Worse, Huston instigates a set piece that it is impossible to take seriously, or any other way. Many of the musical numbers in Smash deny skeptics and cynics an opportunity to snicker at their unreality. The jumping-off points are auditions, rehearsals, karaoke nights, or else moments of heightened emotion at the edges of the episodes. The lyrics enrapture, the Fosse-ish choreography transports, and it?s all good. Then the show rudely detaches itself from reality in the fourth episode: At a party, Huston arranges an impromptu showcase of one number to impress a potential backer, played by a Jonas brother. Despite not having heard the number before, the Jonas jumps in for the last verse, holding his guitar in an Elvis-y stance and his head at a showboat posture. The show breaks its own rules, and the mood shatters.
Source: http://feeds.slate.com/click.phdo?i=bb1b2048ab7f9814d786617dd1b61829
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