📝5/10

Thworping through time and space, one adventure at a time!

"The Space Museum: A Glitch in Time"

A year after cautioning us about meddling with time, Doctor Who embraced its first true "wibbly-wobbly, timey-wimey" adventure with The Space Museum (1965). While the serial opens with intriguing ideas and a hauntingly experimental tone, it quickly devolves into corridor-chases and half-hearted alien drama.

The Thrills of Episode One

The standout feature of this story is undoubtedly its first episode. Much like The Edge of Destruction (1964), it experiments with alternate timelines and dimensions, diving into heady sci-fi concepts through the lens of "time and relativity!" The suspense builds beautifully, culminating in one of the series’ most memorable cliffhangers: “Yes, my dear. And we’ve arrived!” This eerie moment, which shows the crew as museum exhibits, sets up a tantalizing mystery—how can they change a future that seems inevitable?

A Fascinating Premise Left Unexplored

The serial raises compelling questions about fate and whether one’s actions can prevent—or trigger—predestined outcomes. The revived series might call such events “fixed points in time,” but The Space Museum plays with ambiguity, creating an unsettling sense of inevitability. Unfortunately, the brilliance of this concept fizzles out after the first episode.

Corridor Chaos and Stagnant Aliens

What follows is three episodes of the TARDIS crew running, hiding, and sneaking around sterile corridors while trying to outmaneuver their fate. Instead of diving deeper into the rich sci-fi ideas introduced in Episode One, the story devolves into filler.

The subplot involving warring alien factions—the cowardly Moroks and the whiny Xerons—is half-baked and utterly forgettable. The Moroks’ clunky, exposition-heavy dialogue makes them feel more like caricatures than threats, while the Xerons come across as rebellious teenagers rather than compelling freedom fighters.

The Doctor and Companions Shine

Amid the lackluster plot, the regular cast delivers stellar performances. William Hartnell is in top form, portraying the Doctor as both clever and mischievously funny. His confrontation with Lobos in Episode Two and his cheeky hiding spot inside a Dalek shell are standout moments.

Ian (William Russell) channels his inner action hero, gleefully wielding a prop gun and taking charge of the revolution. Barbara (Jacqueline Hill) remains resourceful and composed, even as her cardigan becomes a plot device. Meanwhile, Maureen O’Brien’s Vicki grows into her role, charmingly inciting a revolution among the Xerons. The camaraderie and teamwork among the TARDIS crew elevate an otherwise tepid story.

Production Misfires

The visual and conceptual design of The Space Museum leaves much to be desired. The planet Xeros is bland, the museum’s barren interiors lack alien intrigue, and the model work feels uninspired. Even the Moroks and Xerons look like budget knockoffs from Star Trek.

However, the incidental music stands out as a highlight, blending ’60s thriller vibes with a sci-fi edge that gives the story some much-needed atmosphere.

No Stakes, No Payoff

While the plot hinges on the crew racing against time, there’s little urgency or escalation. The revolution subplot drags, and the climactic resolution feels rushed and unsatisfying. Instead of building to a thrilling conclusion, the serial fizzles out, leaving the audience waiting for the next adventure.

The Space Museum starts with a brilliant premise and an unforgettable first episode but squanders its potential with uninspired execution and lackluster pacing. While the regular cast shines, the underwhelming alien conflict and stagnant middle episodes make this a missed opportunity. A fascinating idea, but not one that stands the test of time.

RANDOM OBSERVATIONS:

• Ian’s clever use of Barbara’s cardigan as a breadcrumb trail is a delightful moment, made even better by Barbara returning the favor in the next story with Ian’s cardigan.
• The museum’s barren aesthetic feels more "budget cut" than "alien mystery."
• Glyn Jones' dialogue for the Moroks is a missed opportunity—clunky and overly expository, it drags the story down.