Netflix's GLOW Season 2 Trailer Has Dropped And It Seems The Girls Are Set To Bodyslam The Old-Fashioned Sexism That Killed The Show In Real Life

The Glamourous Ladies Of Wrestling are tackling a very real world issue in Netflix's awesome retelling of the ‘80s cult phenomenon.

Praise be to the Netflix Gods who finally decided to release the full Season 2 trailer of GLOW – the streaming network’s underrated yet critically acclaimed (and totally bingeable) series.

The powerful first season of GLOW saw a motley crue of female characters coming to terms with the realities of working as struggling actresses in Los Angeles during a time where most the on-screen roles for women were extremely limited in their range.

As a result, the women are left to decide whether they want to take the opportunity to work as the first female wrestlers on television, and confront all that comes with a show that’s premise is based off half-naked women fighting each other for the enjoyment of male viewers…

Not exactly the dream job they were all hoping for.

Season 2 goes one step further.

This year, these glamorous and ass-kickin’ ladies will deal with the highs of newfound fame, and the lows of being threatened with a cancellation in favour of a men’s wrestling show instead.

From what we can tell it looks like Ruth (Alison Brie) has to decide between accepting or denying unwanted advances from a thirsty male executive, which is when the show’s future becomes uncertain.

Instead of focusing on the victimisation of these female characters, it looks like the producers of GLOW have taken the empowerment route instead, with the girls hatching a plan to move past the setback and come back stronger than ever.

If only that were the case in real life.

The original Glamorous Ladies of Wrestling series from the late 80s led to over-night success for the female stars, but after an unexpected cancelation in 1990, these women were left injured, without work, and for the most part – without any form of support from the network.


It was a sad end to a show that brought many of these women together and gave them a home and community when many of them had nothing else.

Here’s hoping GLOW Season 2 can respect and honour the memory of these women, while still providing viewers at home with another insanely bingeable season.

It’s Been Two Hot Seconds But Netflix Is Already Turning That Viral Story About Socialite Scammer Anna Delvey Into A New Series By Shonda Rhimes

Tbh, it's not all that surprising considering we haven’t seen a scam this good since the Bling Ring robbed Paris Hilton with her own set of house keys…

She was the faux socialite who tricked New York’s elite into bankrolling her extravagant lifestyle, but when Anna Delvey’s story went viral, a world beyond the Big Apple started paying attention

Delvey (whose real name is actually Anna Sorokin) fleeced banks, businesses, friends, and New York’s ‘it’ scene out of thousands of dollars by claiming to be a German heiress (she is in fact from Russia).

When she was eventually nabbed by the authorities, she was charged with grand larceny and theft and is currently being held in prison without bond.

Oh, and her plea hearing? It was held the same day as Weinstein’s first court appearance, which also happened just across the street…

While it was always a safe bet that a streaming network or film distributor was eventually going to pick up the rights to the story, no one thought it would happen this quickly.

Luckily for viewers at home it’s not just any ol’ company who’s nabbed the juicy rights to this fascinating tale of deception and decadence.

Netflix have jumped on board with the one and only Shonda Rhimes in tow to develop the story.

According to Deadline, this is Rhimes’ first project for the streaming network since leaving ABC.

Helping her along the way will be the writer of the original article, Jessica Pressler.

Although the story is pretty darn intriguing and will most likely have viewers glued to their screens, there’s always a risk when adapting these particular tales for the big or small screen.

How do you tell a story like this without glamourising the events or inadvertently turning Delvey into the celebrity she had always pretended to be?

Notoriety in this instance is inevitable.

Those watching her story unfold on screen will get their true crime fix with a splash of Gossip Girl and a dash of The Bling Ring, as they sit back and watch her fleece thousands of dollars from people so rich they barely notice the money’s missing.

What’s not to love about that?

Maybe Delvey’s the anti-hero we’ve been waiting for? Or perhaps she’s just a con-artist with an obsession with Instagram in a world that perpetuates the culture of influencers, likes, and followers?

What about Delvey’s recent surge in popularity? Will affect or influence her future court appearances?

Maybe the joke’s on all of us and this sudden global interest in Delvey’s life is all part of her best con job yet?

You bet your bottom dollar it is.

Netflix Can’t Seem To Buy Any Of The Films At Cannes But Is Anyone Really Looking For A Three Hour Art House Epic To Netflix And Chill To?

Survey says…. No.

To quote the inimitable Bobbi Flekman during one of her finest performances in Spinal Tap, “money talks, bullsh*t walks”.

But this week the Cannes Film Festival turned this tried and tested motto on its head when Netflix lost out on three potential major deals to individual distributors – all who had offered significantly less moolah at the bargaining table.

Everybody Knows, the opening night feature starring real-life husband and wife team, Javier Barden and Penelope Cruz said ‘see ya’ to Netflix and ‘hello’ to Focus – as did the Mads Mikkelsen film Arctic and the drug-drama Birds of Passage.

But does it really matter? Is anyone really that bummed that we can’t sit down to binge watch the top Cannes film selections from the comfort of our couch?

Do we need Cannes and their antiquated rules, policies, and regulations?

The Netflix vs Cannes drama has been playing out on the world stage ever since Netflix announced they would debut movies on their platform before allowing them to hit movie theatres first.

A new rule was then put into place at Cannes stipulating that for a film to be part of the competition, it had to have theatrical distribution in France.

French law also rules that there needs to be a three-year period between a film’s theatrical release and its debut on a streaming service.

Netflix retaliated by removing all of their titles from the festival, and now here we are.

So, why is this all such a big deal?

Well, when Netflix acquires a movie and its worldwide rights at Cannes, the film loses out on a theatrical release and any other additional forms of revenue a movie would typically be exposed to.

This means distributors are left to decide whether it’s better to hold out for a theatrical release than it is to sell to Netflix – the festival’s most powerful buyer.

Netflix’s current catalogue of movies might not include all the art house films that Cannes features each year, but you know, that’s not actually why anyone actually watches Netflix.

We watch it to binge, we watch it to relax after a hard day at work, we watch it to tune out and lose ourselves in a series that has the capacity shape the popular culture discourse for a season at a time, we watch it to find films and series tailored to our own personal tastes, and sometimes, we literally watch it to Netflix and chill.

Cannes and some of the festival’s more notable directors might be upset about missing out on a theatrical release in favour of the ‘straight to video’ reality that is Netflix in 2018, but people aren’t going to the movies like they used to.

They haven’t been for years.

The impact of a theatrical release is not the same as it once was.

The bulk of viewers these days are home on their lounges in their daggy tracksuits where they’re comfortable and they don’t have to pay through the nose for content.

That’s why Netflix is so dang popular. We decided a long time ago that we wanted an alternative to spending $22 at the movies to see one film.

Many of the films screened at Cannes aren’t always distributed to every cinema anyway. Sometimes the audiences that want to actually see these films at the movies still miss out if they live in rural areas or areas outside of major cities. Netflix removes that problem.

Netflix (along with all the other streaming platforms) is the distribution model of the future, and while Cannes is a prestige environment that generates film buzz, it’s only a matter of time before streaming services become genuinely ubiquitous and we all start consuming all our films (including arthouse films) through the streaming medium.

Streaming platforms like SBS on Demand are perfect examples of the continuous move from theatres to lounge-rooms.

In Australia, it’s the go-to platform for all the free art house films you could point a shiny monocle at.

Why? Because it’s the only way this content reaches thousands of people and actually gets watched.

Come on Cannes, it’s time to wake up to yourself.

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