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In episode 5 of the new season of "GLOW" from Netflix – an excellent dramatic scene in the world of women's wrestling in the 80s – the Omaha World-Herald gets its name.
Main character, Ruth (Alison Brie), an actress and a professional wrestler originally from Omaha. And it's just one of the Omaha references you'll notice during the first two seasons of "GLOW".
It is clear that someone in the writers' room comes from the city that does not rub shoulders.
Rachel Shukert
This person is Rachel Shukert, playwright, author and producer of the hit series Netflix.
Shukert (Central High School 1998) has already worked as a writer in New York. But television (and the west coast) attracted attention.
"There was a great exodus of playwrights and novelists from New York who wrote for television," she said. "It's nice to live in LA, and television has become more prestigious and culturally predominant.It's also very fun to write."
She landed a job in the city. writing on the ephemeral comedy series "Red Band Society." Then on the show (now-CW) "Supergirl."
Then she marked an absolute dream of a work on the writing staff "GLOW" before his first season
Shukert was already friends with some of the writers in the room, including the show's creators, Liz Flahive and Carly Mensch, so everyone was comfortable with everything world, and they could be honest with each other.And "GLOW" ends up doing it better.
The creation of "GLOW" reflects the overall story of the series: A group of women meets for to give a show of hell.
Shukert says that she and most other writers have grown to "Time" that "GLOW" portrays.The writing of the series was a way of looking back at this formative time, but through the funhouse mirror of the Gorgeous Ladies of Wrestling. (Although the characters and stories are fictional, the show is inspired by the actual story of GLOW.)
"We are looking at the 80's through this industry that feels very zeitgeisty and of his time, "Shukert told me. "The 1980s speak of this conspicuous consumption and these political clashes and simplistic stereotypes of the Reagan era." I think there is a lot of clues in the 80s, and especially in the professional fight, which were all these things sort of wide writing. There is a thread of Ariadne on how we got where we are right now. I would like the show to continue in the 90's.
Like "Mad Men" before him, "GLOW" immersed himself in the styles and stories of his respective era, but without going too far. It takes a slight touch to its history management.
"GLOW" shares more with "Mad Men" than that. Both shows are set up at the workplace. The shows share the brilliant actress Alison Brie. Both shows are composed of distinct, character-driven episodes, which subtly blend into a larger narrative.
"GLOW" is a tight show: 10 episodes per season, most episodes having a duration of about 30 minutes. He must remain thin in his narration. But there are so many great actresses playing great characters on "GLOW" that it can be hard to decide where to fire the spotlight.
The relationship between best friends Ruth and Debbie (Betty Gilpin) serves as an emotional core. The production of the wrestling program itself, led by Sam Sylvia (Marc Maron), cantankerous director, leads much of the story.
But then "GLOW" will take the best part of an episode to focus on a support character. In an episode of the new season, "Mother of All Matches," Tammé (Kia Stevens) occupies a central place, while the show explores her relationship with her university-aged son. He is mortified by the offensive African-American stereotype of his mother's wrestling character, Welfare Queen.
The freedom of being a Netflix show, without commercial breaks or quotation quotas or filming times, allows screenwriters to "GLOW" in the margins. They do not have to make a show that everyone likes. "GLOW" takes risks.
Through this series on making a wrestling show, Shukert and his colleagues explore race, feminism, sexuality, the creative process and, perhaps most importantly, motherhood. The show's creators, including Shukert, are themselves new mothers. And they struggled, says Shukert, "with what it means to be a working mother."
You can see this in the character of Debbie, in her long, touching farewell to her baby every time she goes to work
The writers have at least found a way to bring their babies in the office. The children were part of the show, debuting as extras in a daycare in episode 4.
The 1-year-old son of Shukert, Theo, gets a fair amount of screentim. (He was 6 months old at the time of shooting.)
"He really liked being on the set," says Shukert.
Perhaps, like his mother, he has a future in show business. Maybe at Netflix
Netflix apparently likes what they see of the Shukert family. The streaming giant has hired Rachel to work on two other series: a series of upcoming comedies titled "Huge in France" and "Cursed", which Shukert described as "this fantastic Arthurian series," Game-of-Thrones-y "Fun because I like these types of shows, and I've never done anything like this before."
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