A closer look at a supporting player in GLOW
The Netflix cast and production team of the series GLOW have created some layered, dimensional characters with efficiency and humor. The show’s deep bench gives every cast member at least one moment in the spotlight over the first season’s ten episodes.
For the moment, I want to single out Bash, played by Chris Lowell.
Is it missing the point when talking about a show focused on women’s wrestling with so many standout female performances to turn my attention to one of the male leads?
Maybe. But this isn’t just about him.
In fact, that’s the point I want to make about Bash’s character: This story isn’t about him.
He says that Gorgeous Ladies Of Wrestling is his idea, and he maintains that he wants to make sure the execution matches his initial premise.
With the plot elements involved, this could easily have been Bash’s story: The highs and lows of a trust-fund goofball who finds purpose by putting aside his selfish antics and maturing as he builds a tv show.
But that’s not this show’s story.
Bash is a supporting member of the cast, not only by the entertainment awards definition, but in how supportive he is of the other characters.
Like Max in Fury Road or Steve Trevor in Wonder Woman, Bash is an example of how to depict a man being supportive of a woman or group of women. He’s another reminder that gender dynamics in storytelling aren’t a zero sum game.
The Heel-Face Turn
When we first meet Sebastian “Bash” Howard, he’s doing all the things that would lead us to believe he’s going to be an antagonist or obstacle in the vein of a classic 80s villain.
- He showed up in a helicopter, suggesting he’s totally out of touch with the other characters who are desperate for work.
- He’s telling a personal anecdote about Ronald Reagan, further aligning himself with conservative, monied interests in a series focusing on a diverse group of underdogs.
- He interrupts his introduction to ask that he be called by a nickname that he probably gave to himself.
- He cancels rehearsal to invite everyone to a party at his mansion, which features an actual Lichtenstein and a working robot with a secret drug compartment.
It’s a clever ploy to play off of the audience’s expectations based on both Bash’s behavior and our genre savvy. This makes his sudden turn that much more satisfying.
What Bash Does for the Athletes
At the rehearsal, Bash listened to the women read through a script written by the director, Sam Sylvia, that featured a post-apocalyptic setting and roving gangs of women fighting for the right to breed with the last surviving man on Earth. The read-through goes unenthusiastically as the performers grapple with a thin sci-fi narrative held together by Sam’s sexual fantasies.
Bash confronts Sam about this, saying that when he asked for a different kind of wrestling show, this isn’t what he had in mind:
Bash invites the women up to his costume room and tells them to explore it and try things on.
Bash is inviting these women to take an active role in the construction of the narrative they’re going to play out. He talks about Sam’s script being too complicated, and he wants to see something still heightened and fantastic, but grounded in some aspect of the women themselves.
Let me be clear: Bash is not doing this just because he has a desire to empower these athletes. His suggestions involve leveraging regressive stereotypes that he justifies by saying that they need to play to the viewpoint of the audience.
Ethnicities are shifted or amalgamated. Tammé, whose son goes to Stanford, gets re-christened as Welfare Queen. Everything is done to better label these women according to a generalized white, male gaze instead of Sam’s hyper-sexualized, exploitation film mindset.
And this is where it gets more complicated.
Early in this sequence of scenes, Bash starts speaking with Carmen, who will eventually take on the character Machu Picchu. Sam has cast her as the villainous Ogress, but Bash takes one look at her and sees her smile. He knows she’s not right to play a heel, and helps her find an identity more suited to who she really is.
And while so many of these wrestling aliases are created based on stereotypes, that initial spark kindles something in the women. A “So this is how you see me?” anger helps them find their enthusiasm for the entire project. It unlocks and directs a layer of rage and creativity.
Going off of this setup, one of the most memorable scenes of the entire season comes when Cherry and Tammé convince their tag team opponents to dress in Ku Klux Klan costumes. Cherry and Tammé are very aware of how their roles as Welfare Queen and Junk Chain have attached stereotypes that will play negatively to the audience. So they find a way to turn themselves into the heroes of the match.
They have a degree of control over the narrative, and they’re trying to leverage what they think the audience sees.
Aside from setting some key points about the world of wrestling and its expectations, Bash also has several direct interactions that support the wrestlers.
In working with Carmen throughout the season’s arc, he helps her to build her confidence and live up to the reputation her family’s wrestling dynasty.
Bash sits with Carmen in the parking lot while an EMT confirms that she’s had a panic attack after she runs from the ring at an early match. He recognizes how important this is to her, and wants to be supportive.
When she starts to feel the fear again at a match being taped live for the pilot of their tv show, one of the things that helps her find her strength is Bash, acting as the ringside announcer, turning her anxiety into part of her character.
And when she pulls through and wins her match, Bash is one of the primary focuses of the camera. His enthusiasm for her victory reminds us that he didn’t just invest money in this wrestling show, but that he truly wants to see these athletes succeed.
Speaking of money, at a key moment when Bash’s mother cuts him off, everything is in danger of falling apart. The team needs to find the money to secure a venue for their live taping of a pilot episode.
Bash finds a solution, but he can’t do it alone.
Bash brings the women to crash his mother’s fundraising event for Nancy Reagan’s Just Say No campaign. He pretends that they’re from an organization called Wrestlers Against Drugs, and interrupts his introductory toast of his mother to step aside and let the women tell improvised stories to the wealthy donors.
The key here is that Bash isn’t the one making the big speech to get the money and save the day. He’s offering these women the opportunity to succeed on their own merits. He creates space for them to succeed where he failed, and he trusts that they’re capable.
And the women do not disappoint, coming up with stories of drug addiction and salvation through wrestling so compelling that the donations pile up, and even Bash’s mom sees that her son has partnered with some amazing women.
What This Means to Bash
But Bash isn’t just some Yuppie Yoda, helping women find their inner power through the drama and athleticism of professional wrestling. He gets something out of all this, too.
There’s this one scene near the end, and it’s why I focused so much on Bash after this first viewing of the show.
As everything comes together at the last minute, Ruth tells Bash that he needs to act as their announcer for the live taping of their matches. Bash says he was born for this:
While everyone’s getting ready for their on-camera debut in the ring, Bash gets a quiet moment while he prepares.
Bash has spent a lot of time before this point helping other characters find strength and express themselves. We’re shown this one moment that shows him stepping in to character.
It’s a suggestion that Bash, too, feels that the spectacle allows him to re-craft his identity; to tap into something inside himself that normally stayed buried.
How To Show Support
GLOW is a show mainly populated by women, but unlike Sam’s script, there’s not a lack of men involved. Along with the recurring characters of Sam and Bash, several other men play a role in the story.
When characters are dimensional, treated with respect and dignity, and given solid, selfish motivations, there’s room for everyone.
Bash is an example of a well written ally. He’s imperfect, and his faults and mistakes provide conflict for the story. But his desire to help others comes from an expressed and understood need to fulfill his own goal.
That’s a key to strong supporting characters: They don’t know they’re a sidekick. Somehow their actions supporting the protagonist(s) should fulfill whatever desire drives them in the version of the story where they’re the lead.
The opening scene of the series features Ruth on an audition for the role of a secretary who interrupts her boss in the middle of a dramatic monologue to say his wife is on the phone. It’s making a point about the dearth of good roles available to women, and does so by highlighting an audition for a minor supporting character.
It highlights not only why Ruth and the other women of GLOW would latch on to the opportunity to take charge of their stories and shape this wrestling program to give themselves an opportunity to shine, and it also highlights what happens when writers create characters who act as punctuation.
Somebody has to come read for the role of the Nameless Interrupting Secretary. Somebody has to hope that they’ll get that three line part, because they’ve got rent to pay. Somebody spent years training themselves and honing their craft to prepare themselves to be on camera.
Does it honor that person’s effort to give them so little to do?
Does it show respect to the people who actually inhabit these positions in real life to depict them as functions of someone else’s story?
The story as a whole is richer from making sure every role feels lived in. Every person feels true, and not just a plot device.