First day of press tour is done, and tomorrow I dive into the waters of MSNBC, Bravo, and SyFy. More to come, but here were the best and worst trends from NBC’s presentations today:

Worst: Big Scary Lesbians. NBC has two pilots where plots appear to be motivated by the presence of outsized, aggressive lesbians. After her lovely work on Glee, Dot Jones deserves far better than to be cast as a butch lesbian who sexually harasses Laura Prepon while they’re both in lockup on Are You There, Chelsea? And the heavy lesbian contractor who gets passed over in favor of a hottie love interest for the main character on Bent manages to simultaneously reinforce stereotypes about lesbians, and about women and home improvement.

Best: Support for Working Mothers. Amanda Peet mentioned at the Bent panel that NBC had been wonderful about accommodating and supporting her being a working mother during production of the show. Debra Messing says of her character on Smash, “The hero’s a woman who is very passionate about her creative life and needs that part of her life fulfilled, but also is a proud mother who has that home life and wants that part of her life fulfilled. The way Theresa writes, there’s such richness.” Not that we need aggressive emphasis of characters HAVING IT ALL constantly, but it’s nice to hear that the network practices off-set some of the better things it preaches on-screen.

Worst: Uncertainty. Bob Greenblatt doesn’t know when Community‘s coming back. No one knows when Awake will air. Scheduling’s not easy, we know, but stop torturing us here.

Meh: Alcohol: It sounds like the drinking on Are You There, Chelsea? will get tired quickly, but J.B. Smoove as an addict in recovery? That could be intriguing territory. Television’s got a lot of serious drinkers, but fewer people showing us what it’s like to live in a world where most people treat drinking as if it ranges from no big deal to the linchpin of their social lives.

Best: A lack of sniping. NBC may have to fight its way back to the top, but the network seems aware that it’s not close enough to its rivals to tear them down. The folks behind Smash acknowledge that Glee opened the door without slagging anything they don’t like about it. Bob Greenblatt was blunt about the network’s need to find its own way without complaining that his rivals are being wrongly rewarded for less risky programming. When The Voice criticized its rivals, it was on substance and format, which is fair game. NBC’s biggest asset is the fact that people want to like it. It’s clear they have no intention of relinquishing it.

Maybe we should all blame Judd Apatow, but I find the way Hollywood handles older virgins kind of fascinating, something that came up again earlier today in the panel for Are You There, Chelsea?, the new NBC comedy for alcoholics with a lot of rage at their families*. A lot of the time it’s just the amazement that people have made it past whatever arbitrary age—18, 25, 40—without having sex. And sure, there are not a ton of older virgins, but they’re hardly mythical creatures. Sometimes, it just doesn’t happen for people.

But more to the point, there’s the idea that if someone is a virgin at an advanced age, they need to be fixed, as if virginity is inherently a flaw or the result of someone being damaged. Sometimes, as The 40 Year Old Virgin put it, sex jus doesn’t happen for people. That movie was probably the most positive way to spin that particular kind of plot arc—Andy wants to have sex, but after some bad experiences, has essentially stopped trying. That it hasn’t happened isn’t really his fault, and he’s not an inherently damaged person. The advice he’s given turns out to be mostly BS, too: there is no secret code for getting with women or having satisfying sex. He just has to find someone he feels comfortable with.

That hasn’t exactly been the case with television recently, though. Glee‘s played out Emma as an incredibly damaged person who does bad things to other people by virtue of refusing to fix herself. I don’t know what will happen in the upcoming arc where Will proposes to her. But the show has not exactly handled her with delicacy and empathy. Now, Are You There, Chelsea? is going to have its bitter, alcoholic party girl rooming with another late-twenties virgin, Dee Dee, who I am informed by the network no longer has her eyes pop all the time. Lauren Lapkus, who plays Dee Dee explains: “She has really strong morals, religious morals. But she’s able to go with the flow. And then kind of help her open herself up in different ways. And over the course of the season she has experiences she wouldn’t necessarily have with different guys.” Which, you know, okay. I like the idea of a sympathetic religious character on network television. But I really hope they treat her as if she has something to bring to the table, rather than having her deliver moralistic sermons on subjects that Chelsea’s already made her mind up on. And as for her getting opened up to new experiences? I’m not sure Chelsea Handler, fictional or otherwise, is someone who should guide someone in a sensitive way towards their deflowering.

*Chelsea Handler’s explanation for why she’s playing a character based on her own sister? “I have a sister. Period. Her name isn’t Sloane. And we had to change her name for legal reasons, so my own family can’t sue me…Everything I’ve been accusing her of my whole life I can now reenact before her eyes.”

Watching the presentation for Fashion Star right now, at which we learned that Ben Silverman isn’t concerned about producing shows in the United States and Nicole Richie has awesome turquoise shoes, I was struck by how much the show sounds like an extension of Bravo’s brand. The way it works is this: designers compete to have their designs purchased by companies like Saks and Macys, who will have those clothes in stores the day after each episode airs, and at the end of the season, one designer will win a deal worth, in Silverman’s words “more than $6 million,” which I expect means in the expected income instead of the actual cash value of the prize.

I was working on a piece that didn’t pan out last year about Andy Cohen, Bravo’s former programming director who is now going full-time on his talk show. And at the time, the thing we discussed a great deal is the extent to which, if you have enough money, you can live in the world of Bravo’s shows. You can go to Lisa VanDerPump’s restaurants in Los Angeles. You can hire Kyle Richards’ husband (or any of the guys on Million Dollar Listing) to sell your house or help you buy one. Consultations are available with Patti Stanger if you’re looking for love. You can go to any of the restaurants where the Top Chef contestants and judges work or consult (this is totally why I went to Craftsteak in Vegas).

Fashion Star is essentially a lower-rent, fast-fashion version of this, coupled with instant gratification. I think we’re going to see a lot more of this trend, where television networks both create a compelling world and then give you a little bit of a way to live in it. Glee is particularly up front about this, and the revenue it rakes in from iTunes and concert tours will probably keep it alive even as the ratings dip.