“American Horror Story: Apocalypse” takes an episode to focus on Michael Langdon’s crisis of faith as he whines, kills, and whines his way to salvation. 

“What do you want from me? What am I supposed to do?”

Oh won’t you please help a desperate, needy Satanist today? The mere change in your pocket could pay for a week’s supply of brimstone for these lost souls.

As American Horror Story: Apocalypse quickly barrels towards its conclusion, its antepenultimate episode provides a heavy dose of Michael Langdon and his many dark apostles that are in need of guidance. Last week’s episode was about empowering the witches about the future and building a battle plan and “Sojourn” largely does the same thing, but from the perspective of the Satanists. Cordelia and her fellow witches actually want to improve and protect the world, whether they’re the ones that are in charge or not, whereas the Satanists are all rather petulant and just want to wipe the slate clean after they’ve been dealt bad lots. They’re a bunch of children who flip over the checkerboard when they see that they’re losing the game. These are not individuals who are fit to run the world and “Sojourn” makes that point dangerously clear.

Michael begins this episode rather crushed over his torched brethren. It’s actually the most emotion and vulnerability that he’s shown since his younger years. In response to this, Cordelia defiantly tells Langdon that he is finally alone in this world, but then he goes out and spends the entire episode proving just how wrong that theory is and that he’s actually never been more loved.

This brief encounter between Cordelia and Langdon is perhaps the best part of the episode. It’s very fulfilling to see Cordelia taunt him and play the devil in her own way as she attempts to lure Michael to join her and her coven. She pushes him to talk to his dad, question his path, and really fight for the future rather than simply be smug and powerful. Langdon turns down Cordelia’s offer, but it does send him looking for answers.

“Sojourn” doesn’t offer a glimpse at Michael’s wilderness walkabout from the previous episode, but this entry at least moves the story forward. This is basically the Michael Langdon one-man show that makes up for the character’s absence last week. Michael spends four days in the woods waiting for a sign from his father and experiences some particularly Biblical visions (although not from dear old dad). Images of divinity and Playgirl-esque Jesus figures try to tempt Michael’s spirit. It’s satisfying to see a weaker, unsure side of Michael, especially since his snarky Antichrist angle was beginning to provide diminishing returns. This material isn’t as rewarding as it may have seemed on paper. Furthermore, we know where Michael ends up post-bomb and this sojourn takes up the entire episode. Perhaps is this season had played out in chronological order then this installment would have carried greater impact.

Michael’s aimless journey takes him from the forest to the city and places him within the Sandra Bernhard-infused Satanic Black Mass Church, but he’s still just as unsure about his mission. Similarly, the Black Mass Church talks a big game and trade all sorts of sins, but they seem to be just as lost and “sinless” as Michael. They lack inspiration and it’s devastating for Michael to see such hopelessness in these disciples of his cause. This material all speaks to the growing state of Satanism in the world and why the idea of giving into this dark nature is comforting to so many people. Michael remains skeptical through this, but begins to progressively find his footing and purpose. Michael gains the ego boost that he needs here, but this Satanic church material doesn’t feel that different from the previous Satanic church material. It’s fun stuff, but it’s more of the same.

“Sojourn” certainly seems to imply that these Satanists and the Black Mass Church are either in league with the organization that will become the Cooperative, or are an earlier version of the shadow group themselves. Even before the bombs go off it’s clear that these Satanists already have impressive shortcuts throughout society and are on the precipice of something big. There’s also a brief glimpse of Paulson’s Wilhemina Venable pre-Outpost 3, but the episode doesn’t offer up much insight towards her character other than that she was on the ground floor of all of this uprising business.

It only took eight episodes, but if there’s a point where this season of American Horror Story goes off the rails, then it’s “Sojourn.” While this is far from a wasted episode (although it may be the weakest entry of the season), it does choose to spend its time in some curious ways, especially when the episode is also only a scant 38 minutes. When only two episodes in this season remain, it feels like a huge oversight to run the clock in such egregious ways.

For instance, I don’t know if we really needed Evan Peters and Billy Eichner to play two bowl cut coke head misanthropes. It actually makes the final scenes at the robotics lab feel a bit like a parody (but perhaps that’s the point) or that Murphy and company realized that they didn’t have actors for these roles on the day of filming and just threw in Eichner and Peters. Additionally, it’s not really necessary to provide such a lengthy explanation on how Michael’s Robo-Mead came into practice.

In fact, this development really only reiterates how frail Michael is during this moment. When the time came for him to lead his people and take charge, he whimpered to his new friends and demanded that they build him a new mommy. We knew that Mead’s robotic return was imminent, but there are definitely better angles for her creation. It’d also just be more interesting to see Langdon go at the apocalypse “alone,” rather than clutch onto this security blanket because the end of the world doesn’t have a “how to” guide. That being said, Michael begins this episode alone and ends it with more love and support than ever. Much like the coven, he’s ready for combat.

“Sojourn” is a frustrating episode of American Horror Story: Apocalypse that slows down the plot and provides answers to the wrong questions. Cody Fern rises to the occasion in an episode that basically functions as a showcase for him, but the rewards aren’t great enough, especially for an episode that’s this close to the end. Do we really need more disposable new characters when there are only two episodes left, and one is the conclusion to all of this? AHS: Apocalypse can still stick this landing, but they better not let these final two episodes get out of control.

“American Horror Story: Apocalypse” airs Wednesdays at 10pm (ET) on FX