Shes right, actually.
She was reading the mans part.
(The womans part, in totality: Your wife is on line two.)
Opportunity beckons, ridiculous yet empowering, like true camp always is.
Ruth takes to the kitschy beefcakery of pro wrestling like its an experimental art project.
The show examines stereotypes, hyperbolizes them, then deconstructs them.
Both audiences, really: The one onscreen, watching the wrestling, and us here, watching show.
In the process,GLOWdramatizes nothing less than the act of self-realization.
Comical, hilarious self-realization but liberating, too.
one lady wrestler tells her colleagues.
Also, theres an episode set at a Malibu penthouse party with a patrolling robot packed full of cocaine.
And there is a climactic dramatization of the Cold War personified via spandex-clad wrestlers.
And there is a truly stunning joke about the Ku Klux Klan.
The shows a comedy, half-farcical in its physicality, but theres a real generosity, too.
Late in the season, she demos herGLOWtheme song, an oddly yell-sung half-rap.
(Theres a montage set to a song from theTransformerscartoon movie!)
So lets go big!
Lets make it visceral!
Executive produced byOrange is the New Blackcreator Jenji Kohan,GLOWgoes big.
More, c’mon!
