Midway through the second season of GLOW, Ruth (Alison Brie) goes for what she thinks is a working dinner with the head of a cable network. The meeting doesn’t end well—the fact that it takes place in a bungalow at the Beverly Hills Hotel might hint at why—but before it falls apart, the TV executive questions Ruth about her career choices. “So, you come out to Hollywood to be the next Ellen Burstyn, you’re doing Chekhov in scene class one day, the next you’re in a women’s wrestling show on a local network,” he says, chuckling. “It’s the best job I’ve ever had,” she replies.
What makes GLOW great is that she really means it. Ruth, as Season 1 documented, might be a serious actress stepping into the strange new world of spandex and somersault leg drops, but she’s indubitably gratified by her new gig, and by the feeling of empowerment it gives her. The thrill of the first season of Carly Mensch and Liz Flahive’s series wasn’t in its bedazzled ’80s aesthetics. It was in the rare opportunity to see a television show about a group of women finding fulfillment at work. “Finally, I’m getting to do something and it feels different,” Ruth says. “I feel different. Strong. In control.” In GLOW’s second season, the co-showrunners told me, the intention was to take the women’s stories deeper, exploring the opportunities and complications that come with professional achievement.
There’s a distinctly meta aspect to GLOW’s second season, which is essentially a television show finding its footing about a television show finding its footing, while its stars adjust to the strangeness of their (relative) newfound fame. But at its core, the series is still very much a workplace dramedy, taking a collection of very different people and forcing them to collaborate. In Season 2, Flahive said on the phone from Los Angeles, “it felt like the thing to explode and explore was, for this group of women, what does it feel like to make something? What does it feel like to finally have a job that you know is going to go on for a while? And then what is it like when your voice isn’t being heard, and you’re being kept down by people around you?”
GLOW is set in 1985: the era of Live Aid, New Coke, and Courteney Cox becoming the first woman to say the word period on American television. …read more
Source:: <a href=https://www.theatlantic.com/entertainment/archive/2018/07/glow-season-two-review/563981/?utm_source=feed target="_blank" title="The Working Women of GLOW” >The Atlantic – Best of