Netflix latest hit ‘own brand’ series is something of an odd fish. While their Marvel series and Better Call Saul obviously come from established franchises and others are fairly solidly angled genre pieces, GLOW seems to throw things together and hope something entertaining comes out the other end and, to a degree, it does.
Based on the story of the mid 1980s GLOW: Gorgeous Ladies Of Wrestling promotion/show it presents a fictionalised version of the lead up to their first television taping from initial auditions to broadcast, similar to the documentary GLOW: The Story Of The Gorgeous Ladies of Wrestling (also currently available on Netflix in the UK).
To make it into a drama the series focuses on one of the ladies, the apparently totally fictional Ruth (Alison Brie) a struggling actress in LA who stumbles into the wrestling show. Around her are the cast of wrestlers-to-be (including her former best friend, Betty Gilpin as Debbie) and the producer and director duo of Bash (Chris Lowell) and Sam (Marc Maron), the latter of whom becomes a kind of second lead.
To make this work the main thread of the story takes on a soap opera style, possibly also in a kind of reference to soap opera-like nature of wrestling storylines, which for me is a slightly odd construct but it works for the most part to keeps things rolling along in its half hour per show format.
Along with this though two other aspects collide in a way that makes it often a little on the unbalanced side.
The first, that certainly runs throughout, is the comedic side provided by Maron.
At its best this leads to some genuinely funny moments at which points Maron’s dry delivery is wonderful, but elsewhere it feels a little too much like he is hijacking proceedings with a very different style to the rest of the show, either way he is one of the highlights.
At the other end of the spectrum there are a few moments where the story gets a bit too serious which jars with the otherwise lighthearted tone, this particularly comes with an accidental pregnancy and abortion plot line that just doesn’t sit quite right and feels just dropped in to make up time.
Aside from this it is, for the most past, a light and colourful show a little like the one it is telling the story of (though with a far higher budget).
Of course as a fan of wrestling there’s one crucial aspect that would make or break the show for me and that is its depiction of what NJPW calls ‘The King Of Sports’ (I know…). Thankfully in this it does a great job.
From the start its clear things are going in the right direction as not only does Johnny Mundo (aka John Morrison aka John Hennigan) appear as a wrestling coach but one of the regular cast is played by the artist formerly known as Kharma in WWE or Awesome/Amazing Kong elsewhere, Kia Stevens (and in a nice touch the gym is named ‘Chavo’s’ in tribute to that famed member of the Guererro family some of whom were involved with the original GLOW training).
As the show goes on more pro-wrestlers cameo, notably Carlito Colon and the artist formerly known as Brodus Clay in WWE, and at no point is the actual in ring work made a joke of with a reasonable nod given to the effort required given the broader context of the show and these ladies pull off some moves that would never have been seen in the mid-80s outside of Lucha Libre.
With the series culminating, as one might expect for such a show, with an apparently triumphant first screening, GLOW is far from a classic but there’s enough to enjoy in a lighthearted guilty pleasure kind of way, particularly with its nostalgia heavy 80s soundtrack and style, and, while I’m not sure how much fuel there is for a second series, I wouldn’t be disappointed to see it go on.