Who is dramaturgy in smash

While Kyle is optimistically hopeful that Karen can produce what Read all. Derek Wills : [after her performance] It's a good song, so what?

Derek Wills : All their songs are good. If they had an album, I'd buy it. But I'm a director of musicals, and there's no musical there. Karen Cartwright : Oh, that's because I'm only playing you the songs. Derek Wills : Which you did last week, as well. Karen Cartwright : And you liked them. I thought you'd wanna hear more. Derek Wills : With you conveniently singing the demo this time? Karen Cartwright : [chuckles] Well, it is a song my character would sing.

She's an aspiring pop star. Derek Wills : Oh, there are characters, are there? Is there a plot as well? Karen Cartwright : Of course. And the writers would love to tell you about it themselves. Derek Wills : Can't I just read the book? Karen Cartwright : They're still working on it.

Meet with them. Let them explain their vision to you. Derek Wills : [comes to her] Look Derek Wills : I think it's great that you're hustling while Bombshell sorts itself out, but new musicals take years to develop.

I need something right now. Something big. Karen Cartwright : This is big. Karen Cartwright : I promise. Karen Cartwright : How about later today? Derek Wills : [busy with cell phone] No, I've got a meeting.

The producers of The Wiz can't find my replacement yet. Surprise, surprise. I've convinced Ronnie to hear me out. It's been a while since I've got something to prove.

It's quite refreshing. If the first season was largely content to force each and every storyline through Bombshell as a framing device, the second season wants to be a more wide-ranging character show connected less by a singular goal and more by thematic continuities. The next generation of bubbly Save time, money, and ultimately help save the planet by forgoing your La Croix. As much as the episode features Ivy stepping out on her own, that performance still needs to frame it as part of a love triangle rather than something independent of her romantic life.

One does not cast Daniel Sunjata as a dramaturg if not to explore his relationship with the female writer in question, and the characters fits in nicely with the stubborn, self-righteous characterization of Julia the new writers seem to prefer.

Where the storyline suffers, though, is when you look at what it actually accomplished for Bombshell , as opposed to Smash. With Hit List , the show is making the same mistake. Don't get me wrong, Smash wasn't perfect by any means and had plenty of eye-rolling moments.

But compared to the first two instalments this season, I actually enjoyed myself - and it's in no small part to the dramaturg of the title, Peter Gilman. Eileen's parachuting Peter in to help Julia with the book, much to her dismay, and Daniel Sunjata is a lot of fun in the role.

I mean, Peter is clearly a douche he talks about coffee way too much, and his wine-drinking group are unbelievably slappable.

But at the same time, you can't exactly disagree when Peter points out all of the things that are wrong with Bombshell - I mean, did you ever want to actually see this musical? Unsurprisingly, Julia takes this massively to heart but Peter is nothing if not a manipulator and tells her there was no "heat" in Bombshell - basically, it needs more sex. I mean, nothing about this is subtle - the producers might as well have raised a flashing neon sign reading "sexual tension", and it's a depressing inevitability that Julia and Peter will end up in bed together before long.

But anyway, Julia plays right into his hands by writing a brand new Kennedy-Marilyn "sex" number which, I'm not going to lie, feels a bit too awkwardly predatory. Peter can then smugly point out that she would never have written it without him, winning his place in future episodes. I know it's annoying that he and Julia hate each other right now, and they're clearly going to end up having a torrid affair, but I welcomed Peter's new take and smarmy personality.

Elsewhere, the other main thrust of the episode concerns Karen's determined efforts to make Derek meet young upstarts Kyle and Jimmy to discuss their musical. Derek's a bit preoccupied, though, considering his job on The Wiz is in doubt following all those pesky sexual harassment allegations. He actually wants to show one of the producers a musical number from Bombshell , but the kibosh is put on that by Julia who forces him to try out the new sex song instead.

Considering the fact that Derek has never been one to back down - and considering his job is at stake here - I'm not exactly sure why he didn't fight back more apart from the way it helped the episode develop. And I'm also not sure what exactly the Wiz producer found quite so offensive about the number, which was incredibly tame Kennedy slipped off her jacket!

Still, it's the impetus that Ronnie needs to quit The Wiz and decide to throw a one-night-only concert to prove that she's got a little edge.