httpss://www.youtube.com/watch?v=QS8EeHUXnKw
Her mother, Rosalie, catches her dead to rights on a late-night airing of G.L.O.W., peering maniacally into the camera while playing Zoya’s evil assistant in a scripted bit.
The cliffhanger is a bit of a comedown in an otherwise fantastical episode that, fittingly, widens the scope of Liberty Belle’s fictional pursuit of her kidnapped daughter, Savannah Rose.
Although the dominant shenanigans still offer a needed break from the previous episode’s high drama, this half hour accomplishes quite a bit given its mostly plot-free stakes: Rosalie’s aforementioned enter-stage-right and its attendant, ensuing repercussions; a chance for Arthie to finally layer Beirut with more than just terroristic howls; a vivid illustration of what Sam meant when he complimented Ruth as “An idea machine”; and some clarity on how they were going to compensate for Ruth prolonged in-ring absence.
Zoya recruits her for assistance keeping Savannah captive, but once Olga gets a whiff of some Hollywood hot dogs and lays eyes on Mickey Rourke, she’s as smitten as a freshly Americanized Balki Bartokomous.
Beirut, Vicky the Viking and Fortune Cookie do their best to keep Liberty off Savannah’s scent, but thanks largely to Olga, mother and child are reunited and ready for a Paul Simon serenade.
In GLOW’s continuing quest for inclusiveness, sequences are dreamed up with seemingly little purpose beyond making sure everyone has a role to play.
Neither GLOW nor G.L.O.W. can keep producing slick, pre-taped segments every week.
Kind of ironic that this almost entirely comedic episode was helmed by a director known largely for drama.