Bombshell's Boston previews have just closed, to middling reviews: the critics like Tom's score and Karen's performance (barf), but they hate Derek and everything Julia contributed. So back in New York, there's much talk of buckling down to fix the problems before the show transfers to Broadway. But first, Julia has to break up with Shrek and Tom has to break up with Sam (single tear!) and Karen has to diva out and demand that Derek fire Ivy, which he does.
Derek is still trying to turn Karen into a star, so he takes her to see a performance by someone with actual stage presence and talent: multiple Tony winner Veronica Moore, played by actual Oscar winner Jennifer Hudson. Ronnie is awesome and very polite and doesn't mention that Karen has the personality of a glass of skim milk.
Eileen almost succeeds in booking a theater for the show, but thanks to her lousy ex-husband, Jerry, the feds start investigating where she's gotten the money to bankroll the Marilyn train: her mobster boyfriend, Nick. They shut everything down and our merry band dangles on the precipice of unemployment. Again.
Just as things look most dire, Karen meets a bartender who's actually a composer, named Jimmy. He maybe likes her and maybe is negging her, but she sticks around after closing and hears him playing his original song, "Broadway, Here I Come." She calls up Derek and hatches a tiny plot in her tiny mind.
We open with Karen in black and white and full Marilyn drag (which looks kind of terrifying), singing a new song called "Cut, Print... Moving On." It's closing night in Boston. The picture bleeds to full color as the cast performs the last show, intercut with them packing up and leaving to head back to New York. Karen gets in her Town Car and slams the door in Ivy's face. Ivy arrives back in Manhattan, where she has to suffer the indignity of hailing her own cab. So tragic.
Karen walks up to a gorgeous Village row house and into her new place. She has a new roommate, who hands her a letter from Dev that she doesn't bother to read. At her place, Ivy throws out all her pill bottles. On stage, everyone is dancing around Karen while she just stands there and/or they pick her up and move her around, which seems to be how she succeeds best.
Back at the rehearsal space, again, infinity. Karen and Ivy are waiting for an elevator in the lobby. Karen shoves her way in front of Ivy and says, "You can get the next one." Oh, I am so excited about this new, shiny season in which Karen is even more of an entitled asshole!
Derek welcomes everyone back and then starts a round of applause for a job well done in Boston. Eileen says the run was successful and they learned a lot from it. Her next goal is booking a Broadway theater for Bombshell. Derek says everyone needs to check in if they get offers from other shows, want to go on vacation or even get a haircut. Eileen continues that she hopes to be able to pick up everyone's contracts, but that will depend on the creative team's decisions. The camera lingers on Ivy. Ugh. She needs to say Fuck All Y'all and go play Dolly Parton in her autobiographical stage show, like the boss she is.
Eileen pulls Karen aside for a word and Boy Dancer Bobby smirks to Ivy that some people will cease to exist depending on what the creative team -- of which Karen is now a part -- decides. He demonstrates that the show's subtlety has not improved when he tells Ivy to watch out for targets on her back. Ivy's all, I've got this.
Eileen tells Karen she's having a little press party and she'd like her to sing the opening number. Karen agrees, and Eileen tells her to pick some backup singers. Karen wants Jessica and Beth and the show tries to wring some suspense out of who she'll pick third -- Will it be Ivy?! -- but of course she goes with Joy, because Karen is still a selfish, self-important monster (good to see nothing has changed in nine months), and also it would make no sense for her to pick Ivy, whom she hates and feels threatened by.