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Old 08-10-2019, 02:46 AM   #1
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Join Date: Jan 09, 2001
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Default GLOW Season 3 is what happens when a show goes "post-plot"

In Season 3, the Netflix female wrestling drama seems to be experimenting with a model of TV writing in which the plot is sidelined, says Sophie Gilbert. "It’s never felt more obvious that GLOW’s creators, Liz Flahive and Carly Mensch, are feeling constrained by the wrestling-league format," says Gilbert. "For one thing, there’s very little wrestling at all until the fifth episode, when the performers decide (without consulting their befuddled producer, Bash—played by Chris Lowell) to switch roles at the last minute to liven things up. Rather, Season 3 offers the chance to see what happens when a TV show goes post-plot, taking all the codes and mores that govern dramatic writing and cutting them loose. When it works, it’s because the characters still have a chemistry that overrides their directionless narrative, and because the writing on GLOW is still consistently funny, even as the series heads into darker territory. (In addition to the spiraling AIDS crisis, the new season weaves in mentions of the Holocaust and the Cambodian genocide.) At other times, it feels like GLOW is building itself around themes rather than stories: moms who work, workplace racism, homophobia, ambition."

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