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小说家西蒙·海斯（SimonHayes）事业一直郁郁不得志，一次偶然的机会他借由女性笔名萨莉·卡迈克尔（SallyCarmichael）创造了一个浪漫的爱情故事，没想到震惊四座，名声大噪。但是大家都没有见过这个“女”作家本人，大家对作者的好奇再次助涨了作家的名气。但是作为西蒙·海斯（SimonHayes）主人公是痛苦和纠结的，因为他一直想做的是创作严肃并被世人认可的作品。现在的爱情故事虽然颇受欢迎，但是冒用女名的他感觉羞愧难当。接下来与读者见面的事情更是让他焦头烂额，一场搞笑又机智的大戏即将上演。
长篇影评
1 ) 转的洛杉矶时报的评论，很犀利啊，但是我还是喜欢Katharine
'Smash' finale recap: Let Megan Hilty be your star
May 15, 2012 | 11:36 am
Just before the last episode of the first season of “Smash” aired, show runner Theresa Rebeck announced that she would not be returning for Season 2. Instead, Josh Safran, a "Gossip Girl” producer, is coming in to, in the words of Tom (nee Christian Borle), “reboot” the entire show.
Though this type of personnel change isn’t unheard of, it is rare for a major show to lose its captain this way, and one can only guess that Rebeck, a creature of the theater, decided that some of the magic that she was hoping to translate onto the screen was irretrievably lost and that she was better equipped to work on a smaller scale with the strong stuff, rather than the diluted version writ large. Or perhaps she just realized that the show, as it stands now, is massively flawed and that the energy it would take to right the ship wasn’t something she was willing to waste on Katharine McPhee’s mealy-mouthed line readings anymore. Or perhaps she was asked to gracefully exit to make room for a helmer who understands how to take the show’s potential and deliver something worthy.
Because this show does have potential! When I watched the pilot back in January (doesn’t it feel like years ago?), I knew that this was a show that would live or die on the score. Marc Shaiman and Scott Wittman came out of the gate blazing, with numbers like “Let Me Be Your Star” and “The National Pasttime” that have held up throughout a season of listening to them -- at least as well as any Broadway soundtrack holds up. And with the exception of a miscalculated Ryan Tedder number and that bizarre turn to Bollywood, the show’s best element has always been its original music.
Take the closing number from Monday night, “Don’t Forget Me,” a final energetic ballad that led into a “Let Me Be Your Star” reprise. Even though I was furious that it was McPhee singing it and not Megan Hilty -- but more on that in a bit -- the song moved me, and I thought it was a fitting way to end a musical about the life of Marilyn Monroe. She pleads for the audience to remember her good qualities, how hard she strived, and not how hard she suffered. She wants to be a legend. A tall order, but as Marilyn is the textbook definition of legend in our culture, it doesn’t feel stretched, and even the fade-in of a large projection of her face comes at just the right moment. It’s sappy and overstated, sure, but so is much of the best work on Broadway, and I know I would have applauded like mad for that finale had I been in the audience.
So what we’re left with at the end of the first season -- and they haven’t even made it to Broadway yet, oy -- is that the show within a show works on some basic level. The thing that doesn’t work is the outer shell, the NBC show, and I think Rebeck saw the writing on the wall about that. But because NBC is pressing toward Broadway with this thing, they will have to figure out a way to make it better. And I think we all know that means not just handing over the reins to Karen.
Here’s the thing: I see what they’re doing here. Karen is the more moldable, malleable, Norma-Jeanable option for the role; she is the pre-Marilyn Marilyn, prone to fits of shyness and doubt and occasional reveries of intense talent. But she’s also boring and stiff, and those are two things that Norma Jean never was.
I understand why Derek is seeing her strange ghost wander around the halls like a specter from his own personal version of “Scrooge.” His vision of Marilyn is that of an innocent, a child, a ball of beautiful clay that men shape. And while it's problematic that the director of “Bombshell” has a misogynistic skew on the whole story, it does fit right into Derek’s persona. He likes his women to be little girls, delicate flowers, requiring his attention. It’s worth noting that when he was the sweetest to Ivy, she was at her lowest point, abusing drugs and getting kicked off stages. He wants to be the big daddy in the room, and Karen is a canvas on which he can paint that fantasy, down to her backstage melt-down. He has to coax the performance out of her as if she’s a baby bird, rubbing her curves and telling her that she’s a star, that he loves her. There were many men that treated Marilyn this way, and it possibly killed her. Which is to say, Derek has chosen Karen for now, so that he can treat her and mold her however he likes. I’m just not sure that it won’t kill her in Season 2. Just wait until she sleeps with him and he loses interest (and he will).
It wouldn’t be such a problem that Derek went with Karen as the big choice if the show didn’t have such a captivating starlet in Hilty. McPhee did a serviceable job on that last number, but I kept thinking that Ivy would have brought something else to the song entirely. Karen’s “Don’t Forget Me” felt like a pleading, a wish. I bet Ivy’s would have felt like a command. The show is so miscast, in that Hilty is clearly a Broadway performer with the chops for that kind of theater, and McPhee is more of a pop star who somehow keeps beating out the Broadway performer -- it doesn’t make logical sense. We are all supposed to suspend our logic and go with the idea that Karen’s the raw talent who is secretly a genius, but I don’t know why they keep pushing that narrative when clearly it isn’t true.
Hilty is the real genius in the Marilyn role -- even Anjelica Huston knows that, even if she couldn’t sway Derek -- and if I were here, I would be contemplating the fistful of pills as well. The show wants us to care about Karen and to despise Ivy, who sleeps with other people’s boyfriends and tries to sabotage everything. But the best person in real life is not always the best person for the job, especially when it comes to show business. I hope that next season they let Ivy redeem herself and take her place. Bernadette Peters needs something else to do besides look devastated.
Borle told the L.A. Times that next season will focus more on the nuts and bolts aspects of putting on a Broadway show, and less on the soapy drama, to which I say (like Sam) hallelujah! My favorite little bits of this episode were Julia and Tom trying to hammer out orchestrations and the stage manager trying to keep everyone happy during a crash run-through. I’d gladly take more of the technical behind-the-scenes sausage, which the pilot was so good at portraying with auditions rather than plot lines involving Dev or Michael Swift. I can’t even get up the energy to worry about the fate of Karen and Dev. She’s a star now, so I’m assuming that relationship is going to fizzle under her spotlight. As for Michael Swift, he may have impregnated Jules, but that doesn’t make him less creepy or predatory. All he has done is thwart their Chinese baby plans.
The only side character who remains compelling at the end is Ellis, who threatens to enact revenge on “Bombshell” while wearing a red devil suit. His little speech to Eileen about doing what needed to be done (a.k.a. nearly murdering a movie star) and how near-murderers never get coffee for anyone was preposterous, and he deserved to be fired. But part of me thinks that in 15 years, Ellis is going to be one of Broadway’s most successful producers. He is not afraid to get his hands dirty with peanut shavings or possibly blood, and showbiz tends to reward insane ruthlessness. I hope the second season explores this dark patch instead of just making him the villain. Ambition does have its place on Broadway, and I’m interested to see where Ellis lands once he learns to harness his.
And that’s all she wrote, folks. See you next year, when we hit the Broadway stage. Will Karen even do a hip thrust that doesn’t make her look like a fembot? Will Ivy channel Marilyn even more than she already does with an overdose? Will Nick Jonas give back the Degas? Will Ellis burn down a theater while he stands there cackling? Will Anjelica Huston ever sing again? And how long can Julia hide her belly beneath her flowy Eileen Fisher garb? All will be revealed soon. Until then, don’t forget Marilyn, or she will haunt you.
The Songs!
“Mr and Mrs Smith” 2 out of 5 Jazz Hands. Karen has about as much chemistry with Michael Swift as Julia has with her own husband. Not a great start to her star turn.
“Howl” 3 out of 5 Jazz Hands. I really love this song and the jingoistic USO choreography, but I don’t love Karen in it. Ivy standing backstage imagining her own rendition (P.S. “Smash,” please stop with all the flashbacks in Season 2 -- it’s like shaking your own hand) doesn’t help Karen any, as she was so clearly better, effortless and charming at it. Karen gets through the number, but I am not seeing this extra spark that Derek tells Ivy about. She looks mechanical and scared.
“Don’t Forget Me” 4.5 out of 5 Jazz Hands. And then she brings it home, and it’s magical. This is one of Tom and Julia’s best songs yet. Maybe they should always cram in a new ending on the day of the show to keep things fresh. I wasn’t feeling Karen’s tragic sexuality in her suicide scene, but her begging not to be forgotten in this number made me forget how much better Ivy would have been and just focus on McPhee in the role. Because we are stuck with Karen as Marilyn going into Season 2 -- at least for a little while -- any number that makes her more likable is a good thing.
http://latimesblogs.latimes.com/showtracker/2012/05/smash-finale-recap.html
May 15, 2012 | 11:36 am
Just before the last episode of the first season of “Smash” aired, show runner Theresa Rebeck announced that she would not be returning for Season 2. Instead, Josh Safran, a "Gossip Girl” producer, is coming in to, in the words of Tom (nee Christian Borle), “reboot” the entire show.
Though this type of personnel change isn’t unheard of, it is rare for a major show to lose its captain this way, and one can only guess that Rebeck, a creature of the theater, decided that some of the magic that she was hoping to translate onto the screen was irretrievably lost and that she was better equipped to work on a smaller scale with the strong stuff, rather than the diluted version writ large. Or perhaps she just realized that the show, as it stands now, is massively flawed and that the energy it would take to right the ship wasn’t something she was willing to waste on Katharine McPhee’s mealy-mouthed line readings anymore. Or perhaps she was asked to gracefully exit to make room for a helmer who understands how to take the show’s potential and deliver something worthy.
Because this show does have potential! When I watched the pilot back in January (doesn’t it feel like years ago?), I knew that this was a show that would live or die on the score. Marc Shaiman and Scott Wittman came out of the gate blazing, with numbers like “Let Me Be Your Star” and “The National Pasttime” that have held up throughout a season of listening to them -- at least as well as any Broadway soundtrack holds up. And with the exception of a miscalculated Ryan Tedder number and that bizarre turn to Bollywood, the show’s best element has always been its original music.
Take the closing number from Monday night, “Don’t Forget Me,” a final energetic ballad that led into a “Let Me Be Your Star” reprise. Even though I was furious that it was McPhee singing it and not Megan Hilty -- but more on that in a bit -- the song moved me, and I thought it was a fitting way to end a musical about the life of Marilyn Monroe. She pleads for the audience to remember her good qualities, how hard she strived, and not how hard she suffered. She wants to be a legend. A tall order, but as Marilyn is the textbook definition of legend in our culture, it doesn’t feel stretched, and even the fade-in of a large projection of her face comes at just the right moment. It’s sappy and overstated, sure, but so is much of the best work on Broadway, and I know I would have applauded like mad for that finale had I been in the audience.
So what we’re left with at the end of the first season -- and they haven’t even made it to Broadway yet, oy -- is that the show within a show works on some basic level. The thing that doesn’t work is the outer shell, the NBC show, and I think Rebeck saw the writing on the wall about that. But because NBC is pressing toward Broadway with this thing, they will have to figure out a way to make it better. And I think we all know that means not just handing over the reins to Karen.
Here’s the thing: I see what they’re doing here. Karen is the more moldable, malleable, Norma-Jeanable option for the role; she is the pre-Marilyn Marilyn, prone to fits of shyness and doubt and occasional reveries of intense talent. But she’s also boring and stiff, and those are two things that Norma Jean never was.
I understand why Derek is seeing her strange ghost wander around the halls like a specter from his own personal version of “Scrooge.” His vision of Marilyn is that of an innocent, a child, a ball of beautiful clay that men shape. And while it's problematic that the director of “Bombshell” has a misogynistic skew on the whole story, it does fit right into Derek’s persona. He likes his women to be little girls, delicate flowers, requiring his attention. It’s worth noting that when he was the sweetest to Ivy, she was at her lowest point, abusing drugs and getting kicked off stages. He wants to be the big daddy in the room, and Karen is a canvas on which he can paint that fantasy, down to her backstage melt-down. He has to coax the performance out of her as if she’s a baby bird, rubbing her curves and telling her that she’s a star, that he loves her. There were many men that treated Marilyn this way, and it possibly killed her. Which is to say, Derek has chosen Karen for now, so that he can treat her and mold her however he likes. I’m just not sure that it won’t kill her in Season 2. Just wait until she sleeps with him and he loses interest (and he will).
It wouldn’t be such a problem that Derek went with Karen as the big choice if the show didn’t have such a captivating starlet in Hilty. McPhee did a serviceable job on that last number, but I kept thinking that Ivy would have brought something else to the song entirely. Karen’s “Don’t Forget Me” felt like a pleading, a wish. I bet Ivy’s would have felt like a command. The show is so miscast, in that Hilty is clearly a Broadway performer with the chops for that kind of theater, and McPhee is more of a pop star who somehow keeps beating out the Broadway performer -- it doesn’t make logical sense. We are all supposed to suspend our logic and go with the idea that Karen’s the raw talent who is secretly a genius, but I don’t know why they keep pushing that narrative when clearly it isn’t true.
Hilty is the real genius in the Marilyn role -- even Anjelica Huston knows that, even if she couldn’t sway Derek -- and if I were here, I would be contemplating the fistful of pills as well. The show wants us to care about Karen and to despise Ivy, who sleeps with other people’s boyfriends and tries to sabotage everything. But the best person in real life is not always the best person for the job, especially when it comes to show business. I hope that next season they let Ivy redeem herself and take her place. Bernadette Peters needs something else to do besides look devastated.
Borle told the L.A. Times that next season will focus more on the nuts and bolts aspects of putting on a Broadway show, and less on the soapy drama, to which I say (like Sam) hallelujah! My favorite little bits of this episode were Julia and Tom trying to hammer out orchestrations and the stage manager trying to keep everyone happy during a crash run-through. I’d gladly take more of the technical behind-the-scenes sausage, which the pilot was so good at portraying with auditions rather than plot lines involving Dev or Michael Swift. I can’t even get up the energy to worry about the fate of Karen and Dev. She’s a star now, so I’m assuming that relationship is going to fizzle under her spotlight. As for Michael Swift, he may have impregnated Jules, but that doesn’t make him less creepy or predatory. All he has done is thwart their Chinese baby plans.
The only side character who remains compelling at the end is Ellis, who threatens to enact revenge on “Bombshell” while wearing a red devil suit. His little speech to Eileen about doing what needed to be done (a.k.a. nearly murdering a movie star) and how near-murderers never get coffee for anyone was preposterous, and he deserved to be fired. But part of me thinks that in 15 years, Ellis is going to be one of Broadway’s most successful producers. He is not afraid to get his hands dirty with peanut shavings or possibly blood, and showbiz tends to reward insane ruthlessness. I hope the second season explores this dark patch instead of just making him the villain. Ambition does have its place on Broadway, and I’m interested to see where Ellis lands once he learns to harness his.
And that’s all she wrote, folks. See you next year, when we hit the Broadway stage. Will Karen even do a hip thrust that doesn’t make her look like a fembot? Will Ivy channel Marilyn even more than she already does with an overdose? Will Nick Jonas give back the Degas? Will Ellis burn down a theater while he stands there cackling? Will Anjelica Huston ever sing again? And how long can Julia hide her belly beneath her flowy Eileen Fisher garb? All will be revealed soon. Until then, don’t forget Marilyn, or she will haunt you.
The Songs!
“Mr and Mrs Smith” 2 out of 5 Jazz Hands. Karen has about as much chemistry with Michael Swift as Julia has with her own husband. Not a great start to her star turn.
“Howl” 3 out of 5 Jazz Hands. I really love this song and the jingoistic USO choreography, but I don’t love Karen in it. Ivy standing backstage imagining her own rendition (P.S. “Smash,” please stop with all the flashbacks in Season 2 -- it’s like shaking your own hand) doesn’t help Karen any, as she was so clearly better, effortless and charming at it. Karen gets through the number, but I am not seeing this extra spark that Derek tells Ivy about. She looks mechanical and scared.
“Don’t Forget Me” 4.5 out of 5 Jazz Hands. And then she brings it home, and it’s magical. This is one of Tom and Julia’s best songs yet. Maybe they should always cram in a new ending on the day of the show to keep things fresh. I wasn’t feeling Karen’s tragic sexuality in her suicide scene, but her begging not to be forgotten in this number made me forget how much better Ivy would have been and just focus on McPhee in the role. Because we are stuck with Karen as Marilyn going into Season 2 -- at least for a little while -- any number that makes her more likable is a good thing.
http://latimesblogs.latimes.com/showtracker/2012/05/smash-finale-recap.html
2 ) 谁是明星？谁是路人甲？
一开头的IVY就已经殷殷切切的说，我只是想要一个机会，一个角色，我不想身在舞台，却只能是个路人甲，你看，我有美貌，我有身材，我有经验，那么多的人名声大噪，为什么不能是我？
被爸爸妈妈教育的Karen心心念念的说，我为了实现自己的梦想来到这里，但是却屡遭碰壁，我是应该继续坚持，还是嫁给身边这个好男人？
这个时候的两个人，都是路人甲，剧情还来不及展示她们的黑暗面，我们看到的是心怀梦想的两个不同类型的女人。可谁都知道，每个人都做梦，穷人想着富，肥胖想着苗条，但事实是，梦想什么都不是，它只会让你心碎。她们所争取的角色本身，玛丽莲，就带有极强的悲剧色彩。一个人们眼中的花瓶，尤物，风流韵事，却不关注真实的她。你看，这么一个空前绝后的人物，绝对的one and only，绝对的smash，最后却红颜早逝，死因成谜。
IVY和Karen的竞争，绝对的充满戏剧性，明争暗斗的两个人，谁会在明亮华丽舞台上心碎，实在是让人期待。不到最后，谁都不知道到底谁是明星，谁是路人甲？
被爸爸妈妈教育的Karen心心念念的说，我为了实现自己的梦想来到这里，但是却屡遭碰壁，我是应该继续坚持，还是嫁给身边这个好男人？
这个时候的两个人，都是路人甲，剧情还来不及展示她们的黑暗面，我们看到的是心怀梦想的两个不同类型的女人。可谁都知道，每个人都做梦，穷人想着富，肥胖想着苗条，但事实是，梦想什么都不是，它只会让你心碎。她们所争取的角色本身，玛丽莲，就带有极强的悲剧色彩。一个人们眼中的花瓶，尤物，风流韵事，却不关注真实的她。你看，这么一个空前绝后的人物，绝对的one and only，绝对的smash，最后却红颜早逝，死因成谜。
IVY和Karen的竞争，绝对的充满戏剧性，明争暗斗的两个人，谁会在明亮华丽舞台上心碎，实在是让人期待。不到最后，谁都不知道到底谁是明星，谁是路人甲？
3 ) Ivy的天真在于她相信努力有用
Smash最终话在我的射手播放器放完的瞬间，我咬了咬嘴唇，二话不说点击播放器右上角的叉叉，然后关机去睡觉，拒绝任何的念想。
我不能想起Ivy落寞的背影，凝固的惨笑，和失魂落魄的眼神。
她的样子和无数个失败的自己重合在一起，只要任何一个悲伤的碎片偷溜入脑海，便不禁双眼含泪。
让我们来做这样一个假设。
假设Ivy技不如人如何？
K和I究竟孰好孰坏，其实是一个见仁见智的事情。如果Ivy比Karen强，我反而不会难过，因为她总会发光，even crazy dreams come true.
但是，如果，我说如果，如果Ivy真的不如Karen呢？
我喜欢Ivy，从来都是因为她努力。
当我因为各种原因没有接到Boss的电话，又因为各种疏忽浪费了大好机遇的时候，我听到Ivy对Karen说: You didn’t want it enough. You didn’t fight hard enough. You didn’t
put enough on the line.那一段是全剧我最喜欢的台词。
“karen美丽聪明苗条声线好，但是Ivy指责得很对，她的投入不够。她的梳妆镜上没有贴满梦露的照片，她也没像Ivy发疯地效仿梦露的一颦一笑。在很多事情上Obsession是重要的，疯魔了青衣，才构成名声大噪。”
这段话大概是一个月前自己写的，现在看来，充满了讽刺。
讽刺什么？
讽刺就是，努力无用。
如果Ivy是才能比不上Karen，这才是让我一想起来就流泪的悲剧。
I wanted it enough. I put it enough on the
line. But, I failed.
如果说Karen的天真在于本性纯良，那么Ivy的天真就是她真的以为努力付出就可以成功。为了玛丽莲之梦，她做尽了该做的和不该做的事情，可是她还是淘汰出局，只是因为导演脑中的一些幻想。或许唯一的选择，真的是一把药片。
从学校走向社会，我才真的发现读书是一件很快乐的事情，因为它是你自己可以控制的。你努力了多少，就可以收获多少。但是现实社会中的事情却完全不是如此，很多非常偶然的因素，可能摧毁并抵消你所有的付出。
太多的事情，不是你尽力就能得到的。而你没有得到，也不能证明你不够好。
但承认自己的才能无法用努力来弥补，实在是太痛苦了。
我也不是多么饱经沧桑，但也不再是纯粹的学生。从很久以前起，我就再也不信“努力就会成功”这种神话了。假如这部剧走的是这个套路，我一定会像glee一样一集弃。之所以看到现在，就是爱它的现实，和它的复杂。
有人说Ivy的失败在于她不自信，心态不好。
我觉得K心态好是因为她是新人，没有什么好失去的，她是9点的朝阳，一切只会越来越好，即使没有玛丽莲她也已经有很多成功的机会；而I在圈子里摸爬滚打多年被合唱团削去了光芒，这个角色是她唯一的希望。她们的心理素质或者说心态有可比性吗？
Ivy不是心态不好，是奋战多年的她已经输不起了。
毕竟自信是新人的奢侈。
K现在还只是Norma Jean，Ivy才有着梦露内心的成熟、纯真和敏感。
第二季我想要看到证明自己才是musical女王的你！
我不能想起Ivy落寞的背影，凝固的惨笑，和失魂落魄的眼神。
她的样子和无数个失败的自己重合在一起，只要任何一个悲伤的碎片偷溜入脑海，便不禁双眼含泪。
让我们来做这样一个假设。
假设Ivy技不如人如何？
K和I究竟孰好孰坏，其实是一个见仁见智的事情。如果Ivy比Karen强，我反而不会难过，因为她总会发光，even crazy dreams come true.
但是，如果，我说如果，如果Ivy真的不如Karen呢？
我喜欢Ivy，从来都是因为她努力。
当我因为各种原因没有接到Boss的电话，又因为各种疏忽浪费了大好机遇的时候，我听到Ivy对Karen说: You didn’t want it enough. You didn’t fight hard enough. You didn’t
put enough on the line.那一段是全剧我最喜欢的台词。
“karen美丽聪明苗条声线好，但是Ivy指责得很对，她的投入不够。她的梳妆镜上没有贴满梦露的照片，她也没像Ivy发疯地效仿梦露的一颦一笑。在很多事情上Obsession是重要的，疯魔了青衣，才构成名声大噪。”
这段话大概是一个月前自己写的，现在看来，充满了讽刺。
讽刺什么？
讽刺就是，努力无用。
如果Ivy是才能比不上Karen，这才是让我一想起来就流泪的悲剧。
I wanted it enough. I put it enough on the
line. But, I failed.
如果说Karen的天真在于本性纯良，那么Ivy的天真就是她真的以为努力付出就可以成功。为了玛丽莲之梦，她做尽了该做的和不该做的事情，可是她还是淘汰出局，只是因为导演脑中的一些幻想。或许唯一的选择，真的是一把药片。
从学校走向社会，我才真的发现读书是一件很快乐的事情，因为它是你自己可以控制的。你努力了多少，就可以收获多少。但是现实社会中的事情却完全不是如此，很多非常偶然的因素，可能摧毁并抵消你所有的付出。
太多的事情，不是你尽力就能得到的。而你没有得到，也不能证明你不够好。
但承认自己的才能无法用努力来弥补，实在是太痛苦了。
我也不是多么饱经沧桑，但也不再是纯粹的学生。从很久以前起，我就再也不信“努力就会成功”这种神话了。假如这部剧走的是这个套路，我一定会像glee一样一集弃。之所以看到现在，就是爱它的现实，和它的复杂。
有人说Ivy的失败在于她不自信，心态不好。
我觉得K心态好是因为她是新人，没有什么好失去的，她是9点的朝阳，一切只会越来越好，即使没有玛丽莲她也已经有很多成功的机会；而I在圈子里摸爬滚打多年被合唱团削去了光芒，这个角色是她唯一的希望。她们的心理素质或者说心态有可比性吗？
Ivy不是心态不好，是奋战多年的她已经输不起了。
毕竟自信是新人的奢侈。
K现在还只是Norma Jean，Ivy才有着梦露内心的成熟、纯真和敏感。
第二季我想要看到证明自己才是musical女王的你！
4 ) History is made at night 歌词试译
History is Made At Night
历史夜晚酝酿
Song by Smash Cast
译：大梦斋主人
(可以直接按中文词来唱哦)
女：
Put down the playbook
剧本放一放
cuz the things I want to show you cant be written down
我把不能上映的戏给你讲一讲
Let my lips do the teaching
用双唇带你起航
男：
Turn of the camera
把镜头关上
kick your shoes off for this scene you should be sitting down
这场戏你要把所有束缚都松绑
yes sitting close enough for reaching
哦，近一些靠着我肩膀
女：
Turn down the lamp
灯光太亮
for the last page has been turned
剧本到此该合上
男：
when the dawns breaking through
直到日出东方
女：
we can stop and review
我们停下回想
合：
all the lessons you have learned
黑暗是我们的课堂
Cuz history is made at night
历史在夜晚酝酿
so close the books turn off the light
抛下书本关掉电灯
and listen
去飞翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
没谁可以乱吵嚷
as we review the lessons you've been missing
不曾学的知识今晚都补上
let the moon be our only light
现在我们只有月光
cuz history is made at night
因为历史夜晚酝酿
男：
I see the questions
我看到疑惑
burning in your eyes or is it just reflections
在你眼底闪烁或只是在反射
of the stars high above you
一天璀璨的星火
女：
I'm just a student
我有些困惑
and i hope you wont be shy please make corrections
你千万不要害羞告诉我怎么做
yeah on the sweetest way to love you
要如何爱你才是挥霍
男：
Come whisper close
轻声诉说
tell me just when to say when
要把时间告诉我
女：
Then we'll sleep through the day
最好白天睡过
男：
Then whenever you say
月亮升太阳落
合：
Thats when school begins again
我们开始新的一课
Cuz history is made at night
历史在夜晚酝酿
so close the books turn off the light
抛下书本关掉电灯
and listen
去飞翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
没谁可以乱吵嚷
as we review the lessons you've been missing
不曾学的知识今晚都补上
let the moon be our only light
现在我们只有月光
cuz history is made at night
因为历史夜晚酝酿
女：
Come here
Oh, oh, yeah, someday they'll write lots of books about our fame and glory
Come here
有一天，人们会拼命书写我们今天的荣光
男：
but if all their reports are just movies and sports
但是电影和棒球根本不能描写我
合：
They'll be missing the whole story
们相恋的模样
Cuz history is made at night
历史在夜晚酝酿
so close the books turn off the light
抛下书本关掉电灯
and listen
去飞翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
没谁可以乱吵嚷
as we review the lessons you've been missing
不曾学的知识今晚都补上
let the moon be our only light
现在我们只有月光
cuz history is made at night
因为历史夜晚酝酿
yes our history was made at night...........
我们的历史今夜酝酿
历史夜晚酝酿
Song by Smash Cast
译：大梦斋主人
(可以直接按中文词来唱哦)
女：
Put down the playbook
剧本放一放
cuz the things I want to show you cant be written down
我把不能上映的戏给你讲一讲
Let my lips do the teaching
用双唇带你起航
男：
Turn of the camera
把镜头关上
kick your shoes off for this scene you should be sitting down
这场戏你要把所有束缚都松绑
yes sitting close enough for reaching
哦，近一些靠着我肩膀
女：
Turn down the lamp
灯光太亮
for the last page has been turned
剧本到此该合上
男：
when the dawns breaking through
直到日出东方
女：
we can stop and review
我们停下回想
合：
all the lessons you have learned
黑暗是我们的课堂
Cuz history is made at night
历史在夜晚酝酿
so close the books turn off the light
抛下书本关掉电灯
and listen
去飞翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
没谁可以乱吵嚷
as we review the lessons you've been missing
不曾学的知识今晚都补上
let the moon be our only light
现在我们只有月光
cuz history is made at night
因为历史夜晚酝酿
男：
I see the questions
我看到疑惑
burning in your eyes or is it just reflections
在你眼底闪烁或只是在反射
of the stars high above you
一天璀璨的星火
女：
I'm just a student
我有些困惑
and i hope you wont be shy please make corrections
你千万不要害羞告诉我怎么做
yeah on the sweetest way to love you
要如何爱你才是挥霍
男：
Come whisper close
轻声诉说
tell me just when to say when
要把时间告诉我
女：
Then we'll sleep through the day
最好白天睡过
男：
Then whenever you say
月亮升太阳落
合：
Thats when school begins again
我们开始新的一课
Cuz history is made at night
历史在夜晚酝酿
so close the books turn off the light
抛下书本关掉电灯
and listen
去飞翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
没谁可以乱吵嚷
as we review the lessons you've been missing
不曾学的知识今晚都补上
let the moon be our only light
现在我们只有月光
cuz history is made at night
因为历史夜晚酝酿
女：
Come here
Oh, oh, yeah, someday they'll write lots of books about our fame and glory
Come here
有一天，人们会拼命书写我们今天的荣光
男：
but if all their reports are just movies and sports
但是电影和棒球根本不能描写我
合：
They'll be missing the whole story
们相恋的模样
Cuz history is made at night
历史在夜晚酝酿
so close the books turn off the light
抛下书本关掉电灯
and listen
去飞翔
let my heart be the teacher
心合一就是方向
no one here to disapprove
没谁可以乱吵嚷
as we review the lessons you've been missing
不曾学的知识今晚都补上
let the moon be our only light
现在我们只有月光
cuz history is made at night
因为历史夜晚酝酿
yes our history was made at night...........
我们的历史今夜酝酿
5 ) katie's fame
我一直喜欢katie。我不看ai，在所有ai出道的歌手里，我就俩有印象：一个是Daughtry(拜托谁不爱Daughtry) ；一个就是她。我甚至对carrie underwood毫无感觉。可是她,她太漂亮了不是吗?
可她就是红不起来，出了几张砖也找不到路线。签了david foster，和chris botti之流厮混也没辙。滥俗中产市场不广袤啊，比不上青少年市场，这年头出不了diva，某位diva唱国歌看得我心惊胆颤。90年代太遥远，celine dion今天出来会不会红都不好说，她不会饶舌也不会耍性感。
大环境就不适合她火吧，不象carrie underwood是唱乡村的，广大农民哥们就爱金发翘臀小甜妞。不对，现在连平胸没屁股的刚成年罗利他们都收，这世道变得。
也不象lea，大嘴巴妞，意大利和犹太人混血，继承了歌剧故乡的好嗓门，老老实实从剧院唱起唱到电视。比唱功，你比不过她。
所以一开场，台词就亮了身份，我只是个邻家女孩。
没错，选秀邻家女最受落，何况是美人邻家女；做明星就两码事，乖乖牌这世道怎么混，没有气场啊。
所以我相信，nbc高层真有人铁了心要捧她吧，才有这么出戏出来。海报上那青春飞扬的架势啊，她是绝对女一号。
这配她的卡司都懒得提了，Jack Davenport同学你死哪去了！天才里普里那惊鸿一瞥从此一溜烟没了踪影，现在才出来！
看了个首集，给4星鼓励下吧，当然不能和原版fame比，但比那个莫名其妙的重拍版，也好太多了吧！
nbc拜托您这次别砸了好吗?知道你贴心，这个剧，分明就是专门给gay看的......
这话太不政治正确了，应该是，给某些gay看的。
最后一句，和glee没有可比性。
再加一句，连龙套都有alex wong!华丽得闪瞎我眼睛，nbc你要再像对待southland一样对待这个，我再也不看你这个台的戏！
可她就是红不起来，出了几张砖也找不到路线。签了david foster，和chris botti之流厮混也没辙。滥俗中产市场不广袤啊，比不上青少年市场，这年头出不了diva，某位diva唱国歌看得我心惊胆颤。90年代太遥远，celine dion今天出来会不会红都不好说，她不会饶舌也不会耍性感。
大环境就不适合她火吧，不象carrie underwood是唱乡村的，广大农民哥们就爱金发翘臀小甜妞。不对，现在连平胸没屁股的刚成年罗利他们都收，这世道变得。
也不象lea，大嘴巴妞，意大利和犹太人混血，继承了歌剧故乡的好嗓门，老老实实从剧院唱起唱到电视。比唱功，你比不过她。
所以一开场，台词就亮了身份，我只是个邻家女孩。
没错，选秀邻家女最受落，何况是美人邻家女；做明星就两码事，乖乖牌这世道怎么混，没有气场啊。
所以我相信，nbc高层真有人铁了心要捧她吧，才有这么出戏出来。海报上那青春飞扬的架势啊，她是绝对女一号。
这配她的卡司都懒得提了，Jack Davenport同学你死哪去了！天才里普里那惊鸿一瞥从此一溜烟没了踪影，现在才出来！
看了个首集，给4星鼓励下吧，当然不能和原版fame比，但比那个莫名其妙的重拍版，也好太多了吧！
nbc拜托您这次别砸了好吗?知道你贴心，这个剧，分明就是专门给gay看的......
这话太不政治正确了，应该是，给某些gay看的。
最后一句，和glee没有可比性。
再加一句，连龙套都有alex wong!华丽得闪瞎我眼睛，nbc你要再像对待southland一样对待这个，我再也不看你这个台的戏！
6 ) 微评论：S1E13
果然！果然！！我就知道DEREK这花花公子不会被IVY栓住！！不过DEV啊，你也该清醒了吧？别人KAREN什么时候把你当盆菜过了～～难道IVY和DEV？？同是天涯沦落人，配对倒也不错～～另外REBECCA总算有些明星气质出来了，前两集的表现和村姑没什么区别～～
这剧的卡司简直要逆天了！Jack Davenport的英国腔好！销！魂！！！！每首歌都很好听！Let me be your star单循环有木有！前半部分剧情都不错换了个Gossip Girl的编剧后面果然开始狗血的排列组合o(╯□╰)o I hate it when things get complicated！！！要是把整个Bomshell都拍成finale就好了！
这是刚看前几集时的感想→【真喜欢这种有心智健全的成年人有英国男配角有技术含量地唱歌跳舞而且每集至少都有一个gay kiss的音乐剧 Ivy一开口就瞬间从注水猪变身金嗓子猴宝非常犀利！还有Grace终于圆了五音都全的梦啊哈哈哈哈哈NBC好嘢~~】这是现在的感想→【我操凭什么啊那个弱逼面瘫女╬ﾟ◥益◤
最后几集越来越好 有种黄金年代的浮华感
真心不觉得会超越glee，故事太平淡了，光励志的话真心撑不过一季，毕竟glee的主角是社会底层人士，既然是歌舞圈了，就让娱乐圈丑闻和明挣暗斗来的更猛烈吧。。。
跟风什么的真无聊
第一集太好看了！准备追啊！中间有些拖拉，不过还是期待第二季
太棒了！
提不上惊艳可是也恰到好处。and good to see Debra getting out of Gracie.---------中间许多集拖沓很久，最后一首歌舞剧味浓得刚好。
折服在渣导的性感英音之下，故事有点俗但是人物塑造很丰富啊~
感觉好华丽啊！！！要看要看！！
上1次这么热血沸腾的追剧还是8年前追主妇第1季,那是人生第一次每周"追看"美剧.每个人都那么棒,来对比女主角如此的烂(因为她扣一星).想到个最不恰当的例子,showgirl里女主Elizabeth Berkley的存在只是为了反衬女配Gina Gershon;kp存在的唯一意义只是为了成就Megan Hilty的光彩夺目.
討厭女主，一集棄
Karen唱的的I Never Met a Wolf Who Didn't Love to Howl其实还行，可是The 20th Century Fox Mambo简直就没法听。。。不过最后一首歌的时候整个人都要哭断气了我去。。。【Ivy党泪流满面。。。
虽然一早就知道肯定是假圣母演Marylin，但是最后到大舞台的时候看了还是会一股无名火，那气势，演技，舞步，pop声线不知道比ivy弱到哪里去了，我是ivy也会气的吃安眠药吧。最后一首歌假圣母副歌之前就是接近是念出来的，要是ivy唱多好。
怎么无感呢。。。梦露就应该是圆滚滚的吧。。。可惜了。
There's a broken heart for every light on Broadway.
就非要搞点被潜规则才高兴
第一集还不错
一集弃啊……
又听到Jack Davenport那销魂的口音了！又看到亲爱的grace了！能不能不要再在评论里提glee了呀，满屏的glee真尼玛闹心！唱个歌就是glee吗，人家新白娘子传奇也是又唱又演好不好！