“Smash” – To Kyle

The death of a beloved character sends everything spiraling into turmoil.

Previously, on Smash

We open this week on Karen pouring the dregs of a bottle of wine into her glass. She and Derek sat and talked all night at her place and have three hours before starting rehearsing Sam to replace Jimmy. Derek begins gathering his things to go but Karen says he doesn’t have to. He asks, “Are you sure?” She responds by kissing him with what she guesstimates is passion. He lays her back on the couch and they kiss some more. “Do you really want to do this?” Derek asks again. Jesus dude, did you go to Antioch or something? They continue to kiss but before anything too terribly sordid happens…

…we shift over to Jimmy coming to in what I’m assuming is Adam’s squalid apartment. Every surface is littered with drug paraphernalia, though, so it could be a random crack den. As he shakes off the last of the night’s substances a second Jimmy starts serenading him with Radiohead’s “High and Dry”. What’s happening here? Is this a drug-induced hallucination? Jimmy’s long-overdue psychotic break? The setup for some CGI twincest porn?


Jimmy stalks Jimmy through the streets of the city until Jimmy ends up on Karen’s fire escape, knocking on her window. Instead of drawing the curtains and dialing 911 she opens the window and asks if he got any sleep. And she asks if he’s talked to Kyle. He needs to speak to her first but she can’t imagine that there’s anything left to say. He addict-speaks at her for a minute, promising to change again some more to be the person she saw in him from the beginning. Um, she saw a jackass in you from the beginning, Jimmy.

Before Karen can speak and thus confirm she is in fact dumb enough to fall for his line again, Derek appears in the distance behind her, checking that she’s all right. Jimmy bounces over Karen’s protestations that he stay.

Outside Eileen’s office Tom calls Kyle’s voice mail, wondering why Kyle didn’t get in touch about their sleazy hookup plans. He gets way pervy and deletes the message as Leigh Conroy and Ivy disembark from the elevator with coffee. Santana Lopez From Fifteen Years In The Future invites them into the inner office, where Eileen awaits them to discuss Tony campaigns. Julia is conspicuous in her absence.

At a breakfast meeting Julia shows Scott Tom’s “declaration of war”. It’s legal papers to dissolve their partnership and it names everything they’ve ever optioned together including Gatsby. Scott worries that this will tie up the rights for months and, without Gatsby, he’ll lose his job.

Eileen has poster boards up in her office with likely Tony nominees on them. For Best Actress in addition to Ivy the nominees are: Kate Baldwin for Seesaw; Audra McDonald for a title I can’t read; Laura Oskin for Oliver; Jennifer Somebody for The Beauty Queen; and Karen for Hit List, along with Leigh for Bombshell and Ivy for Liaisons, the Best Supporting nominees are: Victoria Clark for The Beauty Queen, Chita Rivera; Katie Finneran; and Patina Miller. As mentioned last week Imitation of Life is closing and Harold and Maude is struggling to regain its West End magic “and if Roadhouse gets a nomination I’m gonna retire.” Hey Eileen, don’t diss Roadhouse! The big number from Act II, “I Used to Fuck Guys Like You in Prison”, sold a million units on iTunes! And with Hit List not transferring, Bombshell is the clear front-runner although Tom faces challenges in the directing category from Pippin and Drood.

To keep the Tony momentum going they need to keep up the publicity campaign, like the full-page ad in the Times that Santana Lopez From Fifteen Years In The Future shows them. Eileen never placed such an ad and she immediately twigs that Jerry did. She and Santana Lopez From Fifteen Years In The Future exit and Leigh notes that Ivy is on both the Lead and the Supporting board. Leigh will feel just terrible about beating her out! Tom gets a call that he thinks is from Kyle. It’s not.

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