the 2012 documentary of the same name.<\/a><\/p>\nIn the show, it is a shlocky filmmaker (Marc Maron) who is running the show. \u00a0He’s not a professional wrestling coach. \u00a0He hires young pretty actresses not professional wrestlers. GLOW was meant to be entertainment, as is WWF. The show is treated like more like a continuing soap–opera than a sport. Each “wrestler” is shown throughout the show not honing their craft, but developing their character.<\/p>\n
The producers of these wrestling shows couldn’t, and still can’t, just rely on the prowess of the staged fights (and they are all clearly staged, sorry to break it to some of you!). The audience needs a story of personal rivalry to keep audiences entertained. In GLOW, Alison Brie’s character realizes that to stand out, she has to carve out a niche as the despicable villain that the audience will turn against. The same character dynamics apply to wrestling as would apply to a crowd-pleasing summer blockbuster. \u00a0Great villains make great stories.<\/p>\n
The lesson here is that even something as ridiculous as the “sport” of professional wrestling has to tell an engaging story, and create characters that spectators can connect with emotionally. Don’t turn your nose up at this kind of narrative, it is as legitimate a form of storytelling as any novel. (Charles Dickens was actually writing the soap operas of his day in serialized newspaper form). You can learn the lessons of story-telling from anywhere!)<\/p>\n
<\/p>\n
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