GLOW - The Wrath of Kuntar

The third episode, “The Wrath of Kuntar”, follows the creative process behind the show as director Sam Sylvia and his producer, Bash (Chris Lowell), clash over how GLOW should come across on the television. While Sam sees this dystopian (quite a feminist’s nightmare) apocalyptic vision for the ladies crying out for male specimens, Bash wants the show to follow closely behind the Vince McMahon model of heroes and villains within a wrestling format. Bash wants stereotypes (“foreign invaders”, sexy scientist, “welfare queen”, urban street tough, All-American girl, etc.), certainly the kind society today frowns upon as politically incorrect. The cast seems up for either the director or producer’s vision, with the two debating, arguing, and eventually compromising. Debbie is in pain (and rightfully so) and needs consoling, still raging mad at Ruth for the adultery. She’s the eye candy both Sam and Bash consider major star power for their show while Ruth is in dire need of some type of persona that might leap from the screen. In fact both Bash and Sam ask her what she sees herself as and Ruth is dumbstruck, seemingly without an answer as the episode ends. This episode features the introduced Bash heavily, including his influence on requesting the various diverse members of his cast to portray cultural stereotypes. The ending has the cast in their roles standing before the camera during recorded interviews with Bash and Sam approvingly happy as the characters take shape. What about Ruth, though? Cherry is not in a good place with where she is in this show. While the second episode seemed to indicate that Cherry would be this sizeable asset to the show for Sam, the third episode recognizes her diminishing performance role. She doesn’t even have a part in the godawful Kuntar script…a script Ruth narrates with great pride as she has a big part with even a monologue. Bash listens and looks on at this Kuntar script-reading, troubled and bothered, eventually initiating a party at his mansion (it is realized that Bash’s monetary support comes from his mom) to work out its problems with Sam. Interestingly while the other cast members seem to find roles to feature them on the show, Ruth continues to gradually flounder, inserting herself into keeping the show afloat amidst potential failure. She attempts to avoid Debbie and vice versa, but the show won’t allow them to maintain distance despite every reason for them to stay away from each other. So the preliminary stages of the creative process are underway and Ruth seems like the odd woman out. Bash's estate is reminiscent of the white privilege quite notable in a movie like Less Than Zero where he has a robot that serves guests drugs, has a neon sign and paintings of Michael Jackson and Dolph Lundren (!), and white marble walls and floors. The place reeks of Hollywood royalty. Bash produces Sam's Z-movie crap and agrees heartily to fund some type of Oedipal opus called Mothers and Lovers if the director would give him his lady wrestling...