The Outer Limits: Season 1, Episode 17

Don't Open Till Doomsday (20 Jan. 1964)

TV Episode  -   -  Fantasy | Horror | Sci-Fi
7.7
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Ratings: 7.7/10 from 157 users  
Reviews: 6 user | 1 critic

A tiny space creature, bent on destruction, is captured by the scientist Mordecai Spazman. His rival, professor Harvey Kry, convinces the media that Spazman's claims are bogus. The vengeful... See full summary »

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Title: Don't Open Till Doomsday (20 Jan 1964)

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Episode complete credited cast:
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Mary Kry
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Emmett Balfour
Russell Collins ...
Justice of the Peace
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Gard Hayden
Nellie Burt ...
Justice's Wife
Melinda Plowman ...
Vivia Balfour Hayden
David Frankham ...
Harvey Kry Jr.
Anthony Jochim ...
Dr. Mordecai Spazman
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A tiny space creature, bent on destruction, is captured by the scientist Mordecai Spazman. His rival, professor Harvey Kry, convinces the media that Spazman's claims are bogus. The vengeful Spazman boxes up the invader's miniature spacecraft as a wedding gift, presenting it to Kry's son. The alien imprisons Harvey Jr. inside the ship, to force Dr. Kry to help him complete his mission. Written by David Stevens

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20 January 1964 (USA)  »

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1.33 : 1
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This episode takes place in 1929 and 1964. See more »

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Pandora's Box
18 July 2010 | by (Hollywood) – See all my reviews

At times silly, illogical, and over-the-top, none-the-less, this is a memorable episode for "Outer Limits" and Sci-Fi aficionados. The plot centers around the contents of the "Don't open till Doomsday" package that arrives as a wedding gift. The diabolical alien within resembles a chunk of misshapen, raw liver with a single eye who observes the "world" through a small porthole in its box (akin to a camera obscura device) through which it beckons humans. All of the actors give credible performances, but the "star" is obviously a spirited Mariam Hopkins who plays to the hilt the crazed Mary Kry in a performance that is often reminiscent of Bette Davis's turn as Baby Jane Hudson in "Whatever Happened to Baby Jane". Running the emotional gamut of a character who is angry, desperate, cunning, pathetic, and downright evil, Hopkin's plight is accentuated by effective, mood-appropriate studio lighting that takes full advantage of the black and white film stock.


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