glow cast

Do you already have thoughts on season three of GLOW?

Flahive: We have many thoughts for season three that we have not been paid to think about but are thinking about anyway for free.

Mensch: We’re very excited. We hope we get it.

Flahive: Yeah, we have too many ideas.

Were you able to shoot their PSA video on VHS?

Mensch: You know, we have a secret which is that we use frequently a jerry rigged camera that shoots in VHS but then transfers to a digital format. So our DP from season one, Christian Springer kind of brought us this magic camera and we frequently use it when we need to go into VHS mode. It’s a really cool trick.

But it’s really shot in that format, not degraded from hi-def.

Mensch: Yeah, we do have some that is shot in high def and degraded.

Flahive: Which is episode eight.

Mensch: Because there are lots of rules at Netflix in terms of how degraded footage can be.

Flahive: But most frequently, such as the mall footage, very frequently when we’re doing that, it’s that camera.

Which other characters were you glad to give more of a spotlight in season two?

Flahive: I think Bash this season is a revelation. Both Chris [Lowell]’s performance and just in terms of a character who I think you think you have his number in terms of being an idiot playboy who’s incredibly funny, but I think the beauty of the actors on our show and our intention on the show is that everybody has real depth. Everybody has a story. I think Cherry (Sydelle Noel) you get to dig into a bit more. You see her vulnerable. You get to see Arthie (Sunita Mani) in a new way. You get to see her outside of the shadow of Beirut as a young high school dropout. We’re excited that you get to dig into Rhonda (Kate Nash) towards the end of the season. I think seeing Justine (Britt Baron) and Sam’s relationship this season was a delight to write. I think that was something we didn’t get them, at least we didn’t reveal who they were to each other until the end of season one. So then to see how they are together in season two, the sort of unlikely later in life father and daughter relationship taking hold was pretty hilarious, and also really emotional, our favorite combination.

Each episode ends with not necessarily a cliffhanger but something that makes you have to watch the next one. Is that the same whether it’s weekly or streaming, that you do something to keep people watching?

Mensch: Yeah, I think we are very consciously making a show that you could easily watch episodically or bunched together. We want each episode to be fully satisfying on its own right and then we are creating a larger story that, like a novel, you go from chapter to chapter and we want you to turn the page and see the next chapter. We’re very consciously doing both, different from episodic one off television where you don’t exactly have to tune in. We want each episode to be very essential to the story so that if you miss an episode, the story wouldn’t make sense. We build so that it’s a season of television, very much a cohesive 10. Each episode changes the game somehow.

Did you learn anything interesting from watching people discover the first season?

Mensch: I think just the biggest joy was watching how the wrestling community embraced it. I think that was the community that we were the most uh-oh, we’ve done our best to be as reverential as we can and honor this thing that we’re stepping into. But then for all we knew, we were doing it wrong and we were going to piss the wrong people off. So while all these reactions felt great, that was the one that was the biggest surprise. It was a really satisfying exciting thing to see because it could’ve gone the other way.

Did it mirror the reaction to the actual G.L.O.W. when people discovered they were really good at it?

Mensch: Well, unlike the original, I don’t think people were thinking we were going to create a cheesy sexual show. I think people may have thought we were going to write a dumber show that’s just surface level about how funny the ‘80s were and how campy the show was. I think the thing hopefully that surprised people was how much we were sneaking in a lot of big ideas and a lot of nuanced grounded characters and how we wanted you to care and not just look at it on the surface. I think that was our version of the surprise for people.

Are you careful and picky with your ‘80s references like Nerds candy?

Mensch: Oh yeah, for sure.

Flahive: I mean, I think we always went in saying, you see it reflective I hope in the look of the show where we didn’t want to be hitting you over the head with ‘80s anything. And that when we did something that felt, even with our song choice, like when we go iconic, it’s very deliberate. We didn’t want it to be a neon factory of scrunchies and neon and every ‘80s hit you’ve ever heard in your life in one episode. It’s definitely something we are careful to meter out.

Mensch: We’re also aware of exactly what month in 1985 we were in for every minute of season one so that for example, when we were boarding out the end of the season and we know we needed the TWA flight and Sam going to the movies and seeing Back to the Future, we needed them to be in the same area. We worked so hard to look at that timeline and get them as close as possible, because in our version of 1985 it needed to make sense.

Flahive: I think when songs are in the radio or used practically in our show, like when the girls ride away in that limo at the end of season one, they’re playing that Howard Jones song that was in heavy rotation at that time. I think it is one of those things that being authentic with the ‘80s is important to us and I think that dictates how we reference the period.

Is the timeline less specific in season two?

Flahive: No.

Mesnch: No, you just may not know it but we are very aware of it. In every episode, we know in what week, what month it is. I think we don’t try to hit the audience over the head with it so that they’re paying attention to our timeline but we are. I think if you pay attention it will make sense.

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