Critics Still Aren’t Loving ‘Smash’

Hello old friends.

We love us some Smash and don’t care what the critics say, but the critics have spoken about season two, premiering tonight on NBC, and they are still not crazy about our fave Broadway TV show. Even Jennifer Hudson does not seem to be helping, but we refuse to believe this nonsense.

Nonetheless, see what they have to say below.

“There are not many signs that the show is taking a turn toward anything better — more realism, more audacity, less sentimentality. Ms. Messing’s Julia continues to struggle with her writing, not because writing is hard but because her marriage is messed up. Characters still say things like: ‘I’m your muse. It’s what we do.’ Budding talents are still discovered at Schwab’s, or in this case after closing time on Restaurant Row in Manhattan. You could excuse all this stuff by saying, ‘Hey, it’s a musical.’ But the more depressing truth is that it’s just a TV show.” – NY Times

“Indeed, the modest changes — other than jettisoning some of the more annoying cast members — mostly amount to a shift in the way Smash approaches musical numbers, staging them against montages of action more like a music video. If that’s meant to help the series connect better with a younger crowd, it’s at the expense of the Broadway origins that captivated some fans in the first place.” – Variety

“The first two hours feel a little like the series’ way of flushing out some of the extra drama leftover from last season by laying it all out it front of itself and sorting through it piece by piece to figure out what needs to be resolved and what can be recycled or developed in the second season. And amidst the familiar faces are some newcomers, including the fantastic Jennifer Hudson, who plays Broadway star Veronica Moore and delivers some of the best musical performances featured in the first few episodes, in addition to playing a very believable musical vet and Tony award winner.” – Cinema Blend

“That emotional loudness carries on to the musical numbers — most every song is staged as a showstopper, and nearly every other one is an aspirational declaration of one’s belief in one’s ability to overcome whatever obstacles have been put in one’s way, building to a triple fortissimo riot of high notes held over as many bars as the singer can manage without collapsing in a heap. This is, granted, the modern Broadway style. But quiet has its uses.” – LA Times

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