All this and barely anything has been said about the brilliantly vicious humour and the show’s violent way with decimating a stereotype or twelve. No, everyone’s talking about the songs. And no wonder. In the opening few episodes, you get knockout covers of soft rock anthems to contemporary classics. There’s the awe inspiring end-of-pilot version of Journey’s Don’t Stop Believin’, which gives it the full Broadway-with-balls treatment. It’s the series’ calling card and in three minutes of big gob vocals and geek out guitar solos encapsulates the show’s deft handling in taking the uncool (Journey), the corny (musical theatre), and the clichéd (a narrative about freaks and geeks coming good) and makes it something more. In mixing the cool with the uncool – a white boy doing Golddigger and a karaoke take on Heart’s Alone – the show effortlessly slices through any charge of guilty pleasures and simply becomes a big ol’ fashioned musical knees up with brains and brawn.