The Doctor and Lucie visit 19th-century Sweden and become embroiled in an attempt to steal the infamous Black Diamond.
The Doctor and Lucie visit 19th-century Sweden and become embroiled in an attempt to steal the infamous Black Diamond.
GRAND THEFT COSMOS
Eddie Robson has quietly emerged as one of the best Big Finish writers. Of course, when I say “quietly” I’m speaking from my own perspective: he never announced his presence with a landmark release like “Spare Parts” or “The Holy Terror,” and he doesn’t yet strike me as a defining voice in the Doctor Who world, but he has quickly become one of the most reliable sources for hugely-entertaining, tightly-plotted scripts. And that’s exactly what we get with “Grand Theft Cosmos” — a delightful sci-fi farce of the heist genre, complete with returning “villains” and a train robbery, and a continuation of the incredibly lighthearted McGann “season 2.”
Robson’s script is exceptional, in its way. The dialogue is as good as any you’ll hear, with hilarious exchanges between the characters, an excellent grasp of the regulars, and carefully-drawn supporting cast members. We haven’t seen the Headhunter (Katarina Olsson) or Karen (Louise Fullerton) since the Human Resources two-parter, but they’re just as good now: Olsson carrying exasperation throughout, matching Fullerton’s slightly-naïve enthusiasm. There’s a moment oft-quoted in reviews for good reason — “there are bits of roof in my wine” — a fun monster, and an offhanded approach to technobabble that would make the new series proud. It almost goes without saying that Robson has the eighth Doctor mastered — McGann sounds absolutely exhilarated to be reading these lines – and the Doctor’s relationship with Lucie is at its softest and most fun. I’m also reliably informed that Lucie referring to herself as “Palmer-Tomkinson” is hilarious — I’m guessing this is another instance of my American ignorance.
Yet for all the deserved praise I’m heaping on the script, I can’t bring myself to give it a perfect score — because of my one complaint, its inability to take itself seriously. Slight digression: I think Doctor Who loses something when it veers into total comedy, and here, the threat is never viewed as such, the villains are barely dangerous, and the Doctor resolves the situation with little to no effort. I feel the same way about “Grand Theft Cosmos” that I do about “The Horns of Nimon” or “The Creature from the Pit” — it’s hilarious, a delight to listen to, but it’s lacking any sort of dramatic conflict. I love the suggestion that the Doctor has been destroying Tardelli’s artwork throughout history, but we’re never shown why, apart from a comedy statue monster. It’s why we remember “The Pirate Planet” — not for the excellent Douglas Adams humor, but for the confrontation in the trophy room.
Nonetheless, this is fine entertainment. The orchestral score by ERS, as well as their usual excellent sound design, complements the tone perfectly, and Barnaby Edwards continues to show a deft hand directing these fast-paced scripts. If you want a perfect example of a Doctor Who comedy story, an entertaining heist caper, a witty script from one of the best audio writers going, and the best release thus far in the McGann second season, look no further. Just don’t expect anything serious.
Excellent.
9/10