King of the Nerds is Coming Back!

Season 2 of King of the Nerds premieres this Thursday, January 23rd on TBS. Last season was hilarious, and I can't wait to see what the geeky competition has in store for us this time around.

The trailer makes me laugh.

First favorite quote:

"It's a science fair, not a talent show."

And, Bill Nye, the Science Guy, shows up! 'Nuff reason to watch. Am I right?

Arrow: Season 2 Preview

Yes, I'm excited for season two!

Favorite Doctor Who Episodes: New Earth

Rose begins her travels with the new Doctor. And what more appropriate place for Rose to go with the new Doctor, but New Earth? David Tennant shows in this episode why he was such a great choice to play the Doctor. He shows the excitement of what it is to be a Time Lord and travel through time and space.

I love that this episode has a tie-in to the second episode of season one, "The End of the World." We meet Cassandra again. Surprising, yes, I know, after what happened to her in "The End of the World." We see her little mechanical spiders again. In this episode she has a new companion to moisturize her, Chip. We also get to see the Face of Boe again. It's so much more significant to see him when you find out the truth of the Face of Boe in a future episode. But I won't spoil that for you here.

The scene where the Doctor and Rose are in separate elevators getting "disinfected" is so funny. The Doctor is just taking it in stride, and Rose is freaking out. Great bit.

The best part of this episode is when Cassandra "inhabits" Rose and Doctor's bodies. When she is moving back and forth from Rose to Doctor the acting is so great. I especially love when she goes into the Doctor's body the first time.

This episode reminds me of how much I miss the Russell Davies era of Doctor Who. I like the stand-alone episodes where the Doctor takes his companion to a new world, in another time, to see the universe. Stephen Moffat has had some good stand-alone episodes, and I don't mind having a large story arc throughout the season, but I don't like to have some kind of mystery that you have to figure out through the season. I'd rather just have great episodes that don't keep bringing up more and more questions. The only question from this episode is: what is the Face of Boe's secret? Hmm.

Quotes:

Rose: So, where are we going?
Doctor: Further than we've ever gone before.

Rose: I'll never get used to this. Never. Different ground beneath my feet. Different sky.

Rose: Can I just say, traveling with you... I love it.
Doctor: Me too.

Doctor: So, the year five billion, the sun expands, the Earth gets roasted.
Rose: That was our first date.
Doctor: We had chips.

Doctor: It's New New York. Strictly speaking, it's the fifteenth New York since the original. So, that makes it New New New New New New New New New New New New New New New New York.

Rose: You're so different.
Doctor: New new Doctor.

Cassandra: Rose Tyler! I knew it! That dirty blonde assassin.

Cassandra: At last I can be revenged on that little ---
[cut to Rose and the Doctor]
Rose: A bit rich, coming from you.
Doctor: I can't help it. I don't like hospitals. They give me the creeps.

Doctor: No shop. I like the little shop.

Doctor: That's where I'd put the shop - right over there.

Doctor [from the elevator]: Watch out for the disinfectant.
Rose [from outside the elevator]: Watch out for what?
Doctor: The disinfectant!
Rose: The what!
Doctor: The disin... Oh, you'll find out.

Rose: Um, ward 26. Thanks.

Doctor: Nice place. No shop downstairs. I'd have a shop. Not a big one, just a shop. So people can... shop.
Sister Jatt: The hospital is a place of healing.
Doctor: Well, a shop does some people a world of good. Not me. Other people.

Doctor: Petrified regression. He's turning to stone. There won't be a cure for a thousand years. He might be up and about, but only as a statue.

Novice Hame: He's thousands of years old, some say millions, although that's impossible.
Doctor: Oh, I don't know. I like impossible.

Rose: Don't you come anywhere near me, Cassandra.
Cassandra: What do you think I'm going to do, flap you do death?
Rose: Yea, but what about Gollum?

Cassandra: It's goodbye trampoline and hello blondie!

Rose/Cassandra: I'm a chav!*

Rose/Cassandra: Look at me! From class to brass.

Rose/Cassandra: It's like living inside a bouncy castle.

Rose/Cassandra: That man, he's the Doctor. The same Doctor with a new face. The hypocrite! I must get the name of his surgeon.

Rose/Cassandra: How does she speak?
Chip: Old earth cockney.
Rose (on her cell to the Doctor): Wotcha.
Doctor: Where've you been? How long does it take to get to ward 26?
Rose: I'm on my way, guv'nor. I shall proceed up the apples and pears.

Duke of Manhattan (to the Doctor): Come in! Don't be shy.
Fran Clovis: Any friendship expressed by the Duke of Manhattan does not constitute a form of legal contract.

Doctor: How on Earth did you cure him?
Matron Casp: How on New Earth, you might say.

Rose/Cassandra: I can't Adam and Eve it.
Doctor: What's... what's with the new voice.
Rose/Cassandra: Oh, I don't know. Just larking about. New Earth. New me.
Doctor: Well, I can talk. New new Doctor.

Doctor: Yea. Still got it.

Doctor: Intensive care. Certainly looks intensive.

Doctor: Just let Rose go, Cassandra.
Rose/Cassandra: I will. As soon as I find someone younger and less common.

Rose/Cassandra: You're not exactly nuns with guns. You're not even armed.
Matron Casp: Who needs arms when we have claws.

Doctor/Cassandra: Oh my, this is... different.
Rose: Cassandra?
Doctor/Cassandra: Goodness me, I'm a man. Yum. So many parts. And hardly used. Oh! Ah! And two hearts! Oh, baby, I'm beating out a samba.

Doctor (to Matron Casp): Go and play with a ball of string.

Rose/Cassandra: Oh, chav-tastic again.

Doctor/Cassandra: No matter how difficult the situation, there is no need to shout.

Rose/Cassandra: They're so alone. They keep reaching out, just to hold us. All their lives, and they've never been touched.

Rose/Cassandra: The lifts aren't working.
Doctor: Not moving. Different thing.

Doctor (to Rose/Cassandra): If you're so desperate to stay alive, why don't you live a little?

Rose/Cassandra: You're completely mad. I can see why she likes you.

Doctor: I'm cooking up a cocktail. I know a bit about medicine myself.

Rose/Cassandra: What about you?
Doctor: I've got an appointment. The Doctor is in.

Doctor: Pass it on!

Rose/Cassandra: Did you kill them? All of them?
Doctor: No. That's your way of doing things. I'm the Doctor, and I cured them.

Doctor: Like will out! Hah!

Doctor: You were supposed to be dying.
Face of Boe: There are better things to do today. Dying can wait.

Doctor: That is enigmatic. That is... that is text-book enigmatic.

Rose: Hello.
Doctor: Hello. Welcome back.

Chip/Cassandra: I'm a walking doodle.


*A working-class youth, especially one associated with aggression, poor education, and a perceived "common" taste in clothing and lifestyle.

Smash: The Tony's

I guess I really have to accept it now. This was the last episode of Smash. The show is over. The curtain has come down on a show that I was so excited about when I first heard about it. A show that had some great moments, some great music, some great singing, some great acting, and some great musical numbers. A show that was about my passion: theatre. A show that had some bumps and misses along the way, but one that I am sorry will never have a chance to meet its potential and be really great.

So, here it is... my final recap. Although, it may not be my final post on Smash, because I may find I have more to say, who knows.

Observations:

"Under Pressure" is an example of what I love about Smash. It's a great number, bringing together all of our main characters. We get to hear Julia Messing and Angelica Huston sing again. And we finally get to hear Jack Davenport sing - not much, and not enough.

Listen to Christian Borle's falsetto!

Jeremy Jordan, that's what I call holding a note.

It's a Rent moment. Too bad Daphne Ruben-Vega and Jessie Martin couldn't join in the number.

Julia and Tom wrote a musical number for the Tony's on the day of Tony's? It's so funny to me that they would wait until the day of the Tony's to finish a number for the award show. The performers still have to learn it and rehearse before the show. Isn't that cutting it a bit close - since those performers probably have to get ready for the Tony's too, and we know how long it takes for women to get ready for a big shindig like that. It's just like Smash to throw realism right out the window.

How would writing letter to your husband (who's divorcing you) with a detailed account of your affair soften his anger toward you?

It's great to see footage of Bernadette Peters' acceptance speech for the Tony she won for Annie Get Your Gun, so Leigh can give pointers to Ivy of how to accept a Tony award.

Jerry really thought that the best number to do for the Tony's was "I'm Not Sorry"? Really? There are much better songs than that. But then, I guess if Jimmy didn't want to perform, there really aren't many other songs that his character doesn't sing.

I can't believe that Daisy thinks that Derek's confession on how she got the part will help her career. It makes her look like a ambitious, do-anything-to-make-it slut. She's really letting all of this publicity go to her head - and she's becoming a real "diva."

I'm surprised that Ivy and Karen are being civil to each other. The last time they spoke, Ivy was angry at Karen for telling Ana that she slept with Derek. I wonder what happened between then and now.

Why is Jerry being such a jerk and siding with Daisy? Is there something between them? Hmm? I guess we'll never know.

It's nice not to see Jimmy the jerk at all this episode. It's about time. And it's too late.

I really hate the way Julia and Frank's story line went through the two season of Smash. It would have been so nice to have an example of a happily married couple in the theater instead of a story of infidelity. It's that whole thing about the writers feeling the need to make the show a soap opera instead of telling honest stories about backstage life in the theater. Yes, there is infidelity and divorce in the lives of some people who are involved in the theater, just like there is everywhere else, but there are also happily married people. That can make good stories too. I also don't like that it diminished Brian D'Arcy James's character, and made the writers feel that they didn't need him in the second season.

It seems to me that most people who are invited to the Tony's (especially the nominees) bring a "plus one." That means they would be given two tickets, wouldn't they? Why wouldn't Karen and Jimmy get two tickets? And would they give a ticket to someone who is nominated but is dead? Why would Kyle get a ticket?

I love that they show Leigh and Ivy as their names are announced as nominees just as they would if they were on the real Tony telecast. Their smiles into the camera are so great. So, actor-like, if you know what I mean. Trying to look humble, but deep down thinking - "I hope I win, I hope I win, I hope I win."

Just rub lemon juice into the wound, why don't ya. Daisy wins? Whaaaaat?

Of course Kyle won for best book. No surprise there at all.

So, Jimmy's acceptance speech on behalf of Kyle turns into a speech about Karen. I guess that that might have been sweet if they hadn't always made everything about Karen. It just made it annoying that it wasn't all about Kyle. Other than that - his speech was really sweet. I wish we would have seen more of that Jimmy throughout the season - I would have liked him better, and sooner.

It's so funny that Julia and Tom were talking when the winner is announced for best score, and they miss hearing their own names. If everyone's speeches at the Tony awards were like Tom and Julia's, the Tony awards would be much shorter. And they could do more musical numbers. *wink*

Derek wins best choreography for... wait for it... Hit List. Well, at least it wasn't tie between Derek Wills and Derek Wills. *wink*

It's sweet that Derek dedicated his Tony to Ivy, "someone [he loves] very much."

Why did Derek ask Ivy where Daisy is? Strange question to ask Ivy.

Derek fires Daisy right before she's ready to do the musical number for Hit List. And he has the rest of the cast of Hit List go on, impromptu on live television. Good for you, Derek, for doing the right thing and firing her. And good thing that the cast just happened to have an acapella version of "Broadway, Here I Come" ready to perform. A version, which, by the way, I absolutely love. Oh, I'm going to miss you Smash! Sorry, I'm still going through my grieving process.

And there was the setup for the third season, if it hadn't been canceled. Tom and Julia would go to Hollywood and write a movie musical. So, here's where I'm not so sad it was canceled. I don't think I would have liked them going to Hollywood. The joy of Smash to me was it was about the theater, a world that I love. I do love movies. And I love a lot of movie musicals. But I'm not sure if I would have liked the show "going Hollywood."

Tom and Julia are back together as I team. Good for them.

I loved Tom's look at Julia after Patrick leaves. It was hilarious. Awkward. Again, if the show had more comedy like that, it would have been so much better. Life in theater isn't all drama. There is comedy - funny moments that would have been so great for Smash to capture.

I loved seeing all of the cameos of Broadway performers.

And the Tony award for best performance by an actress in leading role in a musical goes to...

Commericial. You don't think they wouldn't milk this one for all its worth would you? *wink*

Ivy Lynn! Yes, Ivy won the Tony award. Not Karen. Okay, writers, I forgive you for the all of the praise you heaped upon Karen. I am happy.

I love, love, love Ivy's acceptance speech. She said what so many of us who love the theatre believe.*

And the Tony award for best musical goes to...

Well, you can guess by the above picture. I'm glad it won. This is the show we've come to love since season 1. And it was great to see Jerry's face as Eileen walked down the aisle to the stage to accept her Tony award. I'm glad that Eileen called for Derek to come up. It's just too bad that we didn't get to see any of the other cast members. I wanted to see Bobby and Jessica up there.

And now we have to wrap things up a bit.

We finally find out Jimmy's secret past. I wish that we had known the details or even just some of the details, even if Karen didn't know. I think we would have liked him much more. I think the end would have been more emotional also if we knew that he turned himself in before the Tony's. Then it really would have been a surprise when he turns up at Karen's door to go with her to the Tony's. 

Michael Swift? Whaaat?

It's over. It's really over. And I'm sad.

The big number that Tom and Julia wrote for the Tony's is "Big Finish." Ivy and Karen sing it. It's a great number, and it really is a great way to end the series. 

Quotes:

Leigh (to Ivy): I thanked you in person. That's better.

Karen (to Derek): This will pass. But you have to let it.

Julia (to Jimmy): Stop sabotaging yourself. Whatever makes you do that, it's time to face it, once and for all. It's not too late.

Karen: What's not fair is you're not going too.
Ana: Believe me, I'm gonna cry after you leave.

Leigh: Have you practiced?
Ivy: My speech? No. I'm not winning.
Leigh: No, your losing face when I win. Here, try this one.

Ivy: Good thing you got to practice that face, huh?

Julia: Is it possible that I want Kyle to win instead of me? I mean, could I actually be that selfless?
Tom: Historically, no. But people change.

Tom: You okay?
Julia: Yea. But it turns out that I actually did want to win.

Julia: Jimmy deserves original score, and we deserve cocktails with olives in them. Several.

Jimmy (to Julia): It's okay. I got the one I wanted.

Derek: First of all, I'd like to thank the Tony voters for judging the work, not the man.

Daisy: What are you doing?
Derek: Something I should have done a long time ago. Taking you out.
[Aside: If you were reading this without the context behind it, you'd think he was asking her out on a date. No, he's firing her. Yay! End of aside.]
Daisy: You can't do that.
Derek: Weren't you listening? Everyone out there hates me, so I can do pretty much anything I feel like.

Jimmy: It looks like someone forgot to the tell the announcer.

Julia: After all that, it ends here, huh?

Ivy: I'd like to thank my mother, Leigh Conroy, the magnificent Leigh Conroy for giving me the greatest gift. And that is a life in the theatre.

*Ivy: For me, there is nothing more magical than that moment right as the lights go down and the crowd is waiting in silence with anticipation for the show to begin. It's a moment full of hope and full of possibilities. So, I'd like to thank the audience for coming, and for believing, as I do, that there is nothing more important or special as live theatre.

Eileen (to Derek): Don't worry They'll get over it. All they need is another show.
Derek: I'm game if you are.

Tom (to Derek, re: the Tony award): It spins.

Ivy: Are you ready to give the people what they want?
Karen: Always.

Smash: The Nominations

These last two recaps of Smash are dedicated to my good friend, Megan, whom I first met when we played courtesans in a production of A Funny Thing Happened on the Way to the Forum. Since then we've done a few more shows together. Thanks for enjoying the recaps!

If you've read any of my previous recaps posts for Smash, you know that I don't think that the show lived up to its potential. I was hoping that it would get renewed for a third season so it would get a second (or, I guess you could say, third) chance to get it right. Oh well, if wishes were fishes, as they say.

Watching this episode reminds me again of how much I'm going to miss this show - the backstage look at theater part. Not so much the soap opera plot lines. Even though there weren't any production numbers, I enjoyed the inside look (albeit quite fictional look) at the nomination season on Broadway. The excitement of getting nominated, of winning and losing.

Observations:

It's interesting that Ivy has a poster of Heaven on Earth, the Broadway musical she was in when she auditioned for the then untitled Marilyn Monroe musical in season 1, on the wall above her bed. Why wouldn't she have a poster for Bombshell? She's starring in that.

Agnes was so excited to tell Eileen that Bombshell got 10 Outer Critics Circle nominations, and Eileen has to burst Agnes's bubble by telling her that Hit List got 11 nominations. Come on, Eileen (ooh, there's a song there), get excited for your 10 nominations instead of boohooing that Hit List got one more than you did. Interesting fact: There are only 11 Outer Critics Circle awards that a musical can win. I wonder which one Bombshell didn't get nominated for. I know, this show is fiction, so it could be anything (except for the ones they specifically say in the show it was nominated for), so let me make my guess: outstanding actor in a musical.

I haven't ever seen the star of a show take their curtain call solo. But Ivy did. Strange.

Is the fictional musical The Gathering Storm really supposed to be three acts? A musical in three acts - I've never heard of that before. I've heard of plenty of plays that have three acts, but not any musicals.

Tom just demonstrated why you never use your cell phone during a show. I think it's funny how the writers thought it would be so "hip" and "modern" to let audience members use their cell phones during Hit List, but then they have this scene with Tom using his cell phone during The Gathering Storm as a commentary of how annoying it is to other audience members.

Come on, Eileen (sorry, I just had to say it again), tell Tom to shut that phone off! However, it is hilarious how he uses the light of the phone to see who it is that's sitting behind him in the theater.

I'm shocked!!! Karen won the Outer Critics Circle award for outstanding actress in a musical. Oh, wait. No, I'm not shocked at all. We're talking about Miss Perfect, Karen Cartwright. Well, after the few short scenes I've seen of her in Hit List, I definitely wouldn't have voted for her.

Why would Ivy think that Karen won the OCC award just because she trash-talked Ivy? I don't think that's how critics decide who to vote for. I think the critics vote by, surprise, who actually had the best performance.

I just love Bobby and Jessica. I'm going to miss them. Hey, I've got a great idea! NBC, why don't you give them their own spin-off series. It could be about two best friends who are gypsies on Broadway. You could call it Gypsies. They could also go on tours of Broadway shows, and do regional theater. It could be great fun. Please, oh, please!

Tom won the Outer Critics Circle award for best director! Good for him. However, he did tie with Derek. Cop out anyone?

Do these writers do their research? The Outer Critics Circle doesn't have a category for best book. You can win outstanding musical or outstanding score - not outstanding book. Didn't any of these Broadway actors in the show tell anyone that that award doesn't exist? I'm so disappointed.

I'm surprised that we don't get to see Karen finding out she won the OCC award. Even though it's annoying to me that she won, it's a big deal for someone in their first Broadway show to win an award like that. When we see Karen again after we find out she won, we don't see any kind of excitement from her. We don't see any excitement from her about anything. For someone who has reached her dream, she doesn't seem happy at all.

And we just got to the opening credits. Boy a lot happened before those credits.

If Daisy is typical of actors trying to make it on Broadway, it's a sad thing to say about actors trying to make it on Broadway.

Were Julia and Kyle "close?" Julia spent a few days helping Kyle with the script, I wouldn't call that being "close."

The scene with Tom trying to take the wine back at the hotel is pretty funny. I really wish that Smash had had more comedy in it, and less angst. I think it would have been a better show.

Yes, Ivy said something she shouldn't have about Hit List and Kyle, but I'm shocked that an audience member would say what she said to Ivy in the first place.

It's nice to see that Tom and Derek are friends again.

It's so hard to see what an unlikable person Jimmy is. There is a way to make a character jerk and still be strangely likable - look at Derek. The writers just never figured out how to do that with Jimmy's character. It's so frustrating.

The episode was going so well, and then they throw in that "circle of Smash." People who were friends, and liked each other, now have a major falling out. Big scene, big blowup. But, we do get Eileen to break up the fight with one of her. The only sane person around.

Okay, I like Karen right now. She tells Jimmy that he needs to take a break from performing, and actually see the show he wrote with Kyle. It's an amazing thing to see a show that you wrote performed on a stage. I can't imagine what it would be like to see it performed on a Broadway stage. I hope someday I do.

Poor Derek. He did something really crummy, but I feel sorry for the way everyone is treating him. I guess it's because he really is a likable character. *wink*

And the Tony Nominees Are (the ones we care about):

Featured Actress in a Musical:

• Leigh Conroy: Bombshell
• Ivy Lynn: Liaisons
• Daisy Parker: Hit List

Choreography:

• Derek Wills: Bombshell
• Derek Wills: Hit List

Best Book of a Musical:

• Kyle Bishop: Hit List
• Julia Houston: Bombshell

Original Score:

• Bombshell
• Hit List

Direction of a Musical:

• Tom Levitt: Bombshell
• Derek Wills: Hit List

Actress in a Musical

• Karen Cartwright: Hit List
• Ivy Lynn: Bombshell

It's Cheyenne Jackson and Christine Ebersole announcing the Tony nominations. So cool.

Psyche! They accidentally skipped Ivy's name, so she didn't think she got the nomination. But, surprise, she did! Whew!

Why do they have to make Frank so horrible. I liked him. They really screwed up with that plot line.

Derek is being a man and owing up to the mistake he made. Good for you, Derek.

Quotes:

Patrick Dillon: Are you kidding me? Haven't you ever been in a theater before?
Tom: Not only have a been there, I just won a major award for it. Best Director.

Sam: But, hey, awards are not important. Right?

Tom: Please tell me those are J. Crew.

Agnes: Ah, if it isn't my two favorite P.R. disasters. What are you going to do for an encore today, burned down Table 46?

Tom: You should know that our encounter with the wine did not go well.

Jerry: Eileen. Thought you'd be wearing black today.
Eileen: No, Jerry. I'm saving it for your funeral.

Derek: Okay, this is awkward. Do you want to go first, kind sir?
Tom: You first. I'll finish. That seems familiar.

Eileen: My life has to be about more than this show.

Julia: Artists shouldn't feel ashamed about helping each other. It shouldn't always be a competition.

Tom: We did everything possible to blow these nominations. I take great solace in that.
Ivy: We didn't go halfway, it's true.

Ivy: Of course that's her. She probably wants me to withdraw.

Ana: Well, I'm gonna go in the other room and... eavesdrop.

Jimmy: Kind of nice knowing that you're leaving something behind no matter what.

Grimm: Goodnight, Sweet Grimm

"Goodnight, Sweet Grimm" is the season finale of Grimm, and in true Grimm fashion, it left us hanging - on a gigantic cliff (so to speak). This was a really good episode, and I'm glad that the show is ending with such momentum after the way it just plodded along with the "Juliette not remembering Nick" plot line. I just hope that they don't take longer than one episode to resolve Nick's "condition" at the end of this episode. They need to learn from this season and keep the story moving.

Observations:

Eric is a horrible, horrible person.

Finally. Juliette tells Nick that she loves him.

And... the zombies have been let loose onto Portland.

That's a way to knock out a "zombie." Throw him against a brick wall.

It was very convenient of Hank to show up when he did so he could help Nick get the knocked-out zombie into his car.

I love that we finally get a scene with Eric and Sean together. I really like both of these actors, and their scene is really great.

I would like to know what happened to Renard's mother. Is she still alive? And if not, how did she die?

Why does Eric want Renard to go back to Europe? What is his agenda?

This is different for Nick. Juliette asked him how his day is, and he realizes he can actually tell her the truth.

Stephania has seven boys, and it looks like they're all just their mother's little gophers. They need to grow up, move out, and get a life. *wink*

Stephania needs the heart of a Hexenbiest in order to restore Adalind's powers, and the Hexenbiest has to be alive when they get it. Ewww! Poor Frau Pech, it looks like she doesn't stand a chance.

How did Adalind and Stephania know that Frau Pech was going to change her appearance to look like Adalind? There's no way they could have known. Of course it's an interesting twist, but very implausible. Well, so is the fact that Frau Pech actually changed her appearance. *wink*

I realize that they want Juliette to be more involved in Nick's life so that she's more than just the "girlfriend," but why would Nick really let her go with them? Nick knows what those "zombies" can do. It's pretty dangerous, even for a veterinarian. *wink*

Why isn't Eric afraid of the zombies? I don't think they are very picky about who they'll attack. I doubt they would attach the Cracher-Mortel, but I think anyone else would be fair game.

I was really hoping that we would see Nick's mother again in this season finale. I want to know what happened to her. You can't have a character leave with the question of "what is she really up to," without resolving it - even if it's just one episode. Please, bring Nick's Mama back!

Are we going to meet any other members of the royal family - not just the Renard family, but members of other royal families?

Is the "Scooby Gang" going to have to go to Europe to help save Nick? I hope that the show isn't going to move away from Portland, because I really like the Portland setting.

Last year's "To Be Continued," notice when they just said, "Sorry," was funny. This year's notice was just a bit too much. What are they going to come up with next year? Do they think they're going to have to top this finale next year?

Quotes:

I would love to see you do what you do. Would you show me?
Why not.

Juliette: I now know why you couldn't tell me everything.
Nick: I wanted to tell you. I just didn't know how. I was afraid fro you to see a world that I didn't fully understand.

Juliette: At least I know I'm okay. I haven't lost my mind.

Rosalee: Did that make any sense?
Monroe: In a sort of circuitous and charming way, yes.

Juliette: I don't suppose you could get the day off.
Nick: I could... if people stopped killing each other.

Nick (to Juliette): Let's just take it one Wesen at a time.

Nick (to Renard): Is this a "shut the door" kind of conversation?

Renard: You should know that his mother tried to murder my mother... and me.
Eric: That would make for an awkward Christmas.

Eric: I'm having a hearty northwestern breakfast and I feel robust already.

Eric: I can't wait to see you, brother.
Renard: Me either. Brother. (hangs up phone, then to Nick) We're not exactly close.

Nick: Sounds like somebody's upstairs.
Wu: Sounds like it. (pause) No. Not sure what that sounds like.

Monroe: He looks dead.
Nick: I know he looks dead. Probably was for a little while, but he's not now.

Monroe: You're telling me this guy is gonna wake up.
Nick: Yep.
Hank: And not in a very good mood.

Rosalee: It is not a pleasant experience.

Monroe: And the morning started so well.

Monroe: I don't want to have to hurt you, but if you hurt me...

Stephania (on the phone): We have found a way to deal with Frau Pech.
Frau Pech (as Adalind): I can't wait to hear how.

Nick: How's the leg?
Wu: About as bad as my arm.
Hank: What's wrong with your arm?
Wu: That's where I got a tetanus shot for the lady who sunk her teeth into me.

Eric's henchman: I'm going to need to check you for weapons?
Renard:  What you need and what you're going to get are two separate things.

Eric: What a shame. My own brother doesn't feel safe with me.

Eric: How long has it been since we've been breathing the same air?
Renard: Well, let me see. I believe I was 13, when my mother pulled me out of French literature class in Geneva and whisked us out of the country to keep us from being murdered... by your mother.
Eric: Yes. That was any exciting day, wasn't it?
Renard: Not so much for me.

Eric: That's all blood under the bridge.

Renard: Let's just get down to business.
Eric: How very American.

Eric (re: Adalind): It's a shame about her losing her powers like that. At least she carries a grudge.

Wu: It looks like somebody's planning a party. Not a party I'd want to be invited to.

Juliette: Just a normal day at the office?

Juliette: I'm going too.
Nick: Juliette, I'm on a case.
Juliette: Is it Wesen?
Nick: Yea.
Juliette: I'm not staying home alone anymore. I've a lot to learn. Please don't lock me out again.

Adalind: Ding dong, the witch is dead. And another one's coming back.

Rosalee: Juliette?
Juliette: Learning curve.
Rosalee: Works for me.

Juliette: What kind of Wesen are you?
Monroe (whispers to Juliette): He's not Wesen.
Juliette (whispers): What is he?
Monroe: Just a regular guy.

Rosalee: Why is this guy doing this here in Portland?
Monroe: I know. I mean, we have food and donuts, but that's kind of the extent of it.

Monroe: A member of the royal family came. That sounds kind of revolutionary.

Eric: Good night, Sweet Grimm, and flights of angels sing thee to thy rest.

Smash: The Transfer

Oh dear. Smash is the show with an identity crisis. It has crammed so much into the end of this season that you wonder if it knew what it really wanted to be. Let's have a tragic death, let's have blackmail to get a part, let's have a partnership that's breaking up, let's have an unexpected pregnancy, let's have a... well, whatever Jimmy's problem is, and every once in a while let's have some great music. Oh, and let's have a cameo by real life Broadway composer/lyricist/actor, Lin-Manuel Miranda (In the Heights, Bring It On, the Musical).

Observations:

I have a question about the opening number in this episode, "Pretender." According to the synopsis of Hit List from Josh Safran, the showrunner of Smash, the song takes place at a Hollywood party. Amanda sings the song that was written by Jesse, who is supposed to be "hidden away" so no one finds out he's giving Amanda songs (for what reason, I can't even imagine). So, why is Jeremy Jordan (Jesse) on stage playing the piano for the song if he's supposed to be hidden away from everyone? I really don't think that Hit List was really well thought out. I think they just got some great songs, and threw together a plot to fit the songs (kind of like a jukebox musical).

Ana's delivery of her line is really terrible. And... why is there dialog anyway? Isn't this a sung-thru musical?

Okay, whoever Lindsay is... she can belt!

It's so funny that in an earlier episode, Ivy told Karen that Hit List better not get to Broadway in the same season as Bombshell because she didn't want to have to compete against Karen for the Tony. Now, she sees Karen and congratulates her on getting to Broadway, and she sounds sincere. I thought that there would be a little animosity from Ivy. But no. She's all smiles and full of congratulations for Karen. Weird.

I loved the server at Table 49 telling Jimmy that there are tables he could bus if he's "feeling nostalgic." Jimmy smiles at that line, but I wish he would have said something back to the server. It would have much more realistic for him to have a witty comeback, not just go on talking to Derek and Julia.

The Diva's solo "Reach For Me" had her spinning eight feet up in the air in the old space. Now that they're on Broadway, she's 30 feet up in the air. Yea, it's going to take time to adjust. That would freak me out!

Tom and Derek used to hate each other. And now their doing fist bumps with each other. They've become friends again without us really knowing why they had a falling out to begin with.

Oh, that was a low blow, Derek. Giving Ana's part to Daisy. And just when we were starting to like you again.

I wonder what Karen would have done if Derek had fired her. Maybe that's what this show needed - something jarring and unpredictable like Karen having a problem of some kind. Everything just always goes her way and everyone else around her has problems. And when they have problems, she thinks she can just talk to Derek and fix it all.

I love it when the mention other Broadway shows and performers (past or present) on Smash. Sam Mendes's Cabaret, Thoroughly Modern Millie, Sutton Foster, Bring It On, Laura Benanti, Norbert Leo Butz, Alice Ripley.

It's interesting to hear Derek talk about the kind of pressure he's under to make the show a memorial to Kyle's memory. I agree with him that he needs to try to create a good show, not make sure that every decision he makes is something Kyle would have wanted. Kyle was not a seasoned writer. In fact, they made the show sung-thru (or so they say, it's sung-thru) because Kyle was not a good writer. Now, all of a sudden they say how wonderful he was. The show is so inconsistent.

Why is Derek watching Daisy's rehearsal from the wings. He should be watching from the house. And then he starts talking to Karen and not even watching her rehearse. Then, Daisy doesn't even sing her song at all. She just goes straight into rehearsing the trick 30 feet in the air.

Ivy's doing a commercial for the Ford Fusion. That is hilarious. We get a commercial right in the middle of the show. Now that's what I call "product placement." *wink* The funniest thing about it is that few people who live in New York even own a car. They take public transportation or walk everywhere. I loved the director's lines at the end of the filming of the commercial. He says, "And cut. Print it. Moving on." That's close to the title of the Act I closing number from Bombshell, "Cut, Print... Moving On."

If a were booked to perform a number at a concert, and the director called me the afternoon on the day of the concert and said he wanted me change the number I was doing and I didn't even know the number he wanted me to do in a few hours, I would not be very happy. In fact, I don't think I'd say yes. That's just cutting it a bit too close.

Not only is Tom changing Ivy's song the afternoon of the concert. He's changing the whole show. Yea, you got that right. The whole show. The day of the show. And Tom is doing this because he wants the Tony voters to see what a great director he is. If you wanted the Tony voters to see what a great director you are, you would want time to rehearse, rehearse, rehearse. You wouldn't throw something together the day of the show. Who writes these scripts? People who don't do theatre.

Okay, I'm ready to freak out right now about the stupidest idea ever for a show. Kyle had this idea to have the theatre take the patrons' cell phone numbers before the show and send them texts during the show. What!!! First of all, I wouldn't want to give the theatre my cell phone number. Secondly, do you know how annoying that would be - to sit in a theatre and have everyone's cell phone go off at the same time - all the noisy and the annoying lighted up screens? And finally, if everyone has their phone on, they're not just getting texts from the theatre, they're getting texts from friends, and family, and others, constantly. That's why they ask people to turn their phone OFF! If this is what the writers think the future of the theatre is, then I don't know what say. Yes, I do. Stupid, stupid, stupid. End of rant.

The little banter between Tom and Lin-Manuel Miranda, was hilarious. They just rib each other with big smiles on their faces.

Just when I was starting to like Julia a little bit again, she has to treat Tom like crap and ruin it all over for me.

It's interesting how Julia and Jimmy are changing Hit List, and Derek on the sidelines. This is Derek's show. He is the director. Julia should be running the changes by Derek and then Derek should be incorporating the changes. It should fit with the vision of the director. If it doesn't, then the show as a whole will be a mess.

I love that we see Ivy running the song to herself in the dressing room. I'm sure that with the little rehearsal she's had that she would be freaking out at this moment.

We're getting more dialogue in Hit List than we ever got in Bombshell. That's probably because without the dialogue viewers would have no idea what the songs are about, they're so not self-explanatory like Bombshell's are. In fact, they're not a bit musical theatre at all.

I really don't like the musical number "I'm Not Sorry" at all. It's just like a music video, not a number from a musical. I know that it's supposed to be a performance at the VMAs, but it's still in a musical.

And the cell phones begin to ring, and the displays light up, and they're in a theatre. Arrgghh! Maybe you'd get young kids into the show, but I bet it would annoy and alienate older patrons.

So, Tom didn't even know what song he and Julia would end up doing. That's throwing something on him at the last minute, isn't it?

It's nice to hear Tom and Julia sing a duet. The flashbacks of the scenes between Tom and Julia are nice. I didn't really like the song "The Right Regrets" when I first heard it on iTunes, but I liked it in the context of the show. It was a nice moment. And all is mended between them. Or is it?

Sometimes I don't like Eileen very much. She puts the show ahead of her friends. That could be an easy way to lose friends.

It's interesting to hear the conversation between Julia and Jimmy when Julia tells him that she can't help him with Hit List anymore because she has her own show to worry about. Jimmy is upset (surprise!) and says he knows it's because Hit List is Bombshell's competition. Julia's response is "We're colleagues." At the real Tony awards on Sunday, a few Tony award winners talked about how their fellow nominees weren't their competition, but their colleagues. At the time I thought it was such a great thing to say. I still do, but I wonder if any of them saw this episode of Smash.

I can't believe what Ana said to Ivy. That came out of left field and was so inappropriate. You would never ask someone you hardly know something that personal. I get it. She had to say it so that Ivy would be mad at Karen again, but wow! That girl has some nerve!

And... the circle of Smash strikes again. Tom and Julia are on the mend, and Ivy and Karen are on the outs. What will happen in the next episode? Will everyone end up friends, or will everyone go their separate ways and never talk to each other again. Oh, the drama of life in the the-u-tuh.

Quotes:

Lindsay:  Thanks again for asking me to do the concert. I think I'll be the only one at Houston-Levitt night who hasn't won a Tony
Tom: Except Houston and Levitt.
Eileen: This isn't about the Tonys anyway. It's about old friends getting together for a wonderful celebration. Take care, Lindsay.
Lindsay: Bye.
Tom: Bye. Thanks.
[Lindsay leaves]
Eileen (to Tom): This is all about the Tonys.
Tom: You don't say.

Ivy: Hey, uh, things are probably going to get a little crazy arounds award season, and can we just promise that whatever happens that we're going to be adults about it.
Karen: Yes. You have my word.

Server (to Jimmy): We've got tables to bus if you're feeling nostalgic.

Jimmy: I don't care how many tickets we've sold. I need the show to be perfect by the time we open.
Julia: There's time. You're still in previews.
Jimmy: Yea, and the Tony nominations are coming soon.
Derek: Hmm, now he wants a Tony.
Jimmy: Not for me. For Kyle.

Tom: Oh, look, there's Mom and her new family.

Julia: Trust me, I am not doing you any favors by not getting up there and singing.

Eileen: You can sing the alphabet for all I care, just as long as you're smiling and singing together.

Karen (to Ana): Six months ago I never thought I'd get here. Thank you, Jimmy.

Derek: I think Ana's making far too many mistakes. She's exhausted.
Stage Manager: What do you want to do?
Derek: Just give her tomorrow night off.
Stage Manager: And put Daisy in? If you think it'll help Ana...
Derek: Mmm. Couldn't hurt.

Jimmy: I've spent last night online. I was reading feedback.
Derek: Oh, yea, the internet. A lot of helpful information there.

Derek: Listen, too many changes, people think you're scared of something. Just try to find one thing that feels organic and change that.

Karen (to Ana): You don't know Derek like I do. He just wants to make sure you're at your best when we open.
[Side note: If that were true, he'd want her to perform in the previews, because you're only at your best when you rehearse.]

Karen: They're giving you a break.
Ana: You know who else had a break? Erin Dilly in Thoroughly Modern Millie. Sutton Foster went on for her. Guess who's still on a break?

Derek: One night off is not going to kill her.

Derek: I'm under a lot of pressure here, Karen.
Karen: Yea, so am I.

Ivy (in Ford commercial): At night I play an icon. By day I drive one. Introducing the entirely new Ford Fusion. Stunning design, inside and out. Just like me.

Julia: Nothing's impossible if you have enough money.

Jimmy: Can we really get that done by tonight?
Julia: We could try.
[Side note: Um, no, I don't think you could.]

Lin-Manuel Miranda: that's the thing about Jonathan Groff - he curses like a sailor.

Lin: Tom. Hey, I'm sorry I haven't had a chance to see Bombshell, but I hear the tourists love it.
Tom: Thanks. I tried to see Bring It On, but it closed too fast, I didn't get a chance.
Lin: Well, when you don't have the sweet, gratuitous nudity to keep you running -- So, where's Julia? Or are the rumors true?
Tom: Oh, she's here. She's singing tonight, so she's probably by the bar. Tequila courage. Excuse me.
Lin: All right. I'm a tweet that. I love you.
[Tom walks away]
Tom (sing-songy to himself): I hate you.

Eileen: This is getting ridiculous. Where is Julia?
Tom: I told Laura Benanti she's in the bathroom. I told Norbert she's in a taxi. I told Alice Ripley she's backstage. Why can't I tell everyone the same lie?
(Side note: I wish those three actors actually had cameos in this episode. And they did a trio. That would have been great.)

Eileen: What I love about you is that you're never afraid to be yourself. You either go big or you go home.
Ivy: A couple of those nights I probably should have just gone home.

Karen: I can't believe I almost let something happen between us.
Derek: How is this suddenly about you?
Karen: Well, because it's always about you.
(Side note: Karen's answer to his question makes absolutely no sense. It's about her because it's about Derek? What? Although, I am glad that someone finally asked why it's always about Karen.)

Ana: Derek, this is my job.
Derek: Yes, and it's my career. And honestly, you'll get another job.
Ana: Are you kidding me!

Ivy: Hey, I thought we were going to be adults about this.
Karen: What are you talking about?
Ivy: You have no right telling anyone that I slept with Derek to get a part or anything else.
Karen: Okay, wait. First of all, if you're talking about me telling Ana. She's my best friend. And second, Ivy, everyone already knows. If it's coming to bite you in the [butt], maybe that's on you.
Ivy: You play this naive, just-off-the-bus routine to get exactly what you want, but deep down you're just as calculating as the next person.
Karen: You being the next person?
Ivy: Oh, you really want to play it like that?
Karen: I'm not playing anything.
Ivy: You know what, I'm actually glad that Hit List made it to Broadway, 'cause the only thing better than getting a Tony, will be beating you to get it.
Karen: Okay, I think we're done here.
Ivy: See you on the red carpet.
Karen: If you make it there.

Grimm: Kiss of the Muse

One small step for Juliette. One giant step for Grimm. All I can say is, finallly! We can start to resolve the plot line that has been going on and on and on for a whole season. Oh, and Nick is seduced by a Wesen whose kiss makes men obsessed with her. They could have called this episode "A Grimm Obsessed." Or maybe "It's Just the Way That it Is." Well, I guess "Kiss of the Muse" explains it all.

Observations:

I do like the way Juliette walks into her memories of Nick.

I read that Russell Hornsby, who plays Hank, injured his Achilles tendon. Ouch. I didn't think that the writers purposefully wrote in an injury for Hank. I'm glad he was able to continue working even if it was on crutches.

I love the look Nick gives Hank when Khloe she tells them that guys fall for her pretty quickly. He doesn't seem to believe her.

And... the obsession begins.

Khloe has more paintings on the walls in her apartment than Renard does. *wink*

The tables are going to be turned. Juliette is starting to remember her feelings for Nick, and Nick is started to forget his feelings for her. I like the twist.

Good for Monroe. He has perfect timing.

It's interesting that as Juliette apologizes to Nick about the way she treated him, that she says she was losing her mind. As she tells Nick this, he's losing his mind too. Oh, those silly Wesen spells. Parallel much?

I do feel sorry for Juliette. As much as she was beginning to absolutely annoy me with her plot line, I guess I still do like the character, and I want her and Nick to get back together. Go figure.

Oh, not a good combination when you have a man obsessed with a girl, and a drunk man comes and starts grilling him about the picture the man drew of her. Especially when that obsessed man is a cop and Grimm.

I'm surprised that this is the first time Rosalee has been in Aunt Marie's trailer. I guess I thought she's been there before.

So, artists are a bit eccentric anyway, but add to that a strange obsession with a very conceited Musai, and you've got a down-right certifiable.

So, Van Gogh cut off his ear because of his obsession with a Musai. Now we know. *wink*

I wonder how the Grimms learned the names of the Wesen. I'm sure they didn't tell him what they were right before they cut off their heads.

Oh, that eeeviiil woman! She gets some kind of sick pleasure out of seeing men fight over her - men dying because of her.

Why couldn't Juliette save Nick from the obsession when he came to her house for dinner.

Quotes:

Monroe: The true epicure always does his shopping when the farmers set up.

Hank: So, what did I miss?
Nick: The usual. The devil. A couple of space aliens.

Nick: What about the girl? I think she knew the shooter.
Wu: She does. According to her, and by "her" I mean Khloe Sedgwick, age 30, girlfriend of the vic.

Chloe: I don't mean to sound conceited. It's just the way that it is.

Hank (to Nick): Are you going to wash that hand?

Landlady: He said she was his inspiration. I thought that was very romantic. But, personally, I think he gave her way too much credit. But I guess that's love, right?

Wu: Anton's boy has not been found. Doesn't mean he's not way down river. But...
Hank: It's the "but" that scares me.

Juliette: I just wanted to know if he has said anything to you about our relationship, or...?
Monroe: Yours and mine?
Juliette: No. Me and Nick.

Khloe: That's how it starts. But it's never how it ends.

Monroe (on the phone): So, you're having dinner with Juliette?
Nick: Monroe?
Monroe: Yep. With two defrosted primo veggie steaks. Ring a dinner bell?

Nick: The place looks great.
Juliette: I didn't change anything.

Nick: So, what did you want to talk to me about?
Juliette: Oh. Right to the point.

Juliette: I thought I was losing my mind. You know, for all intents and purposes, I was losing my mind.

Monroe: You must have had a lot to talk about.
Nick: Not really.
Monroe: Well, let me just say, huh.

Monroe: For months you have been dying for Juliette to remember you, and now she finally does, and you don't even... I mean, forgive me if I'm a little flummoxed.

Nick: You might want to start looking into getting your own life.
[Nick leaves]
Monroe: I think you need to start looking into getting your own house.

Monroe: It's a veritable museum of Wesenology. Chronicling the proud Grimm tradition of hunting and beheading people like us.
Rosalee: Oh. Nice to know.

Monroe: It's all in German, of course.

Hank: Van Gogh, huh?
Monroe: I mean, I'm just reading what's here...

Renard: Why break into a paint store.
Hank: I think it has something to do with Khloe Sedgwick.
Nick: Why?
Hank: Oh, just a hunch. You know what those are.

Monroe: So, what? It's the proverbial kiss of death?
Rosalee: Obsessive desire can be confused with love.
Monroe: Whatever this is, it ain't love.

Juliette: Wish me luck, or... whatever.

Juliette: Come on memory.

Monroe: Some things aren't as crazy as they seem when you get to know them.

Khloe: Well, I can't help it. I was born this way.

Renard: Really?

Once Upon a Time: Second Star to the Right

As the second season comes to an end, Once Upon a Time is setting up season 3, where we'll go to another land, Neverland. Hopes for fewer new characters just flew away with a "shadow."

I like the characters of Tamara and Greg even less than I did before. I hope we don't see much of them in the next season.

Observations:

I wonder what Bae did in Victorian England for six months.

In J.M. Barrie's Peter Pan, Nana was a Newfoundland, but in Disney's version of Peter Pan the dog is a St. Bernard, so of Once Upon a Time is going to make Nana a St. Bernard. It would be interesting to see if Once Upon a Time makes any decisions based on the source material. Hmm.

Tamara has chosen Greg over Neal. That woman is crazy.

I guess Bae has been in Victorian England long enough to learn about the workhouse. I'm sure there were no "workhouses" in the Enchanted Forest.

I wonder what Gold and Lacey do when they hang out together. What do they have in common? And I have to say that I like Lacey even less than I like Belle. Belle is one of the most boring characters in the show, even as Lacey.

We know that Neverland has mermaids. Will we be seeing Ariel next season? If we don't, I'll be very surprised. Any excuse to introduce new characters.

Didn't The Shadow already know that he wanted a boy? Why did he take Wendy in the first place? Did he not know that she was a girl. I guess he had a hard time distinguishing Wendy's nightgown from the boys' nightshirts. *wink*

I just don't get Lacey. Why does she like Gold? Just because he beats people up? The relationship makes no sense to me.

What did David give to Emma? I thought it was his gun, but then he has it later.

It's so cute to see John with his umbrella and Michael with his bear.

I wish some of Bae's preparations for the return of The Shadow had made some kind of difference keeping him out. It would have been a bit more interesting. And given a purpose for even showing them making the preparations.

Bae wore a nightshirt before. Now he's wearing modern-looking boy's pajamas. I guess that's because they couldn't have him flying over London in a nightshirt. *wink*

The shots of Bae flying with The Shadow above London were pretty cool.

Women just don't fight like girls anymore. *wink*

No, not Neal!

I'm surprised that Greg knows the exact place to find his father's remains (if they really are the remains of his father).

So, Bae did meet Hook in Neverland. Hmm.

How do the people in the "home office" know what the trigger is? It annoys me that we're just supposed to believe that the "home office" peeps just know what it is from Tamara's description. I guess the writers expect us to just believe a lot of things in this show.

Quotes:

Emma: He's too busy with his new *slash* old girlfriend.

Greg (to Hook): Look, would you mind lending me a hand? Preferably your good one.

Gold: Never underestimate the power of a guilty conscience.

Mary Margaret: Why do you have one of Regina's tears?
Gold: Because I do.
(Side note: That's such a cop-out answer. He gives that answer because the writers don't want to have to explain it.)

Gold: And with that, I've fulfilled my end of the bargain. Goodbye.
David: Always a pleasure.

Neal: Emma, yea, if Tamara is hiding Regina here in her evil lair at the docks, I've got your back.

David: Despite our differences, we're family.

Smash: The Phenomenon

When you read this recap, you'll probably ask yourself, "If so many things bug you about this show, why do you watch it?" The answer is simple. Well, maybe not so simple. I love the world of Smash. Theatre is one of my great loves, and to have a show on Broadway is one of my biggest dreams. So, it's just a given that since there's a show on television that is about theatre on Broadway, that I'll watch it. No matter how silly or unrealistic or overly maudlin or soap operish it gets.

And speaking of soap opera. I feel like Smash has just become one. I guess that's what happens when the showrunner is was once the showrunner for Gossip Girl. The show doesn't have to be a soap opera simply because it's a prime time "drama." It could be so much more. Correction: It could have been so much more.

Observations:

Jimmy is singing to himself. Literally.

I'm liking Scott less and less. He's making "his career" hang on one show, and that show hangs on Julia. So, if Julia can't get Tom to allow her to do Gatsby, then Scott's career is over and it's Julia's fault - again. Manipulative much?

I'm not really sure I like this plot line. I think that the show is trying to too hard to make Hit List like Rent. Now, the show will transfer to Broadway, not on its own merit, but simply because its book writer died. I don't like it.

It's ironic that it's Jesse L. Martin (Scott), who was in the original production of Rent, that's talking about doing the show to honor Kyle.

I'm so surprised that no one is actually crying. There has to be one character in this cast who actually cries over a friend's death. I don't know if it was the director's choice not to have anyone cry, but it's very unrealistic to me. Even I'm not crying, and I am a cryer! Maybe that's another reason why this plot bugs me. Usually you have a death in a story to make people feel something. I don't feel anything.

I don't like the flashbacks. They're just so forced, and their purpose if not to show us things about Kyle we never knew, it's to foreshadow something else that will happen in the plot. He liked the gesture of the lights being dimmed on Broadway when a theater person dies. So, we'll get some lights dimmed for Kyle.

In a flashback, Kyle mentions to Tom that he doesn't like how some random musical number we've never heard yet in Bombshell ends, so Tom changes the scene - after his death. It would have been more interesting if it were a scene we were familiar with already and we saw in a previous episode that Tom changed the scene suddenly (right after Kyle mentioned it), but we didn't know why. And now we finally discover why he changed it.

I am so glad that Tom got a solo, and we get to hear again how great Christian Borle's

Why is everyone saying they're sorry for Julia's loss? She worked with Kyle for a few days on the script for Hit List, and now suddenly Kyle is like family to Julia? What? It's especially funny coming from Tom, who was a little close to Kyle than Julia.

So, the show was canceled, but the entire cast is still hanging around in the green room? Is that because they all want to "be there for each other"? Or is it because it's more convenient that they didn't have to have a scene where the stage manager is calling everyone to come back to the theatre to do the show when Derek decides to do it?

So, they're just going to do a concert version of the show, not a full production. This is paralleling Rent even more. According to wikipedia: "Due to Larson's death the day before the first preview performance, the cast agreed that they would premiere the show by simply singing it through, all the while sitting at three prop tables lined up on stage. But by the time the show got it its high energy "La Vie Boheme," the cast could no longer contain themselves and did the rest of the show as it was meant to be, minus costumes, to the crowd and the Larson family's approval."

Karen finally finds Jimmy, and suddenly it's not about Kyle's death anymore. It's about, wait for it... Karen. No surprise there.

And there's a poster for Rent. Coincidence? I think not.

I do like how the lighting of the flashbacks is a bit "rosier" that the scenes in the present. It's a nice touch.

I would have directed Jimmy's entrance so differently. I would have had Sam start singing "The Love I Meant to Say," and then had Jimmy come in and take it over. Then I would have just had Jimmy stand toward the audience and sing it, not moving into the boring staging of it. I don't think that actually doing the blocking of "The Love I Meant to Say" made it anymore poignant. I didn't really like watching Karen walking toward him. I think this would have been a good place to have flashbacks of Kyle interspersed. However, the song was beautiful, and Jeremy Jordan sang it beautifully.

Surprise! Hit List is moving to Broadway. I'm shocked! *wink*

Jimmy tells Karen that he doesn't want to do something with her that night or tomorrow because he has a lot to deal with. And Karen's asks if he's mad at her. His best friend just died, Karen! It's not all about you! I don't understand these writers and their fascination with Karen. I. Just. Don't. Get. It.

Okay, I do think it's a sweet gesture that Eileen (or Tom) had the lights of Bombshell dimmed in Kyle's honor. However, we knew something like that was going to happen from the beginning of the show since we saw Kyle tell Julia about it. Maybe if that scene had been in a previous episode, not just a flashback in this one, it would have been more poignant. I don't know. Again, I just think this episode was full of too many "

Quotes:

Scott: So, what do we do about tonight's performance.
Derek: We cancel. Obviously.
Scott: Are you sure?
Derek: Uh, yea. I think "The show must go on" isn't apropos at this particular moment, Scott.

Tom: Is that is for today's installment of "Tom the Monster"?

Eileen: I don't appreciate these little stunts of yours.

Jerry: I went into the wrong business. I should have been a psychic.

Jerry: And here I thought the ice between us was melting.
[Eileen throws a drink in his face]
Eileen: No. It's as cold as ever.

Derek: I'm good at caring so much.

Scott: We're a phenomenon. People are going to remember this night forever.

Derek: There's a lot of people out there who want to hear what you have to say. And more that that, they want to hear what Kyle had to say. And you guys... you're the only ones who have the power to tell them. So... do him proud.

Jimmy: How can you be so sure?
Kyle: I'm not. I just pretend that I am.

Kyle: Are you sure she has to die? Musicals usually have happy endings.
Jimmy: Not the ones you like.
Kyle: You're right. So... she must die. So your character can learn something.

Ivy: The show was amazing.
Derek: Thank you. Technically, it wasn't all me.
Ivy: Wow! That may be the first time you've said something like that. How does it feel?

Grimm: Endangered

So, I guess there are some species of Wesen that are endangered. And there's a pretty good reason why the Wesen in this episode are endangered. Gluhenvok have a blue glowing skin when it "woges" that's very valuable. I love how excited Rosalee and Monroe are excited to learn that there are some Gluhenvok still out there. They heard about them when they were young wesen, but thought they were actually extinct. When they finally find the Gluhenvok it's like they've come face-to-face with a legend. The Grimm world just continues to became more vast and more interesting.

Observations:

That murder was really grim.

I love that it takes Nick a few minutes to get a clue about Monroe and Rosalee when he comes into the kitchen. Awkward!

Nick said, "supposably." Okay, supposedly, "supposably" is a real word, but as far as I know, they are not interchangeable. It really bugs me when people say "supposably" when they really mean "supposedly." End of rant.

I love that Monroe knows something about the key - or about the map that the seven keys make. However, if he knows what the map is of when all the keys are put together, does one of the keys actually mark the spot where this treasure is supposed to be? It will be interesting to find out.

The map the keys make is in the Schwarzwald, or the Black Forest, in Germany. In the last episode we learned that the woman who might be able to help Adalind restore her powers, and who wants the baby, is the Queen of the Schwarzwald. I wonder if that has any significance.

Juliette remembers the moment she and Nick said they loved each other. We're making progress. Finally.

That is just gross - to watch her eat that.

I just love all of the folklore of the Grimms and the Royal Families that the writers created. That's quite a bit of backstory. It's so Indiana Jonesish.

The alien hunter calls himself a UFologist. Yes, you read that right, the study of UFOs. That's hilarious.

I'm so glad that Juliette is finally remembering her feelings for Nick. But she's scared to tell Nick about it because she thinks she's treated him so horribly he won't love her anymore. I can't say that it was Juliette's fault that any of this happened, but I agree with her. She has treated him pretty poorly.

And the question finally comes out of Juliette (although she asks Monroe instead of Nick); she wants to know what a Grimm is. Poor Monroe. He's been stuck in the middle of this for quite a while. Unfortunately, the answer Monroe gives Juliette is pretty engimatic. He should be a little more specific.

If the Gluhenvok knows that people may be after his "skin," why would he woge and give himself away? Does he have to be in that state in order to take the ovaries from the cows? Hmm.

The alien hunter is no UFologist. He's a Gluhenvok hunter. And, ooh, he can turn his head all the way around.

Having Monroe is like having your own personal bloodhound. *wink*

Rosalee is definitely the person you need in the event of an emergency. Calm and collected, and she knows how to deliver a baby.

Oh, slow motion bullet.

Sometimes Nick's job as a Grimm becomes a conflict of interest with his job as a cop. What a way to live.

Quotes:

Monroe: Bottom line, my Dad was very old-school, okay? I mean, very old-school.
Rosalee: Your Dad still hunts?
Monroe: Well, let me put it this way - I don't ask and he knows better than to talk to me about it. But their not getting any Meals-on-Wheels, I'll tell you that much.

Monroe: Bottom line, I don't want Nick to kill my parents. Not that they wouldn't give him plenty of reasons.

Nick: This is me intruding, isn't it? [awkward pause] I'm going to my room now.

Monroe: It's called a ward-lock, and I'm not talking about a male witch.

Renard: My family, as you call them, would have been happier had I never been born.

Sergeant Wu: The truth is out there... east of Portland.

George Lazure: Was the victim probed?
Wu: Nobody was probed... yet.

Nick: What is it?
Dr. Harper: Luciferase.
Nick: Please tell me that has nothing to do with the devil.

Wu: Apparently we have another witness. This one's claiming alien abduction.
Nick: So, are we talking spaceship?
Wu: No. Bronco.

Monroe (to Juliette): Look, I'm not an expert in these things, although, when it comes to you and Nick I'm certainly privy to more than most...

Monroe: A Grimm is someone who can see into the heart of darkness.

Wu: What is it about cows and aliens?
Nick: I got nothin'.

Monroe: I see you two have a book open there, which more or less portends some sort of catastrophic disaster, which in turn can only mean my date with Rosalee has been put on hold.

Nick: I'm living in an alternate universe.
Monroe: No, you just have a better understanding of the one we're in.

Monroe: Don't you need a warrant for that?
Nick. You're right. You open it.
Monroe: Oh. Okay.

Monroe: Oh, Nick. I think you put her over the top.

Monroe: We're, uh, helping, so just join in anytime.

Rosalee: What about me? What am I worth?
Lazure: More than a Blutbad.
Nick: What about a Grimm?

Once Upon a Time: The Evil Queen

I was a little annoyed that the flashback in this episode revisited the plot line of Regina looking for the hated Snow White so she could kill her. We've been down this path so many times before, and nothing new was revealed, except that "The Evil Queen" still had some good left in her, only to have that goodness die when Snow White revealed that she didn't think Regina could ever be good. If we're going to have flashbacks, give us something new to chew on.

Observations:

I don't care if Hook is bad or good, I only know that Colin O'Donoghue is one mighty good-lookin' fella.

Greg and Tamara are just annoying. Simple as that. I like good villains. They are not good villains. Hook - now he's a great villain.

It's so convenient that Rumpelstiltskin and Lacey (Belle) walk by right at the moment that Greg and Tamara tell Hook that Rumpel is alive and tell him to look out the window to prove it.

In the flashback, Regina talks like an "evil queen," not like a queen who wants her subjects to love her and believe that Snow White is the bad one. It's all in your tone of voice.

Why does David still call Snow "Mary Margaret" even though the curse is lifted? He knew her longer as Snow, not Mary Margaret. Everyone goes back and forth with the names. And I miss Snow calling David "Charming." It's so endearing.

Rumpel is the voice of reason when he tells Regina she'll never make the people love her if she slaughters entire villages. Regina can't seem to get this fact through her thick head. She's so clueless and out of touch with reality. And it's so hard to root for her in Storybrooke when she murders all of these people just because one little girl told Regina's mother that Regina was in love with the stable boy. Storybrooke Regina is even more clueless, thinking that after she kills everyone in Storybrooke and takes Henry back to the Enchanted Forest that Henry will think of her as a hero. Why do they make Regina so dense?

So, Regina built a fail-safe into the curse. However, how was she ever going to be able to use the fail-safe trigger without magic? She didn't know that magic would be brought to Storybrooke.

It's interesting that Regina tells Henry about her plan to use the trigger to take both of them back to the Enchanted Forest and kill everyone else, and tells him that she told him because she didn't have anyone else she could tell, and then she makes him forget everything she just told him (whew, run-on sentence, I know). The real purpose for her to tell Henry was so that we, the audience, could learn her plan. Because, as she told Henry, she couldn't tell anyone else, and we had to learn somehow.

Regina trusts Hook pretty quickly. All he had to do was say some nice things about Cora.

It think it's funny that Emma tells Snow that Tamara knows their "fairy tale" names. To Snow and everyone else, they aren't their fairy tale names, they are their real names. So, Emma should have said that Tamara knows their real names.

Those chickens are so CGI. I guess no real chickens were harmed, or stepped on, in the making of this episode. *wink*

Snow White certainly is the warrior. Girl power!

It's so funny that Regina faints when she see that it's Snow that saved her.

I wonder at what point in the timeline this flashback happened. Was it just after the Huntsman tried to kill her and before she met Charming?

Why would Regina put the trigger where she couldn't get to it easily by herself?

Ah, Maleficent. Good to see you again. You look different. *wink*

It's interesting that Regina hid the trigger in Snow White's glass coffin. At least I think that's what it is.

Did Regina get her Storybrooke last name, Mills, from this moment when she tells Snow White that her family works in the mills?

Emma and Henry are hiding from Greg and Tamara in Emma's car. Not that her bright yellow VW Bug is a dead give-away that she's there.

Snow's words to Regina are so powerful that it makes Regina want to change. But the sight of all of the slaughtered villagers is even more powerful that it makes Snow say that she could never forgive Regina and doesn't think Regina will ever change.

There's no suspense when you know that Regina isn't going to kill Snow and Snow isn't going to kill Regina.

I really didn't like Ginnifer Goodwin's performance as Snow in this episode's flashback. She seemed so uncomfortable.

Didn't Regina need to use magic to go back up the elevator from below the library? Wouldn't she have realized then that her magic was gone? Unless she thought, "Oh, what the heck, I'll just push the buttons this time." *wink*

Regina thought that she gave Hook the double-cross, only to discover that she's been double-crossed herself. Oh, I guess it's true that what goes around comes around. (I must say that Hook's lucky that Regina recognized her mother's cuff, and that she wanted it back, or his plan never would have worked.)

I'd like to know where Owen was able to get "the toughest metals and machinery known to man" that can counteract magic and put them in a little cuff. Where did Owen go after he escaped from Regina's maternal little fingers all those years ago?

Why did Tamara have to ask Greg "which one" Regina was? Didn't she have the list already? How could she not know the Mayor was the Queen? I guess they just wanted to remind us again that she is "the Evil Queen."

Quotes:

Berkeley: It's empty, Your Majesty.
Regina: Thank you, Berkeley, I can see that.

Mary Margaret: Henry won't like it. She is his mother, despite all the horrors.

Regina: Jail cell? I don't think so.

Rumpel: You did just slaughter an entire village, maybe that's why they call you, "Evil Queen."
Regina: I am not evil. They call me that because of her. She's the evil one.

Regina: When she is gone... when Snow is dead, then they will see my kindness.
Rumpel: Through the charred remains of their homes? Yes, I'm sure that will be perfectly clear.

Rumpel: Perhaps in a week you'll be able to, uh, change your hair? Highlights? Maybe.

Regina: Time is of the essence.

Regina: About as regal as a potato.

Rumpel: Careful, dearie. A Queen striding among peasants. You might not like what you hear.
Regina: It won't matter. When I'm done, they'll be singing my praises over her smoldering, villainous remains.

Regina: They only see the evil queen, which they made me.

Henry: But what about everyone else?
Regina: They die.
(Way to sugar-coat it, evil queen.)

Guard: How dare you address a knight of the Queen's guard thusly.

Emma: Tamara has a list of people who live here. What their fairy tale names are.

Emma: She lied.
Mary Margaret: But your super power has been known to be unreliable, Emma. Especially when you're emotional.

Regina: Morning already?
Snow: We have one every day.

Snow: Regina wants to hurt people. I think she's in constant pain and is looking to figure out whom to blame for it. We lived in the same household, and still she could never see that I was on her side. She's wanted revenge more than she wanted love, and can't imagine living that way.

Regina: You don't think it's too late for her.
Snow: Oh, I don't think it's ever too late for anyone.

Snow: I never said it was her.
Regina: I read between the lines.

[Regina tries to summon a magic fire ball, but to no avail.]
Greg: Yea, sorry. That's not going to work. Not anymore.

Henry: You know, I believe you - about Tamara.
Emma: You should. I'm right.

David: You know, when we get back Leroy, we're going to need your help restoring the palace.
Mary Margaret: It's in pretty bad shape.
Leroy: Cosmetic or a total tear down?
Mary Margaret: Burn it down.

Leroy: Nobody steals from a dwarf.

Regina: Why didn't you come when I called you?
Rumpel: I'm sorry, dearie. Do I know you? I already have a maid. Promising girl, actually.

Regina: They'll never love me.
Rumpel: So sad, and yet, so true.

Regina: The Queen is dead. Long live the Evil Queen.

Regina: So, little bitty Owen does grownup magic of his own now?
Greg: It's not magic. Actually this is something much, much better. Science.

Tamara: Which one was she?
Greg: She was the Queen. The Evil Queen.
Regina: Yes, I was the Queen.
Greg: But now. Here. You're nothing.

Greg: Bag her.

Smash: The Producers

And the TV recaps resume.

In my TV recaps update post yesterday I mentioned that I would recap the episodes of the shows I've missed in one post per series. Well, I changed my mind. I had so much to say about this episode that I'm going to have a post per episode just as I have in the past. Go figure.

Now that Bombshell has opened on Broadway, Eileen has to make sure that it stays open. At least long enough to get Tony nominations. And Hit List just wants to get to Broadway. Unfortunately, Jimmy is the biggest obstacle since he can't seem to get over his breakup with Karen.

Observations:

Kathy Lee Gifford as a platinum blonde. I don't think so. But she is pretty funny.

We get it. The cast is tired.

It's fun to see "The Twentieth Century Fox Mambo" again. We haven't seen it since early in the first season.

Scott announced to his board that they would be doing Julia's version of The Great Gatsby at his theatre, but does Julia have the rights to it yet?

Why would Hit List give a big plot line away in a major magazine? Having the Diva pointing a gun at Amanda is really a strange thing to do.

I love all of the fictional musicals they've made up to be against Bombshell for the Tony awards.

I thought that shows could be nominated for a Tony even if they close before the actual Tony awards (which are in June). I thought the nominations could be any show that opened during the season. So, why wouldn't the fictional Lloyd Weber musical not be eligible just because it was closing in April? Hmm.

I'm sure Marisa Tomei was shocked to learn that she broke her leg, and that Andrew Lloyd Weber was surprised to find out he had a show close that he didn't even know opened. *wink*

Why can't Julia still make The Great Gatsby into a musical with Tom? At least this show would have a script to begin with - unlike Bombshell.

Scott has only read one scene of The Great Gatsby and he says that it's "not just an adaptation. It stands on its own." How can he tell from one scene? And the only way it wouldn't be an adaptation is if Julia was writing a whole different story. If it has Fitzgerald's story, it's an adaptation.

How would Julia be breaking her promise to Scott if she turns it into a musical? Does he only want to do a play, not a musical? This plot line is just so strange to me. It's that circle of Smash. One person does something to make someone mad, and then just as they make up, the other person does something else to make the first person mad. It just doesn't stop, does it?

It's really horrible that Scott is making his career hang on Julia. If she doesn't give him what he wants, his career is over again. That's a lot of pressure to put on someone.

Why would Jimmy be shocked that they are auditioning understudies for his role? Most shows have an understudy for the leads, it's not like it's a new thing.

I like Leslie Odom, Jr, but he can't sing "Rewrite This Story" like Jeremy Jordan.

Everything is always about Karen. She think the show is probably going to be ruined because she broke up with Jimmy. She just has so much power doesn't she?

Eileen is scheduling to do a number from Bombshell at the Brighton Beach Senior Center. Wow, I'm sure that's going to sell a lot of tickets. *wink*

I love Kyle's mother's reaction to seeing Kyle's name on the poster outside the theatre. What a happy mamma.

I have this love/hate relationship with both Tom and Julia. They do the same things to each other, and then complain about each other doing the same thing. Julia gets mad at Tom because he wants to direct on his own. Tom gets mad at Julia because she wants to write Gatsby on her own. Children, children, grow up and stop fighting!

Why would Jimmy be late after all of that? Passive-aggressive much?

The announcement at the beginning of Hit List that using cell phones and other recording devices is permitted and encouraged is pretty revolutionary (I'm sure that was the point), and it's also very unlikely a show would actually permit that. I just hope they didn't mean that audience members could also use their cell phones to text and tweet during the show too. Now, that would just be rude  to the other audience members. Also, if they don't own the show any more than the audience, does that mean the audience will get a cut of the profits? *wink*

Love "Rewrite this Story." I wish they didn't cut to another scene just as the song started. I'll have to go back and watch the episode that has the number again.

It looks like Tom just broke up the partnership of Houston and Levitt.

I love the blocking and choreography for "Don't Let Me Know." I would be interested in seeing a full production of Hit List, just for the songs and choreography. Click here for a synopsis of and list of songs for Hit List. Reading the synopsis, I can't see how this could be a through-sung musical. So much happens between the songs, and we haven't heard any songs that are "recitative" that could take the place of dialog. The lyrics of the songs are very popish, not very musical theatre. I have some more issues about the plot, but I'll have to leave that for another post.

The stage manager says that Jimmy is usually "down left" when they notice he's not where he should be. Then, seconds later, when the Diva shoots Amanda, the stage manager asks why Jimmy didn't catch her. He couldn't have caught her anyway if he was supposed to be "down left" since Amanda is up center on a platform that he has to run up stairs to get to. There was a disconnect there.

So, "The Goodbye Song," the last song in Hit List is very a very interesting way to end a show where one of the main characters just died. Everyone is jumping doing a happy dance as Amanda goes off into heaven, or wherever.

I love how the producers are talking about Rent with Agnes (played by Daphne Rubin-Vega, who originated the role of Mimi in Rent on Broadway). It's so flippy.

Andy Mientus (Kyle) has a great voice. Why didn't they give him more songs to sing?

That big billboard of Bombshell outside of Eileen's office window is so cool.

I have so many thoughts and opinions about that last one minute of this episode. I'll get to those in subsequent posts.

Quotes:

Karen: So, you're still seeing him?
Anna: Yes, I am. Adam's funny. He makes me laugh.
(Side note: I know this is random, but this line, and the way Krysta Rodriguez delivers the line, reminds me of Cinderella's line to her Fairy Godmother in Faerie Tale Theatre's Cinderella, "I like you. You make life fun.")

Derek: Tell you what... if a bomb goes off tonight, Broadway as we know it will probably cease to
exist.

Agnes: Marisa Tomei broke her leg, which means...
Eileen: Moonstruck won't be going to Broadway this season.

Blake: How's he doing?
Kyle: He's detoxing, I hope.
Blake: Let me know if you need any help.
Jimmy: I'm right here.

Kyle (to Jimmy): Don't blow everything up just because somebody broke your heart.

Derek: The good news is I've found your understudy, so the next time you decide to go on a bender, the show won't suffer.
Jimmy: No, only the audience.

Julia: We never really disagree about lyrics.
Tom: Hmm. Because she writes them.

Julia: Maybe we're just going in different directions.
Tom: Or, maybe this partnership only works when it's all about you.

Anna (to Jimmy): You are stronger than you look.

Eileen: Oh, you know how most producers are. Taste doesn't motivate them, money does. And they just see the money.

Derek: What do you think it means if a women you thought you were seeing that you've called five times in a day doesn't answer the phone.
Karen: Ooh. Goodness. She's probably on the other line getting a restraining order.