February 13th, 2012
As is evidenced by the limited output here at Cultural Learnings, I don’t have a lot of free time right now, which is why I’ve been prioritizing watching television (an exercise that I find particularly useful in teaching contemporary television) over writing about television (which, while still something I enjoy, often ends up taking up time that I simply don’t have). As a result, I didn’t review the pilot of NBC’s Smash beyond my initial thoughts after watching the episode on iTunes ahead of its airdate.
However, as Noel Murray has quite rightfully pointed out in his review of tonight’s second episode, “The Callback,” I wasn’t exactly quiet about the show last week. I’m not sure what exactly had me so punch on Monday evening as I watched the pilot for the second time, but I think Noel is right to suggest that I was being “provocative” in my attempts to boil down Smash to its most basic qualities. One of my Twitter followers actually called me on being evaluative so early on, but I did clarify that I didn’t see my tweets as evaluative: the show is still finding itself, which means I’m willing to give it time to grow.
That being said, there is something about the Smash pilot that seemed markedly prescriptive, clearly delineating how we were to feel about the onscreen action despite the inherently subjective nature of musical theatre (and performance in general). While I agree with Noel that parts of “The Callback improved on the exclusivity of the pilot’s narrative, grounding the dueling narratives of Ivy and Karen in more concrete performance styles, the show is still operating with a baseline: while it might be open to your opinion on which of the two performers is better, you need to accept that both of them are world class talents. It’s a notion that I’m still struggling with, and a notion that reflects the problems of narrowly defining and serializing a circumstance that would be considerably more complex (if less immediately marketable) in reality.