Alright, American Horror Story, we need to have a talk.
Because it’s clear you’re in a bad place right now. You’re acting out for attention – we’ve all been there, trust me, here, come sit down and have this tea I made for you. I’m worried. We’re all worried. I just want to talk.
Well, I mean, uh…
This season of Doctor Who, Chris Chibnall’s first as showrunner, has often felt much like a panicked attempt to fit in every single little idea that Chibnall has ever had for his tenure on the show. And this episode, The Tsuranga Conundrum, is perhaps the primest example of that to date, in an outing that doesn’t offer the cohesive direction for the show that I’ve been craving.
For as long as I can remember, I have used things to keep me safe from the way I feel.
The question I think I have after this episode, Sojourn, is (for once this fucking season) not about the quality of the episode as a whole. It’s why, eight episodes in, Apocalypse has decided to tell its story the way it has.
Still time to squeeze in something spooky!
Well, here we are again: at the end of October, just about to tip over from “spooky season” into “really fucking terrifying season”, thanks to the fact that many of us will be taking up the hallowed mantel of National Novel Writing Month and putting our stories to the page over the course of November.
Finally, some gay shit
Look, right, okay, I get it. I know that this is an episode a lot of people are going to dislike, and I totally accept that – Arachnids in the UK, this week’s outing of Doctor Who, was about as far removed from the artful, powerful Rosa we saw last week as it could possibly be. It was silly. It plucked a plot straight from a B-movie. It featured some truly terrible exposition. The CGI was duff, the music was dumb, the moralising was stuffy.
And yet.
So, do they?
The Cutprice Guignol 