Heads explode. Tony walks by, whistling…
Great science-fiction is frequently about
asking the ‘What-if?’ questions of life, extrapolating from where we are and
changing one thing, making one thing possible that isn’t, and seeing what kind
of world you end up in.
Instant Karma sells itself openly on
that premise – what if you could make all the annoying people pay for their
tireless campaign of making the world worse? What if you could repay the
inconsiderate git in the supermarket or bank with the bagful of penny pieces,
make them hurt for their thoughtlessness. What if you could make the driver who
cuts you up at a corner feel the impact of his behaviour, feel your anger as
pain.
What if the anger of a protest could hurt,
could even kill, the person being protested? If instead of a satirical blimp,
you could make their heart explode, or their brain melt, or you could make them
tell the truth? What if you could change
things on that level?
Would you do it?
Sci-fi with philosophical underpinnings? Big
tick, Big Finish. Big tick, David Llewelyn, James Goss and Jonathan Morris,
who, somewhat unusually, deliver instant Karma as a triple-credit.
The story itself is anchored by Tosh (Naoko
Mori), seemingly shortly after the Greeks
Bearing Gifts TV episode, when she’s recently become aware of how
her colleagues really feel about her, having briefly gained the ability to hear
unguarded thoughts.
There are two other main players that make this
a solid three-hander, Johnny Dixon as Simon (bus driver by day, self-help group
guru by night), and Sara McGaughey as Janet, who loves him, whether or not he
returns her affection.
The triple whammy writing team of David
Llewellyn, James Goss and Jonathan Morris is unusual for Torchwood at Big Finish,
but here it means that as well as the strong philosophical questions at the
heart of the action, there’s a lot of solid character background given for
Simon and Janet, which means we understand them as very different people,
united however briefly in a moment of something potentially wonderful,
potentially deadly. Simon in particular has a complicated, believable history
that we learn as he tries to get to know Tosh better. Ultimately though, Instant Karma blends a
couple of strong messages together in its storytelling. On the one hand, you
can listen to it as a parable of how anger can make you powerful, but power can
turn ordinary anger into a deadly force. And on the other, you can listen to it
as a parable about not letting anger change who you fundamentally are – if, for
instance, hurting people is wrong in one case, the wrongness or
irritation-factor of the people doesn’t change the wrongness of inflicting
pain. There are moments in Instant
Karma when Simon and Janet are on the same side, and moments when
the differences behind them, their needs, their self-soothing methods and the
ways in which they process both the anger they have and the power it brings
them show them to be very different people. And that, in the end, is what
brings the conclusion its power, as each pathway has a destination-point, and
ultimately, while Tosh may work for the super-duper secret organisation, it’s
not she who decides the outcome of events in the story. If anything, it’s she
who learns the lessons laid out for her by the examples of Simon and Janet,
and, we can only assume, uses them to get over her sent of violation and
outrage at knowing what everyone really thinks of her, to understand that
processing anger in a healthy way is a mark of individual progress, individual
conquest of the hot, powerful basic instinct to repay hurt with hurt.
Instant Karma’s a very impressive
three-hander, with both Dixon and McGauchey delivering the drama, the realism,
and the fundamental philosophical questions in persuasive and powerful ways,
and Naoko Mori working well as the actual driver of questions and learner of
lessons. Pick it up, and remember, if people are being annoying, that’s on
them. How you respond to them…that’s on you.
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