Worldcon 2024 starts next week in Glasgow! The full programme was released today. Here is where you can find me, if you're going to be at the convention in-person.
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we're not kids anymore.

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Jules of Nature
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Love Begins

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@reachingforthevoid
Worldcon 2024 starts next week in Glasgow! The full programme was released today. Here is where you can find me, if you're going to be at the convention in-person.
Empire of Death
I watched this on 23 June 2024, the day after it first aired. An observation: white cis men are terrible with spoilers on social media. Use a consistent hashtag, ffs, so people can mute your nonsense.
Anyway, we begin with a tiny recap. Not sure what the point of that was, but ho hum.
Dust of death, eh. Better title for the episode. I feel curiously detached from apparent mass deaths, mostly I think because no one reacts to it. It’s all very dull, especially after last week's episode.
Oh. The other TARDIS interior suddenly makes more sense. Heh. Nice tie-in to a bunch of sweet iPlayer introductions to old stories. History and memory, memory as history. That’s cute. As is the wee clip from Pyramids of Mars. And is that a reference to the infamous hand of Sutekh?
So, um, is Mrs Flood “the Narrator”?
“When I was 26, I went to Indonesia and the Philippines to do research for my first book, No Logo. I had a simple goal: to meet the workers making the clothes and electronics that my friends and I purchased. And I did. I spent evenings on concrete floors in squalid dorm rooms where teenage girls—sweet and giggly—spent their scarce nonworking hours. Eight or even 10 to a room. They told me stories about not being able to leave their machines to pee. About bosses who hit. About not having enough money to buy dried fish to go with their rice.
They knew they were being badly exploited—that the garments they were making were being sold for more than they would make in a month. One 17-year-old said to me: “We make computers, but we don’t know how to use them.”
So one thing I found slightly jarring was that some of these same workers wore clothing festooned with knockoff trademarks of the very multinationals that were responsible for these conditions: Disney characters or Nike check marks. At one point, I asked a local labor organizer about this. Wasn’t it strange—a contradiction?
It took a very long time for him to understand the question. When he finally did, he looked at me like I was nuts. You see, for him and his colleagues, individual consumption wasn’t considered to be in the realm of politics at all. Power rested not in what you did as one person, but what you did as many people, as one part of a large, organized, and focused movement. For him, this meant organizing workers to go on strike for better conditions, and eventually it meant winning the right to unionize. What you ate for lunch or happened to be wearing was of absolutely no concern whatsoever.
This was striking to me, because it was the mirror opposite of my culture back home in Canada. Where I came from, you expressed your political beliefs—firstly and very often lastly—through personal lifestyle choices. By loudly proclaiming your vegetarianism. By shopping fair trade and local and boycotting big, evil brands.
These very different understandings of social change came up again and again a couple of years later, once my book came out. I would give talks about the need for international protections for the right to unionize. About the need to change our global trading system so it didn’t encourage a race to the bottom. And yet at the end of those talks, the first question from the audience was: “What kind of sneakers are OK to buy?” “What brands are ethical?” “Where do you buy your clothes?” “What can I do, as an individual, to change the world?”
Fifteen years after I published No Logo, I still find myself facing very similar questions. These days, I give talks about how the same economic model that superpowered multinationals to seek out cheap labor in Indonesia and China also supercharged global greenhouse-gas emissions. And, invariably, the hand goes up: “Tell me what I can do as an individual.” Or maybe “as a business owner.”
The hard truth is that the answer to the question “What can I, as an individual, do to stop climate change?” is: nothing. You can’t do anything. In fact, the very idea that we—as atomized individuals, even lots of atomized individuals—could play a significant part in stabilizing the planet’s climate system, or changing the global economy, is objectively nuts. We can only meet this tremendous challenge together. As part of a massive and organized global movement.
The irony is that people with relatively little power tend to understand this far better than those with a great deal more power. The workers I met in Indonesia and the Philippines knew all too well that governments and corporations did not value their voice or even their lives as individuals. And because of this, they were driven to act not only together, but to act on a rather large political canvas. To try to change the policies in factories that employ thousands of workers, or in export zones that employ tens of thousands. Or the labor laws in an entire country of millions. Their sense of individual powerlessness pushed them to be politically ambitious, to demand structural changes.
In contrast, here in wealthy countries, we are told how powerful we are as individuals all the time. As consumers. Even individual activists. And the result is that, despite our power and privilege, we often end up acting on canvases that are unnecessarily small—the canvas of our own lifestyle, or maybe our neighborhood or town. Meanwhile, we abandon the structural changes—the policy and legal work— to others.”
- Naomi Klein
“Climate Change Is a Crisis We Can Only Solve Together” The Nation 17 June 2015
(updated link as of March 2024)
Doctor Who: The Legend of Ruby Sunday
I watched this on 15 June 2024, the day it first aired.
We begin over London with the TARDIS careening overhead, skidding to land in UNIT’s HQ. Yay that Rose Noble is there, and Kate. And Mel! Love her orange scooter.
Another tech-bro story! Or, tech-sis, for a first. Glad they recognise the fact that this type of villain has happened quite a few times in the show’s 60+ years.
Snigger at the Doctor flirting with the buff Colonel Ibrahim.
Oh, that voice. THAT voice. And it is. OMG!
Ooh, I really enjoyed this one. Love all of the wordplay in it.
Doctor Who: Rogue
I watched this on 11 June 2024, the day after it first aired.
1813, Bath, England. Two men talk about someone else, and a duel, and then one absorbs the lifeforce of the other. After the credits, we join the Doctor and Ruby at a dance. Intrigue appears almost immediately, of course.
I guess, if you’re into Bridgerton then this would provide lots of ah and ooh moments, and the joke is marvellous. The other references are fun, too, like to Dungeons and Dragons, and Strictly Come Dancing. There’s some fun lines and mystery, and the costumes are impressive. Nice to have Kylie Minogue back, too.
It’s a good episode, but I am not the demographic for it, and that's cool.
Doctor Who: Dot and Bubble
I watched this on 4 June 2024, a few days after it was first aired. I was away over the weekend at the fabulous Cymera SFFH Festival in Edinburgh and my brain was a tad fried yesterday. But, we are in the future so this shouldn’t matter.
We begin with a blonde in bed, immediately logging into some kind of futuristic social media. Not sure why it’s reminding me of the opening sequence of Barbie.
Then the Doctor arrives on screen, warning of danger… only the pop toonz are pulling Barbie's attention, and the lure of social media. Bad things are happening… with what seem to be tractators… and Ruby sneaks her way into Barbie's bubble. Ruby looks like she fits right in, even though she doesn’t.
This looks superficial, but really isn’t. This is a horrific society with everyone being told what to do and so dependent on that. It’s another anti-tech-bro tale, only this time it’s the tech that’s wrong, and the society that loves this type of tech and feed off it and on it.
It’s a feature, not a bug… or is the bug the feature? Whatever. Delusional arrogance is a hell of a drug.
Oh. Just saw the news about William Russell’s death. Never met him, but all reports from those who did say what a lovely man he was.
Doctor Who: 73 Yards
I watched this on 26 May 2024 on iPlayer. Yes, a day after it first was released. What of it?
I love the Doctor’s nod to Sarah Jane’s Smith outfit from The Sontaran Experiment… then, ooh, that’s a neat way to get the mystery started. Ruby’s panic at the figure gesturing to her at a strange yet consistent distance. Then a stranger who Ruby thinks she might have seen before. Hmm. It is actor Susan Twist, again... The snow is menacing this time, rather than a signal for joy. Ahhh, part of the building mystery. Forgive my obscuring language; I don't want to give spoilers.
There’s interesting stuff in the pub—a neat question about the year it’s set in. The mounting tension and horror is great, as is the way it’s punctured. A neat bait and switch, there. Nice. Oof, the stuff about Ruby and her mother. Gut punch territory. Then UNIT running away. The timing of this story coming days after Rishi Sunak announcing a general election is fun.
Heh. Pretty good bit of Welsh folk horror and overall arc clarity.
Doctor Who: Boom
I watched this on 11 May 2024, when it was first shown on BBC1. I watched it on iPlayer, though. Welcome to the future!!
We begin in a war zone, with clergy-soldiers—ordained Anglicans. One of the soldiers has his eyes bandaged, and he’s in regular contact with a girl. His daughter. Bad things happen, but I’m not going to say what. Spoilers, sweeties!
The Doctor and Ruby arrive, and the Doctor dashes out to help, and steps on a landmine.
After the surreal campness of the last few stories, this one is relatively brutal. It’s the story in which Ruby gets to learn that it’s not always fun and games. It’s a timely story, in many ways, all about the commercialisation of war and the impact of that on human beings. It also shows the inhumanity of AI as a memorial device, balanced out by a message of faith and love and memory.
The Health Secretary has said that transgender hospital patients in England may be banned from being treated in female- and male-only wards.
more fucking petitions because this clown car country cannot stop with the bigotry for 30 seconds
uk people it takes 5 seconds and you checking your email to verify
everyone else: rebloge please
As of Sunday 12th May, this petition is at 1,897 signatures.
“At 10,000 signatures...
At 10,000 signatures, government will respond to this petition
At 100,000 signatures...
At 100,000 signatures, this petition will be considered for debate in Parliament”
Doctor Who: The Devil's Chord
I watched this on 11 May 2024, when it was first shown on BBC1.
We begin in 1925 during a music lesson, which is interrupted by the Maestro, a new villain with ties to the past—both recent and longer ago. Fabulous lead into the theme tune, too, and out again. Nice touch.
Then we meet the Beatles in 1963… and Cilla Black… and nothing is quite what it should be. Well, of course. This is Dr Who!
Something tells me there’s more to this story than it appears… and it’s packed to the rafters with stuff.
Little touches like the trans colours in the TARDIS, and Ruby’s casual mention of her queer friends do make me smile. Jinkx Monsoon is fabulous as Maestro. I hope we see them again.
This is a delightful, if pointy, take on the risk “generative AI” poses on human creativity and art, or that Apple ad—how prescient given when this story was made.
Doctor Who: Space Babies
I watched this on 11 May 2024, when it was first shown on BBC1. I could have watched it earlier, but chose not to.
We begin where we left off at Christmas time… which seems like ages ago. Ruby enters the TARDIS, and I adore the new take on first travels – I wonder how many times the Doctor has mucked about to save companions on their first error? I also love how we haven’t forgotten what happened during the last few years.
We are quick to an adventure and danger… and babies. Lots of babies. Who can talk. And a mystery, with a dystopian twist to it. Not to mention a few metatextual nods, especially about storytelling conventions.
Enjoyed how this story mixes the domestic (Ruby calling her mother) and SFnal (she’s a long way away from her mother and the Doctor’s tech is wild).
RTD is very good at reintroductions, and introducing the basic concepts—essential for new viewers and rapidly fast for old hands to not get bored. The main story is a terrific hoot with serious moments.
News
📚🎉 The e-book of my novel, The Disinformation War, is out today on Kobo, Amazon Kindle, etc.
Happy and prosperous Lunar New Year!
新年快乐
Chúc Mừng Năm Mới
🧧 🐲
News: BSFA Awards long list is out
🎉 The long list for the British Science Fiction Association (BSFA) Awards is out. Congratulations to everyone on it, and it's an honour to be among this amazing list.
If you want to explore recent works in the field, then do have a look. And if you're thinking about nominations for the Hugo Awards, many of these will be eligible.
If you are a member of the BSFA and would like to vote for The Disinformation War in the Best Novel category, then you have until 23:59 GMT on 20 February 2024 to cast your votes.
Reading for Uncanny Magazine 2023 Favorite Fiction Reader Poll?
Try the short story "Waystation City" by A. T. Greenblatt!
Click on the link below!
I was finishing the last of my nightly coffee when the nineteen-seventies twins approached my table and asked me to bear witness to their di
Doctor Who: The Church on Ruby Road
I watched this on 25 December 2023 when it was first shown on BBC1.
We begin with a voice over on a snowy night with a woman dropping a baby girl off at a church. The Doctor is a witness. 19 years ago… which makes it 2004.
Then, in December 2023, Ruby Sunday, the baby in the pre-credits sequence, is being interviewed by Davina McCall about Ruby being a foundling. The wheeze is they’ll take a DNA sample to try to find her family. Setting up a mystery there…
There are creatures on the set, causing mischief. A few days later and Ruby is performing at a Christmas gig when she sees the Doctor in a tight top and kilt. There’s more shenanigans going on. When Davina McCall calls Ruby about the lack of results for the DNA tests, she says she’s suffered a terrible run of bad luck, and then a Christmas tree collapses on her. But Ruby has greater problems… a new foster baby is stolen by a goblin…
This is a terrific romp. Daft and silly and exactly right for Christmas evening. And, continuing a trend set during the Steven Moffat years, the Star Wars vibe is strong with this one. Seriously, the goblins are like evil Yoda’s and the goblin king is like Jabba the Hutt.
We welcome Millie Gibson as Ruby Sunday—what a delight.
And, my gosh, Ncuti Gatwa owns the role immediately. This story cements it.