When Ruth Wilder (Alison Brie) auditions for yet another insubstantial female acting role and doesn’t even manage to land the part, she appeals to the casting director for pointers.She is told that she is the ‘real’ girl that no one wants to cast and is offered pornography as a career alternative.

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When Melanie “Melrose” Rosen (Jackie Tohn) presents herself in an overtly teasing and sexual manner, he says in his signature dead-pan way, “I like the whole ‘please objectify me’ vibe. It isn't era-appropriate dialogue, it’s a nod to the present day from the 80s; a way to make this moderately sexist character easier to empathise with. Sam becomes a character who it is possible to warm to, a man who crucially only sleeps with a GLOW member because she saw his soft side in a dating video.

He is a dysfunctional character with a troubled paternal respect for the women whose likability is helped along tremendously by Maron’s comic flair.

The show has a very strong cast, featuring Sydelle Noel as no-nonsense Cherry with a firm hold over Sam who shrinks in her presence and Britney Young as Carmen, the daughter of a famous wrestling giant who suffers from stage fright.

Kia Stevens puts in a hilarious performance as Tammé whose wrestling persona The Welfare Queen throws food stamps over her enemies whilst Sunita Mani plays the uncomfortably funny Beirut the Mad Bomber in the ring, having been encouraged by producer Sebastian “Bash” Howard (Chris Lowell) to play the Arab ‘stereotype’ as a result of her Indian heritage. Her performance as the broke and desperate Ruth is pitch-perfect, making a morally ambiguous character likeable and someone you cannot help but root for.

Betty Gilpin is fantastic opposite Brie, both in the show and in the ring, as the ex-soap opera star Debbie Eagan.

The pair’s chemistry is compelling, both as Ruth and Debbie and as their wrestling enemies, Zoya the Destroyer and Liberty Belle.

Horrified, she leaves the casting call and returns to her small apartment where she has a voicemail message waiting; it’s the casting director with a tip-off for an open call.

A local project is looking for ‘unconventional women’ and when Ruth arrives at the open audition the next day, she finds herself in a gym with a wrestling ring.

If you were to take the entire first episode, complete with Ruth’s character set-up, and stitch it to a series of the training segments and the two performances, GLOW would make an excellent movie, but the series suffers from having either too much time to make a gripping story of the womens’ progress and success or not enough time to explore their individual stories.