It's two against two, which means the deciding vote must go to a fifth party: Eileen, who's strong-armed her way back into Bombshell even though it is actually illegal for her to do so. (The team sees this as feisty rather than unlawful, which can only lead to trouble down the line.) So, which show does Anjelica Huston prefer -- the dark, sexy Kander and Ebb version, or the bright, sparkly Rodgers and Hammerstein version?
We'll find out... next week, because this is when the episode ends. Booo!
- Given that opening sequence, in which Tom describes how he'd stage a new number called "Public Relations," it seems like the composer may transition into directing. (Blame Ivy.) My guess, given the promo for next week: Derek quits Bombshell (or Marilyn) in favor of Hit List, and Tom winds up helming Bombilyn.
- Speaking of "Public Relations": The song itself was only okay, though the way it wove in quotes attributed to Marilyn was pretty nifty. Also, I'm pretty sure that shot of multiple Toms turning their heads and making weird faces while wearing various international guises was taken directly from my dreams. Or my nightmares.
- Wait, did Marilyn and Elizabeth Taylor actually hate each other? Obviously, I want the more gossipy version of the show to make it to Broadway.
- Bartender Nick is heading off to a different prison. Goodbye, Bartender Nick! Say hi to Leo, Frank, Dev, and Ellis if you see them there!
- It is difficult to imagine Liasons as a show that makes people weep, as I can't help thinking of it as a period version of Cruel Intentions.
- That play Ana mentions about a bunch of subway passengers who are actually in purgatory is a real thing. It's called Happiness, and Susan Stroman directed a production of it at Lincoln Center in 2009.
- Whether Eileen chooses to go with Bombshell or Marilyn, it will be very unfair if Smash never gives us even a taste of Julia's supposedly brilliant script.