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This week on Smash, things are changing again over at camp Bombshell, and it’s still not clear if that’s a good thing. This new, scarf-less, toned down version of the trainwreck we all knew and loved. Many of Smash’s viewers in the first season tuned in for the sheer camp factor, the ridiculous plot lines and the seemingly endless musical numbers (Seriously, Bombshell has got to have a three hour run time). Now that we are supposed to view Smash as a “serious” drama about “serious” professionals, it will be interesting to see who sticks around to see it through the second season.

The episode’s namesake, the dramaturg, is a professional shipped in by Eileen to polish Julia’s awful script and story. Bombshell isn’t going to make it to Broadway without some serious work and a little bit of pizzazz. Julia, being Julia, immediately feels threatened by the new guy who wants to change virtually everything she has written. This guy hates Bombshell almost as much as we hate-love Smash.

He correctly asserts that Julia has focused on a bizarre, unnecessary trope of Marilyn struggling to be domesticated, when the only thing anyone cares about is Marilyn the star. He gets a pretty solid burn in on Julia, too; for a show that focuses so much on Joe DiMaggio, and consequently the actor she was having an affair with, the show is really lacking any sex. Julia declares that she “knows what heat is!” She broke up her marriage for heat, dramaturg! Now Julia is on a mission to smut up Bombshell.

She stages an awful, pretty rape-y number about JFK seducing Marilyn, which everyone on Smash seems to think is brilliant? I predict that a new romance is going to bloom between Julia and the dramaturg. Tom is kind of just there.

Karen is still trying to convince Derek that Jimmy and Kyle are Broadway’s next stars. She records a free demo of herself singing the part of the ingénue female pop star and has a lively daydreamed performance of one of the numbers. It’s clear that this is going to become a rock show ala American Idiot, if Karen’s crop top and red highlights are any indication. From this snippet alone, I would love to see this show — probably more than Bombshell.

Speaking of Jimmy, he is still the worst. He still does not trust Karen to pull through with Derek, and is taking it out on everyone around him. Dude is bitter. Kyle is frantically trying to get his book together to present to Derek over dinner, but is missing a key part of the story. HERE IS WHERE THE MYSTERY BEGINS. Jimmy knows where it is. In his old notebook, that he left at…a place that Kyle shrilly declares that they can never go back. Where could it be? What secrets does it hold (besides Kyle’s notes)? Jimmy goes anyway, to what looks like a dank and dusty apartment, where a shrouded figure tells him he has a lot of balls for showing up. End scene.

Later, we gain a little bit of insight. You see, Jimmy and Kyle’s musical is based on truth (I am assuming we will find this out later in the season, calling it now). It’s about a boy who lives in a terrible home, gets no love, and feels worthless, but he always has his music. His passion for music and his songs are what help him keep going. Then he meets this girl with a beautiful voice, who steals his heart – and then his songs.

She disappears and he hears her one day on the radio singing his song. And then everyone dies? The second act is hazy. Here’s what I think: Jimmy escaped from an abusive home, and used music to survive. That man in the shadows was Jimmy’s father, and that’s why Kyle didn’t want him going back there. I’m sure Karen will figure it out soon enough.

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Blessedly, this episode focuses a fair amount on the long-suffering Ivy, who is always played to perfection by Broadway vet Megan Hilty. Ivy got the boot from Bombshell last week, and is getting back into the audition game. She nails it in one audition, and is playing Cécile in the Dangerous Liasons musical. Did you know there’s a Dangerous Liasons musical? Because there is.

Ivy gets the part because Tom gets her to realize that she still has some Marilyn in her. She needs to bring that fierce, confident side out and stop playing the innocent if she wants to get ahead. And it works! She gives a little advice to Derek, who asks her to look for flaws while blocking a scene. From a musical that he CUT HER FROM because his whiny lead actress didn’t like her. “You need to stop doubting yourself. And I need to stop doing the same.”

I wish this show was about Ivy. We all know that she was the superior Marilyn, but that’s not even why. She is such a relatable character, even if you don’t want to admit it. Ivy has the passion and drive that so many of us have, no matter our industry. She can be cold when she’s trying to get what she wants, but she’s human, and it’s compelling. And okay, she can sing Karen out of the theatre.

Next week promises more drama, Jennifer Hudson and Derek putting on a one-night only concert, and Jimmy being the worst again. It is going to be glorious. Brace yourselves!