Because everything always works out for everyone, Hit List made it to The Fringe Festival on this week’s Smash. Your meddling worked, Karen! Jimmy and Kyle and the huge cast they somehow convinced to do this show set up shop on a small basement stage and wait for the lights and applause.

Back at Camp Bombshell, Eileen chose the original incarnation of the Marilyn musical to move forward toward Broadway. Julia and Derek are not pleased. Even though everyone, including me, hates Jerry, he makes the incredibly valid point that Bombshell has way too many songs, and much of the plot centers on trying to cut down the songbook. I see what you did there, Smash writers! (Pause. Can we talk about how Stefon on SNL says he’s so exhausted because he got hired to write for Smash? It makes so much sense.)

Jerry wants to cut “Never Give All the Heart,” which further angers Julia because it’s the first song she and Tom wrote for the show, that got them excited for the project, and though she didn’t say it, is just another thing that she created that they’re taking away from her. Personally, I think they should cut “History is Made at Night,” but I have no creative direction.

In an attempt to save the song and cheer Julia up, Tom re-choreographs the number to make it work in the new show. Everyone loves it, except Derek, who is offended that Tom thinks he can improve his direction. So he quits. Derek is officially no longer part of Bombshell. At the same time Jerry discovers from Time Out New York that Karen is going to star in Hit List(?) and forbids her from doing so. Since Jerry’s not her real dad, she leaves and does the show anyway. UGH I HATE YOU JERRY. Of course, Hit List is amazing, Karen is a vision, Jimmy is the next big star, blah blah. Derek watches from the audience and sees this as his new project. Everyone’s a star!

Meanwhile, Sean Hayes is back this episode to terrorize the long-suffering Megan Hilty. Terry went off his meds last week to “feel” the play better and has wound up ruining it. Turns out Ivy is still the best thing on Broadway, and that makes Terry feel threatened. However, he finds her honesty and “constructive criticism” refreshing and by the end of the episode, accepts that her star is just going to shine a little more brightly during Dangerous Liasons: The Comedy.


I’m beginning to wonder what the purpose of Sean Hayes’ character is on Smash. It’s certainly not comic relief, and he doesn’t seem to be Ivy’s new love interest. Is this the catalyst Ivy needs to bring her to superstardom? Because God only knows she deserves it more than Karen Cartwright.

I almost forgot the best part. Eileen figured out that Ellis was working with Jerry (DAMNIT, JERRY) behind her back to bring down Bombshell from the beginning. He ran the background check on dreamboat/bartender/boyfriend/drug lord Nick. So, Eileen is carefully calculating a way to push Jerry out and reclaim her rightful throne as Queen Bitch of Broadway. Her first order of business? Making Tom Bombshell’s new director.

From the looks of next week’s episode, Tom isn’t making the transition to directing gracefully. If Karen’s whining is any indication, Ivy might be back in as Marilyn, as Karen flocks to her beloved Brooklyn shoebox pop opera to follow her dreams. Please please please please please. Now if they could only bring back Ellis for an old-fashioned Broadway throwdown with Anjelica Huston.