Glee

When it takes shows explicitly set on other planets, in other universes and in alternate realities to consistently bring us complex female characters not hemmed in by sexist narrative conventions, it is time to take a look at what's going on in shows set on this planet.

Due in no small part to a summer-long marketing campaign complete with the newly-de-rigeur Twittered event, everybody's been talking about the new show called Glee.  Produced by Ryan Murphy of Nip/Tuck fame, it lets everybody live out that fantasy high school experience of gaining fame and popularity while joining - I know you're in suspense - the Glee Club.  Glee is the hot new thing so far this season, and has given work to some pretty darn good performers, including Lea Michele (late of Broadway's Spring Awakening), Jayma Mays (completely adorable if hurtling towards Poor Man's Red-Headed Zooey Deschanel territory) and Jane Lynch (who should be in everything ever).

The pilot episode aired in May this year, and felicitously closed with a rendition of Journey's "Don't Stop Believin'" that rescued it from eternal association as the song that accompanied the letdown of The Sopranos' concluding moments.  Unfortunately, if the second episode, which aired last Wednesday, is any evidence, it's all downhill from here.  The advertising campaign, as is so often the case, is far more clever than the show itself.