So where were we? Julia is bemoaning the current state of musical theater, what with the news of a My Fair Lady revival, and Tom holds particular distaste for its proposed director, Derek Wills, though Julia's all, "He's a terrific director." But back to Marilyn and how Tom is checking out Ellis's maybe-gay ass as he returns the book to its spot on the shelf. As Julia bemoans the sorry state of original musical theater, Ellis thinks Marilyn would make for an excellent show. She's so hot right now, though Julia wonders if it's more overexposed. But Tom's mind is already moving on this: "She was married to Joe DiMaggio," he brainstorms. "There could be a baseball number." God bless this show, there is actually a little chime on the soundtrack here as the little seedling of an idea leaps out of Tom's head and lands in Julia's.
Elsewhere, Karen takes a break from waiting on tables to complain to her boyfriend, the dashing and vaguely continental Dev, who works in the mayor's office. It's the usual lament of the struggling actor: I don't know what they want from me, I'm not sexy enough, I'm too skinny. ...I know, I know, I hate it when beautiful people say they're too skinny as much as you do. Though I do appreciate the meta-commentary on Katharine, who I still think is totally gorgeous but it does pain me to see how she's hollowed herself out since Idol. She decides to start eating more. Okay, I hate her a little.
Back at home with Julia, for the subplot I already know I'm going to get sick of. There's Leo, the surly, texting teen who claims not to know who Marilyn Monroe is (to the show's credit, this is played as a teenage affectation rather than a credulity-straining generation gap); and Frank, the husband, who has gotten Julia to agree to take some time away from writing so they can adopt a baby. Because who wouldn't want to begin the parenting cycle anew now that their oldest is nearly through high school? Frank is immediately wary of any talk of a Marilyn musical, though even he can't help himself from spitballing ideas about recreating scenes from the movies, and of course he thinks there could be a baseball number. I love how a "baseball number" seems to be the holy grail of musical theater. Julia is still officially not even considering jumping into anything new. But the soundtrack does twinkle yet again when the baseball number is mentioned.
Tom pays a backstage visit to his current production, something called Heaven & Earth. No other clues as to what it's about, other than the fact that it employs a healthy number of chorus boys and girls. One particular chorus boy gives Tom a nudge on his way out to the stage, so you know they totally did it. Tom totally doesn't remember his name and the kid's like, "Dennis" and then flashes a smile at Tom in the wings as he jets his way onstage. Verrrry much looking forward to picking up this particular plot strand. Later, Tom finds Ivy crestfallen backstage, having been rejected for another role. It's obvious Tom and Ivy have grown very close over the course of this production as he tries to buck her up.