History Trivia / Smash

22nd Apr '16 8:29:55 AM TheOneWhoTropes
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* HeyItsThatGuy: [[WillAndGrace Grace]] and [[Theatre/LegallyBlonde Emmett]] are writing a musical produced by [[Series/TheAddamsFamily Morticia]], directed by [[PiratesOfTheCaribbean James Norrington]], and starring [[Theatre/{{Wicked}} Glinda.]]
** Karen is dating [[{{Spooks}} Zafar Younis!]]
** Kyle Bishop is [[{{Series/TheFlash2014}} Hartley Rathaway!]]
* FridayNightDeathSlot: Ratings circled the drain in Season 2, so starting in April, the remaining episodes aired on Saturdays instead of Tuesdays. The A.V. Club website joked that NBC not admitting that the show was a lost cause and would be cancelled was like parents claiming to a kid that their dog will be sent to a farm rather than put to sleep.
7th Jul '15 4:19:05 AM Moonwalker
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Added DiffLines:

** Kyle Bishop is [[{{Series/TheFlash2014}} Hartley Rathaway!]]
30th Jul '14 5:12:04 PM CharacterInWhite
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Added DiffLines:

* ActorAllusion: NickJonas guest stars as Lyle West, an actor who started out on broadway. Nick himself got his start in ''Theatre/LesMiserables''.
** Played with in the case of Grace Gummer, who plays Eileen's daughter Katie -a humanitarian who spends most of her time helping out in remote, foreign locations. Her older sister Mamie Gummer stared in a show with a similar premise of helping out in remote locations, only as a doctor.
** Debra Messing playing a woman living in [[BigApplesauce New York]] [[WillAndGrace whose best friend is a gay man]]
** Leigh Conroy is basically a flanderized Bernadette Peters.
** Karen [[Series/AmericanIdol auditioning for a show]] involving a MeanBrit.
** Ivy's previous theatre experience included some time spent in Theatre/{{Wicked}}
** Tom mentions staying up all night in the hopes of snagging RENT tickets. Will Chase, portraying the role of Michael Swift, was the Roger understudy in RENT and appeared as Roger in RENT's last production.
11th May '13 6:22:07 PM hello86
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** The concept seemed great at first. Playwright and screenwriter Theresa Rebeck, who'd been a co-producer of ''Series/NYPDBlue'', had long tried to sell the idea of a TV series built around putting on a Broadway show. No one was interested until Michael Greenblatt, who's apparently also a theater geek, took over at NBC. The network's lagging ratings and need for something different made it likely her show would be picked up. Then he got Steven Spielberg interested. The $7.5 million pilot episode wowed audiences at the 2011 upfronts and was set to premiere in midseason.

to:

** The concept seemed great at first. Playwright and screenwriter Theresa Rebeck, who'd been a co-producer of ''Series/NYPDBlue'', had long tried to sell the idea of a TV series built around putting on a Broadway show. No one was interested until Michael Robert Greenblatt, who's apparently also a theater geek, took over at NBC. The network's lagging ratings and need for something different made it likely her show would be picked up. Then he got Steven Spielberg interested. The $7.5 million pilot episode wowed audiences at the 2011 upfronts and was set to premiere in midseason.
11th May '13 2:19:47 PM Sapphirea2
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* FridayNightDeathSlot: Ratings circled the drain in Season 2, so starting in April, the remaining episodes will air on Saturdays instead of Tuesdays. The A.V. Club website joked that NBC not admitting that the show's a lost cause and will be cancelled is like parents claiming to a kid that their dog will be sent to a farm rather than put to sleep.

to:

* FridayNightDeathSlot: Ratings circled the drain in Season 2, so starting in April, the remaining episodes will air aired on Saturdays instead of Tuesdays. The A.V. Club website joked that NBC not admitting that the show's show was a lost cause and will would be cancelled is was like parents claiming to a kid that their dog will be sent to a farm rather than put to sleep.
27th Mar '13 7:44:02 AM Sapphirea
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* TroubledProduction: ''Buzzfeed'' ran [[http://www.buzzfeed.com/kateaurthur/how-smash-became-tvs-biggest-train-wreck a long article]] shortly before the second-season premiere about how the show's first season was an, uh, ''smash'' in an entirely different sense of the word, requiring a major [[ReTool retooling]]:

to:

* FridayNightDeathSlot: Ratings circled the drain in Season 2, so starting in April, the remaining episodes will air on Saturdays instead of Tuesdays. The A.V. Club website joked that NBC not admitting that the show's a lost cause and will be cancelled is like parents claiming to a kid that their dog will be sent to a farm rather than put to sleep.
* TroubledProduction: ''Buzzfeed'' ran [[http://www.buzzfeed.com/kateaurthur/how-smash-became-tvs-biggest-train-wreck a long article]] shortly before the second-season Season 2 premiere about how the show's first season Season 1 was an, a, uh, ''smash'' in an entirely different sense of the word, requiring a major [[ReTool retooling]]:
1st Mar '13 2:39:01 PM NB2000
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** They kept her, one of the few things that kept the show's quality up, but meanwhile the writing went off in weird directions. A subplot involving Karen's attempt to adopt a sister for her teenage son, Leo, began taking up a great deal of the show. It was kept in because [[RealitySubtext it mirrored a similar event in Rebeck's own life]], and even the network executives knew how personal it was to her and said nothing. Ellis, villainous assistant to Karen's writing partner Tom, [[BreakoutCharacter somehow became a major character]] (because Spielberg loved him), as did Leo (whose actor, Emory Cohen, also survived an attempt to recast him). Since there was no writers' room, and the writers thus didn't know what each other was doing, important character moments wound up being redone in episode after episode, making the show campy and unintentionally funny

to:

** They kept her, one of the few things that kept the show's quality up, but meanwhile the writing went off in weird directions. A subplot involving Karen's Julia's attempt to adopt a sister for her teenage son, Leo, began taking up a great deal of the show. It was kept in because [[RealitySubtext it mirrored a similar event in Rebeck's own life]], and even the network executives knew how personal it was to her and said nothing. Ellis, villainous assistant to Karen's writing partner Tom, [[BreakoutCharacter somehow became a major character]] (because Spielberg loved him), as did Leo (whose actor, Emory Cohen, also survived an attempt to recast him). Since there was no writers' room, and the writers thus didn't know what each other was doing, important character moments wound up being redone in episode after episode, making the show campy and unintentionally funny
20th Feb '13 10:13:24 PM DanielCase
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* TroubledProduction: ''Buzzfeed'' ran [[http://www.buzzfeed.com/kateaurthur/how-smash-became-tvs-biggest-train-wreck a long article]] shortly before the second-season premiere about how the show's first season was an, uh, ''smash'' in an entirely different sense of the word, requiring a major retooling:

to:

* TroubledProduction: ''Buzzfeed'' ran [[http://www.buzzfeed.com/kateaurthur/how-smash-became-tvs-biggest-train-wreck a long article]] shortly before the second-season premiere about how the show's first season was an, uh, ''smash'' in an entirely different sense of the word, requiring a major retooling:[[ReTool retooling]]:
20th Feb '13 9:59:16 PM DanielCase
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** The concept seemed great at first. Playwright and screenwriter Theresa Rebeck, who'd been a co-producer of ''Series/NYPDlue'', had long tried to sell the idea of a TV series built around putting on a Broadway show. No one was interested until Michael Greenblatt, who's apparently also a theater geek, took over at NBC. The network's lagging ratings and need for something different made it likely her show would be picked up. Then he got Steven Spielberg interested. The $7.5 million pilot episode wowed audiences at the 2011 upfronts and was set to premiere in midseason.

to:

** The concept seemed great at first. Playwright and screenwriter Theresa Rebeck, who'd been a co-producer of ''Series/NYPDlue'', ''Series/NYPDBlue'', had long tried to sell the idea of a TV series built around putting on a Broadway show. No one was interested until Michael Greenblatt, who's apparently also a theater geek, took over at NBC. The network's lagging ratings and need for something different made it likely her show would be picked up. Then he got Steven Spielberg interested. The $7.5 million pilot episode wowed audiences at the 2011 upfronts and was set to premiere in midseason.
20th Feb '13 9:58:59 PM DanielCase
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* TroubledProduction: ''Buzzfeed'' ran [[[http://www.buzzfeed.com/kateaurthur/how-smash-became-tvs-biggest-train-wreck a long article]] shortly before the second-season premiere about how the show's first season was an, uh, ''smash'' in an entirely different sense of the word, requiring a major retooling:
** The concept seemed great at first. Playwright and screenwriter Theresa Rebeck had long tried to sell the idea of a TV series built around putting on a Broadway show. No one was interested until Michael Greenblatt, who's apparently also a theater geek, took over at NBC. The network's lagging ratings and need for something different made it likely her show would be picked up. Then he got Steven Spielberg interested. The $7.5 million pilot episode wowed audiences at the 2011 upfronts and was set to premiere in midseason.

to:

* TroubledProduction: ''Buzzfeed'' ran [[[http://www.[[http://www.buzzfeed.com/kateaurthur/how-smash-became-tvs-biggest-train-wreck a long article]] shortly before the second-season premiere about how the show's first season was an, uh, ''smash'' in an entirely different sense of the word, requiring a major retooling:
** The concept seemed great at first. Playwright and screenwriter Theresa Rebeck Rebeck, who'd been a co-producer of ''Series/NYPDlue'', had long tried to sell the idea of a TV series built around putting on a Broadway show. No one was interested until Michael Greenblatt, who's apparently also a theater geek, took over at NBC. The network's lagging ratings and need for something different made it likely her show would be picked up. Then he got Steven Spielberg interested. The $7.5 million pilot episode wowed audiences at the 2011 upfronts and was set to premiere in midseason.



** They kept her, one of the few things that kept the show's quality up, but meanwhile the writing went off in weird directions. A subplot involving Karen's attempt to adopt a sister for her teenage son, Leo, began taking up a great deal of the show. It was kept in because [[RealitySubtext it mirrored a similar event in Rebeck's own life]], and even the network executives knew how personal it was to her and said nothing. Ellis, villainous assistant to Karen's writing partner Tom, [[BreakoutCharacter somehow became a major character]] (because Spielberg loved him), as did Leo (whose actor, Emory Cohen, also survived an attempt to recast him).

to:

** They kept her, one of the few things that kept the show's quality up, but meanwhile the writing went off in weird directions. A subplot involving Karen's attempt to adopt a sister for her teenage son, Leo, began taking up a great deal of the show. It was kept in because [[RealitySubtext it mirrored a similar event in Rebeck's own life]], and even the network executives knew how personal it was to her and said nothing. Ellis, villainous assistant to Karen's writing partner Tom, [[BreakoutCharacter somehow became a major character]] (because Spielberg loved him), as did Leo (whose actor, Emory Cohen, also survived an attempt to recast him). Since there was no writers' room, and the writers thus didn't know what each other was doing, important character moments wound up being redone in episode after episode, making the show campy and unintentionally funny
** By the time the third episode was done it was obvious that the show was going the wrong way in a big hurry. Yet Rebeck wouldn't listen to ''anyone'' and refused to make any changes, no matter how long and loud they fought with her. Yet the executives, particularly Greenblatt, continued to involve themselves in even minor aspects of production, like the fabric for the Marilyn Monroe costume. His suggestions were actually, according to the writers and crew, useful, to the point that they were hoping Rebeck gave in. "You know it's bad when ''our last hope was the network''," said one.
** Spielberg was the only one supporting her after a while, and when the two executives from DreamWorks who'd been keeping him from finding out how bad things had gotten on the show finally let him on it, Rebeck lost even that. Shortly after the show was renewed, she was fired.
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http://tvtropes.org/pmwiki/article_history.php?article=Trivia.Smash