Smash, Season 2, Episode 16: “The Nominations”
Written by Bryan Goluboff
Directed by Michael Morris
Smash, Season 2, Episode 17: “The Tonys”
Written by Joshua Safran
Directed by Michael Morris
Aired Saturdays at 8pm (ET) on NBC
In the television world there is a very important concept that every show must consider if it wants to be taken seriously: verisimilitude. Simply put, verisimilitude is the appearance of being real. The audience very well knows that the characters that appear on the screen night after night are make believe and the stories are made up, but it’s essential that the creators of that television show make the audience believe. Smash has been lucky in that the world of Broadway largely still remains a mystery to most, but while this helps the audience engage, it doesn’t compensate for the unbelievable plot lines that engulf the two hour finale and sour the finale for those fans that have stuck around since episode one.
The final episode is troubled from the start; the two hour finale, composed of two episodes, “The Nominations” and “The Tonys”, could have easily been combined to make a simple hour. It’s centered around this idea that Smash’s audience is sweating with anticipation of who will win a Tony (really, we’re not. The dwindling ratings for the actual Tonys might’ve been an indication, if the Smash writers had thought it through). All entertainment award shows really are just obnoxious, and here Smash makes us sit through acceptance speeches, nomination announcements, and backstage antics (more on that in a minute) to the point where we can’t wait for it all to end. Speaking of those nomination announcements, if you have the very talented Christine Ebersole and Cheyenne Jackson on hand you might want to consider actually using them as actors and not just presenters.
So, those backstage antics at the Tonys: Daisy gets kicked off stage for her solo, Derek busts in at the right time to accept his award, Ana attends at the last minute and gets the chance to perform on stage in her original Hit List role, and Tom kisses a heterosexual Tony voter after winning his award. Here is where that verisimilitude comes into play: these award shows are rehearsed to a T. You can’t just go removing someone from a solo or run up to the stage whenever you feel like it. Smash for the most part has done a decent job at making you believe that during the past two seasons this is how Broadway works, but when a whole hour in so concentrated on the cast taking over the Tonys as they see fit, the audience is only going to buy into a certain level of belief.
In the end Ivy wins herself a Tony, which is probably the only Tony Smash’s audience cares about. Hit List did not win for best musical, but does it really matter? Kyle got his posthumous Tony, the show is selling out every night, and it’s an honor just to be nominated, right? Especially if you’ve only been in the musical business for a few months. Julia and Tom get Tonys for best score, which leads to an offer to write a movie. So they’re a team once again? What happened to Julia doing The Great Gatsby show?
The big finale for Smash is a send-off by Karen and Ivy who sing the aptly titled “Big Finish” and, as much as the audience really craves that big surprise finish, what we get is boiled down to a disappointing mash of stray plot lines. Since everything is so haphazardly thrown at us, here are some stray thoughts:
- Julia’s divorce with Frank comes out of nowhere, right? I think we were all fine with the notion that this was a done and signed deal.
- Derek’s confession of love to Ivy at the Tonys feels completely phony. But the idea of Ivy and Derek starting a family is a precious idea. Ivy, you’ll make a great mom.
- Ana just happens to have a gown laying around to wear to the Tonys? And it only takes her fifteen minutes to get ready? Yeah. Right.
- What is with Jimmy’s coughing in that first hour? He has TB, probably.
- There is no mention of Scott Nichols, nor does he attend the Tonys. Technically he probably should have gotten the most recognition from award winners since he had the most to lose with Hit List. If it wasn’t for him, Hit List wouldn’t exist.
- Jimmy should have paid more attention to Pulp Fiction. Everyone knows that when someone goes into a drug overdose you have to stab them in the heart with that big needle.
- Is there any chance that Christian Borle (Tom) could get an Emmy nomination? Or maybe his own sitcom? C’mon NBC, that man is a goldmine of authentic comedy.
- Poor Sam, you get no resolution. One of the more talented of the cast; the least that could’ve happened was him getting another chance with Tom.
- Anjelica Huston singing “Under Pressure” is great, isn’t it?
Smash, it’s been fun and it’s sad to see you go. At the very least you provided many laughs at inappropriate times. For a show centering around a musical the one thing you did extremely well was the music. You’ll forever live on in my iPod, where I can secretly rock out to you.
-Millicent Evans