Connie Britton fan (TEXAS FOREVER), I AM the core demographic that Nashville was written for. I was sold on the show from the moment I read the summary after it was announced in the spring. My hopes for the show were boosted even higher when most TV critics named it among the best new shows of the fall. I was desperate for the pilot to live up to expectations.
I’ve already season passed it on the DVR. I already have a ship (shippers gotta ship, y’all!) that is sure to be deliciously angsty, as one of them is married. And before you judge me, there is a scene between these two characters where the chemistry is SO ridiculous, you’d have to be dead not to ship it. I’m not going to go into anymore detail than that. When you watch it, you’ll know what I was talking about. The cast, lead by Britton and Hayden (Save the Cheerleader) Panettiere, is universally strong, and the characters, while there are some soap opera archetypes (the power-hungry daddy, the struggling waitress with a dream), are strongly defined. And the music is great, especially the Civil Wars-esque ballad that closes the show. All in all, the pilot is a must see, and I hope that the series continues to build from here.
After I watched Nashville, I got to thinking about pilot episodes. They are definitely a tricky thing, which is why I am so impressed when one is excellent. Pilots have to introduce all their characters, set up the storyline so that the audience CARES about the characters (so they are often overstuffed with exposition), and at the same time show the Network Suits what the show is capable of and how it could bring them all the money and acclaim that they desire. It’s a tall order.