Montage time. We see a series of headlines from the front page of Variety: "Revolution in Hollywood," "Studios convert to talkies," "Musical pictures sweep nation," etc.
Then we cut to what seems like a montage of scenes from a variety of different musicals, all set to the song "I've Got a Feelin' You're Foolin'." It's a parade of men and women in bright costumes, hoofing and singing their hearts out, that suggests that musicals are all the rage.
Wait… It's a mash-up. "The Wedding of the Painted Doll" is spliced in to create a monster musical jam.
We spoke too soon; a third song—"Should I?"—is added into the mix. This is bananas. The musical montage pace picks up as more and more scenes fly by: toy soldiers, chorus girls shaking martinis, disembodied dancing legs. We have a real MGM All-Star club-banger here, folks.
"I've Got a Feelin' You're Foolin'," "The Wedding of the Painted Doll," and "Should I?" previously appeared in The Broadway Melody of 1936 (1935), The Broadway Melody (1929), and Lord Byron of Broadway (1930), respectively (source). All three were films about the horrors of the American Civil War. Just kidding! Of course they were all musicals that involved Broadway.
Just when the manic montage starts moving so fast it seems like the wheels are going to fall off, the scene cuts to a young crooner and gaggle of chorus girls. He's charming his way through "Beautiful Girl" on set at Monumental Pictures.
The song "Beautiful Girl" previously appeared in the Bing Crosby musical Going Hollywood (1933), which is about a lonely French teacher at an all-girls school who hears a singer she digs on the radio and decides to go thank him. In person. Yikes.
Hold on, one of those chorus girls looks familiar. It's Kathy. She looks familiar to R.F., too, and the director tells R.F. that he thinks Kathy would be awesome in the part of Zelda's kid sister. You know, in whatever it is he's apparently shooting with Zelda. Cosmo overhears all of this and excuses himself.
Then "Beautiful Girl" suddenly turns into a fashion show with the aforementioned crooner describing what several women—frozen like mannequins—are wearing. Oh, and he rhymes: "Anyone for tennis? Well, this will make them cringe. And you'll knock 'em dead at dinner if your gown just drips with fringe."
The fashion show builds up to a wedding gown, as if that's every woman's greatest fashion dream. Ladies and gentlemen, the 1920s, as presented by the 1950s. A cultural double-whammy.
The crooner reprises "Beautiful Girl" surrounded by all of the living mannequin model women, as well as Kathy and the chorus girls, thus bringing the weirdest episode of Project Runway ever to a close.
The director introduces Kathy to R.F. Don shows up. Kathy immediately apologizes to R.F., assuming that Don's going to out her as the woman who nailed Lina in the face with a cake at his party.
Don clears things up quickly, and says that he totally supports the hiring of Kathy.
And what about Lina? Who cares? R.F.'s in charge. Even if he's a little bit afraid of Lina. He hires Kathy, but tells everybody in earshot to make sure that Lina doesn't know about it.
Cosmo reiterates to Kathy that Don's been looking everywhere for her. And then Don and Kathy stare at each other all googly-eyed.