A fine speculative episode despite some obvious imperfections; it remains in the line of the scientists of season 1. As in "The Sixth Finger", the study of anthropological evolution is always fascinating but in Brady's narrow regime we never have the chance to observe the future therefore a white hand-made monster interrumpts the final stage of the experiment—actually, the look of the monster makes reference to ivory shell artefacts representing a goddess of fertility, manufactured by the ancient civilization of the Phenicians. The theme of the sub-world is the main interest of this episode which is linked to previous works: in literature, Theodore Sturgeon's "Microcosmic God" and on cinema, Jack Arnold's "The Incredible Shrinking Man" (from a Richard Matheson's novel) and the later Richard Fleisher's "Fantastic Voyage". The first episode that deals with the theme of the doppelganger via an alternate Earth and not a person. Another one takes place in the desert. The question that comes to mind is what ever happen if the people from planet Dundee launch a satelite and discover the existence of Meridith's multi-lenses camera and lab? The subtheme of the space exploration is explicit in the mouth of financier Dundee who has a Foundation by his name. For the anecdote, here's Jonathan Meridith's definition of the word "civilisation": bright lights, Champagne, dress shops, diamonds, mink coats, yachts, Monte Carlo, i.e., the "American materialistic ideal" and going back to it means to go to a romantic dancing/cocktail diner. As in "The Architects of Fear", the wife senses a danger as well as the crying wolves and in the dead of the night. Meridith and Jellicoe take pictures of the planet's stages of evolution—featuring the eyeviewer from "The Architects of Fear": a prehistoric animal (the sand shark from "The Invisible Enemy"), a landscape (the battlefield from "Soldier"), a XIXth Century town and a nuclear test for the present ("XXth Century... the refinement of evil... scientific warfare", said Meridith). Hear some Venitian music with a dominant mandolin coming out of a record player in Meridith's Hacienda. Before the entity comes out of the lab, we see lightnings over the planet—a sign of anger?—and later on, the guinea pigs die and plants get petrified. Apart from the hand-made trick, the monster is shot in a reflection of a distorted mirror (pov of people) and a vaseline-filled filter (pov of the entity) increases that effect. Meridith describes the thing as "the spirit of the place": that sounds esoteric or even pagan? Patrick O'Neil is good at portraying an exhausted professor who looks like a drunk novelist and sends home both his wife and assistant—as Tom Kagan, Meridith tape records himself. Second anecdote: notice the face of the cameraman in the mirror when Patrick O'Neil refreshes his face during Act IV. The last sentence of the end narration shows you the way to "The Probe": "... Couldn't we be under some supermicroscope, right now?" Answer: yes!