In their 80th year, the Moomins (or Moomintroll, in the original Swedish) are enduringly beloved. Alongside other legends of children’s illustration, such as Dick Bruna’s Miffy, and Charles M Schulz’s Snoopy, the Moomins can be found on keyrings, mugs and t-shirts in gift shops all around the world. But this aestheticisation of the Moomin image is a relatively modern development. Tove Jansson’s original series has nine books, in addition to several picture books and comic strips, and in the years since, there have been a number of animated TV and film iterations of the Moomin story, including 2014’s Moomins on The Riviera (dir. Xavier Picard).
The simplicity of the Moomins’ design (they don’t have mouths or noses!), and the apparent quaintness of their stories, might deceive the casual observer into believing there is little depth in Jansson’s work, but a closer look reveals a great complexity in her storytelling, with none more perceptive to this complexity than Jansson’s child reader.
After Pictureville’s screening of Moomins on The Riviera on 23 May, a panel of Moomin experts from The Conversation discussed the cultural significance of Tove Jansson’s stories, and what they referred to as their ‘quietly radical’ politics. In particular, the panel explored what the Moomin stories tell us about displacement and the refugee experience—a discussion made all the more significant by its taking place in Bradford, a city whose past and present is inextricably tied to migration.
Tove Jansson in 1954. CC BY 4.0
The Moomins came into being in 1945, with Moomins and The Great Flood. It was the story of a mother (Moominmama) taking her child on the long and treacherous road to reunite with his father. By the end of World War Two, this was, of course, a familiar experience for many, with people all across Europe rendered refugees, and this was very much a part of Jansson’s own lived experience.
It seems that the Moomins’ story of displacement continues to find a resonance among modern refugee experiences. The young Moomin’s story allows children in 2025 to engage with the refugee experience as much as children in 1945. In this vein, Moomin artwork by Palestinian artist Basel Zaraa is being displayed in Bowling Park in Bradford throughout June, as part of Refugee Week.
At Pictureville’s panel, Professor Melanie Ramdarshan Bold emphasised what separates Moomins and The Great Flood from other children’s stories of displacement. She argued that Jansson’s storytelling decentres trauma and doesn’t expect ‘resilience’ of its child protagonist.
The panel felt that this story acknowledges the role of the mother in crisis, whose job is often to protect and safely transport a child, whilst the father is already in the new place, preparing their home (whatever that might look like). Dr Isabel Joley Black discussed how Moominmama’s incredible resourcefulness across all of the Moomin stories (and her seemingly Tardis-like handbag) is in equal parts a powerful, recognisable and hilarious image of motherhood.
Dr Steve Nash praised Jansson’s aversion to a neatly tied-up plot. This tendency—alongside an illustration style that asks for so much to be interpreted with just the eyes, as discussed by Amelia Huw Morgan—respects the intelligence of child readers, and asks them to meet the story halfway. They can think actively, as they read and laugh, and perhaps learn something along the way.
Though reviewers of Moomins on The Riviera debate how well the film serves the spirit of Jansson’s original stories, there are hints of these quietly radical politics within its farcical plot. We see Moominmama creating gardens wherever she can (including the sea!), in the hopes they can be enjoyed by any- and everyone, and at no monetary cost, which speaks to how she values nature and community.
Moomins on The Riviera presents a running joke in which the Moomins don’t understand that they are expected to produce money in exchange for the lavish things they’re offered. Their inability to understand money is endearing, but also quite representative of their way of life in Moominvalley—where community, kindness and sharing make such things redundant.
At the panel, Amelia Huw Morgan drew attention to the moment Moominmama and Moominpapa are asked, “You are not rich?” to which Moominmama replies “Not in the way you understand it.” She believed this tapped into the heart of what the Moomins are about. They’ve known struggle, and their lives are simple, but they are rich in happiness, rich in family and community, and rich in love.
My name is Martha, and I am a conservator at the National Collections Centre, which houses the majority of the Science Museum Group’s collection. I have worked on a wide range of objects for the National Science and Media Museum’s new Sound and Vision galleries, and while each of them is interesting and engaging, I can’t deny that I have a strong favourite: the Mad March Hare, an animatronic from Jim Henson’s Creature Studio. Isn’t he a beauty!
The conserved March Hare head.Martha and the hare on their first meeting.
For this installment of Blog from the Basement, I am going to discuss the history of the March Hare and share the treatment process I undertook to ensure that he was ready to be displayed. Come down the conservation rabbit hole with me into a world of adhesives, colour-matching, and custom-made eyewear…
Martha at work conserving the head.
The March Hare was made by Jim Henson’s Creature Shop for the 1999 movie adaptation of Alice in Wonderland. The fully animatronic head was worn by actor Francis Wright during the tea party scene, in which the hare is seen sharing a cup of tea with the Mad Hatter. The hare’s features were controlled in real time by an operator behind the camera. Sensors attached to the eyes and lips would respond to commands from a control panel, allowing the operator to react to Wright’s movements and vocal cues. The result is intriguing but also somewhat terrifying – admittedly perfect for Alice in Wonderland.
A still from the the film featuring the March Hare.
The head itself is composed of a fibreglass frame which is covered in a latex-like foam and genuine rabbit fur. My favourite aspect is the strip of textile holding the hare’s ears back and the stalks of wheat pinned into the material; it is a small detail, but it contributes greatly to the uniqueness and visual impact of the head. During my initial assessment of the hare, I determined that while the object was in good condition overall, there were several tears and losses in the latex foam which would require treatment. The areas of concern included the lower lip, left nostril, and the thin foam of the hare’s eyelids.
The hare’s head in the conservation lab.The hare’s lip before any conservation treatmentThe hare’s nose before Martha’s conservation work.
I began the treatment process with a quick surface clean using a brush and museum vacuum. While the hare’s fur was in great condition (and, importantly, very soft to the touch), he was shedding hair everywhere! Following this, I conducted numerous tests to establish the best method of repair for the latex foam. In conservation, we aim to use the same or similar materials when treating an object. As such, my initial plan was to coat the areas of loss with liquid latex and then colour match the repair to the surrounding area through the application of powder pigment or acrylic paint. My aim was to replicate the texture and colour of the latex foam, so that my repair matches seamlessly with the original material.
Unfortunately, I wasn’t happy with the initial results and decided to take a different approach. I made a paste using finely ripped Japanese tissue and Lascaux 498, a non-tacky adhesive with a long setting time. When ripped, Japanese tissue will become fibrous along its edges; this provided the textured appearance I was aiming for. I applied a layer of the paste over the damaged areas and infilled the patches on the nose and lower lip with acrylic paint. Colour matching can be a conservator’s worst nightmare, but it is an amazing feeling when you finally mix the perfect colour for your object.
The lip area post-conservation.The result of conservation treatment to the nose area.
I have greatly enjoyed treating the March Hare head – when viewed in person, the care and attention to detail that went into its creation is evident. I am glad to have contributed to its history and ongoing future. It was also great to have the head in our lab space at the NCC – staff and visitors alike were very enamoured by him! I did receive several complaints about his eyes, however, which are slightly alarming when viewed head-on. To combat this, I made the hare a pair of sunglasses out of conservation grade foam, which hid his eyes and had the added benefit of making him look super cool (in my opinion at least).
The hare with his sunnies.
The Mad March Hare head will be displayed in the new Sound and Vision galleries, which open at the National Science and Media Museum in summer 2025. See you there!
For centuries, people have called out to the universe looking for answers—in Disney and Pixar’s all-new feature film Elio, the universe calls back! The cosmic misadventure introduces Elio, a space fanatic with an active imagination and a huge alien obsession. So, when he’s beamed up to the Communiverse, an interplanetary organization with representatives from galaxies far and wide, Elio’s all in for the epic undertaking. Mistakenly identified as Earth’s leader, he must form new bonds with eccentric alien lifeforms, navigate a crisis of intergalactic proportions, and somehow discover who and where he is truly meant to be.
To celebrate the final weeks of our iconic Exploring Space gallery on 2 June and to mark the release of Disney and Pixar’s all-new feature film Elio, we’ve put together an exciting free trail, inspired by the film, which celebrates the power of friendship and imagination.
Visitors will be able to pick up a trail from the entrance to our Exploring Space gallery and find game-changing space objects across both this iconic gallery and around the rest of the museum.
In Exploring Space, you can pass beneath suspended rockets and walk around a full-sized replica of Eagle—the lander that took astronauts Armstrong and Aldrin to the Moon in 1969 – or discover how we are able to live in space, to breathe, eat, drink and even go to the toilet.
Visitors can also study a suspended model of the Hubble Space Telescope full-size replicas of the Beagle 2 Mars lander and the Huygens Titan spacecraft – which will remain on display in the gallery until 2 June.
Go on a cosmic adventure in our Exploring Space gallery before it closes on 2 June
Having encountered breath-taking objects across the museum, visitors can shoot for the stars and submit a completed trail for a chance to win a glamping adventure under the skies in a space-inspired geodome, plus a goody bag full of Science Museum gifts.
After inspiring tens of millions of visitors for almost forty years, our Exploring Space gallery closed partially on 15 May and will fully close on 2 June 2025. But there is still plenty of time to visit so don’t miss your last chance to see this stellar gallery. Channel your inner space explorer and join us for a trail that’s truly out of this world.
The free Exploring Space Trail, inspired by Disney and Pixar’s Elio, will be available from Friday 16 May – Sunday 2 June 2025 from the Exploring Space gallery.
The undisputed granddaddy of gaming mascots turns 45 this month so here’s a look at why we’ve all been in the throes of Pac-Mania for the past four decades.
My love for the little yellow circle started in a very analogue fashion playing the MB Games boardgame spin-off at the age of five with my cousin in 1990. Ten years earlier in May 1980 Namco began public testing of its new arcade game Puck Man. Initial feedback was positive and so later that year Namco took its new title to trade shows around the world. After a quick name change (courtesy of American Execs at Midway fearing what vandals might change the title to) Pac-Man hit the arcades.
The US welcomed this new title and Pac-Man became a huge success in the growing number of arcades around the country. Within a year more than 100,000 arcade units had been sold grossing more than $1 billion in quarters. Part of the reason for this success was the universal appeal. Creator Toru Iwatani felt that arcade games at the time were often violent and appealed mainly to men. He wanted to create a non-violent game, hoping that his game would attract women and couples to the arcades. The then-revolutionary RGB colour displays allowed Iwatani and his team to create attractive characters with bright colours which helped bring new fans to gaming.
Atari adapted the Namco arcade game ‘Pac-Man’ for its Atari 2600, a console originally released in October 1977. The player uses a joystick to control the circular character, moving it around a maze and eating wafers whilst avoiding an encounter with one of four ghosts.
Pac-Man is joined on screen by a collection of ghosts who chase him around the maze as he tries to gobble up dots. Familiar to Western audiences by their nicknames the four main ghosts are Blinky, Inky, Pinky and Clyde. These ghosts were each programmed with a different personality and their Japanese names were hints to their behaviour. While Oikaké (chaser) always chases Pac-Man around the maze, Kimaguré (fickle) is fickle, chasing or ambushing Pac-Man and sometimes just wandering off.
One of many Pac-Man clones released in the 1980s – a video game ‘Gobbledegook’, by Jupiter Cantab, England, 1983. Image credit: Science Museum Group.
After his arcade success, Pac-Man was converted to consoles for home video game audiences. Over the following 45 years, there has been a host of sequels, spin-offs, rip-offs and remakes. Pac-Man has featured in over 80 games selling upwards of 43 million units, worth over $14 billion. Along the way he has entered the 3D world, featured in all number of game genres and introduced us to his family Ms. Pac-Man, Jr. Pac-Man and Baby Pac-Man. His impact has taken him outside of the world of games to star in cartoons, have hit singles, feature in films and get his own playable Google Doodle.
It hasn’t always been a story of success for Pac-Man, however. At the height of popularity in 1982 the Atari 2600 conversion was criticised for its bad-quality and odd design choices. Atari had produced 12 million cartridges but only managed to sell 7 million. This in part led to Atari’s demise, the videogames crash of 1983 and the rumoured burial of thousands of unsold cartridges in a secret landfill site.
An Atari 2600 console. Image credit: Science Museum Group.
Perhaps the biggest challenge out there for fans of Pac-Man remains the achievement of a perfect score on the original game. The game’s 256th level has a glitch making it unplayable, meaning it’s possible to hit a high score of 3,333,360 points by eating all the dots, fruits and ghosts. Fewer than ten people have achieved this on an original arcade unit, the fastest entering the record books in 3 hours, 28 minutes and 49 seconds.
With several Guinness World Records and dozens of games to his name the impact of Pac-Man, partially designed to look like a pizza with a slice missing, is huge. The sequel Ms. Pac-Man is one of the first video games to feature a female lead character and the franchise’s non-violent, colourful puzzles have made gaming accessible to people the world round. Pac-Man has served as the inspiration for games and games designers for 45 years and looks likely to continue for many years to come.
You might like to test your own skills at playing and creating a Pac-Man game. The World’s Biggest Pac-Man is an online resource where you can design your own maze and play on mazes created by others. With over half a million mazes to play on, users have so far eaten over 263 million ghosts and over 20 billion dots.
Come play through the history of Pac-Man at Power Up, the Science Museum’s hands-on gaming experience. You can find the little yellow circle and its chasing ghosts on the Atari 2600, or in one of our arcade tops if you’d like to play it 1980s style. You can also play on a contemporary Pac-Man Battle Royale Chompionship DX, an extra-large, unique take on Pac-Man where up to 8 people can go head to head to survive the maze and be the last Pac-Man standing.
The final weeks of Exploring Space bring to an end a gallery that first opened back in 1986 under the name Exploration of Space. For the best part of 40 years it has proved to be one of the Science Museum’s most popular galleries, displaying real rockets hanging from the ceiling, spacecraft and satellites, a host of other space technologies, as well as a piece of the Moon. Visitors still have a few weeks before the gallery closes on 2 June to see a replica of Eagle, the lander that took astronauts Neil Armstrong and Buzz Aldrin to the Moon in 1969, and discover how we are able to live in space, from breathing to eating to going to the toilet.
When it opened, Exploration of Space had 13 sections covering just about everything the 1980s visitor might want to know about space exploration. This was a timely topic: the Apollo missions had put people on the Moon for the first time just a few years before in 1969, Britain had successfully launched a satellite with its Black Arrow rocket for the first time in 1971, and the European Space Agency had recently launched its Ariane 1 rocket. The gallery also boasted a unique feature for the museum – a dedicated temporary exhibition area where some 30-plus displays were mounted with minimal effort over the next twenty years. Subjects ranged from spaceplanes to postage stamps and from the Hubble Space Telescope, launched in 1990, to ‘Canada in Space’.
Another star of the original Exploration of Space gallery was the Apollo 10 command module. This spacecraft, was used for the dress rehearsal of the Moon landing in May 1969. In many ways, Apollo 10 was the seed from which Exploration of Space grew. It was delivered to the Museum in January 1976 after an arduous tour of Europe. Its owner – the National Air and Space Museum of the Smithsonian Institution in the US – was more than happy for it to stay put and over the next decade two successive galleries were built around it: Exploration (1977) and Exploration of Space (1986).
In addition to the innovations in space technology which found their place in the displays, numerous changes took place in the gallery over the years for more practical purposes. The ‘Europe in Space’ section had to make way when the escalators at the west end of the gallery were replaced with lifts in the 1990s. In 2000, the entire gallery was closed so that its V2 missile and the Apollo 10 command module could be moved to the Making the Modern World gallery, where it is still on display. Shifting such large objects meant deconstructing a third of the gallery and its narratives – both of which had to be recreated. All was completed in six weeks flat.
The next big change came in 2007 when the gallery was converted into Exploring Space. There was a proper 2D and 3D design which helped bind the scattered sections together. Alas, the mezzanine level had to go . Some of the other original objects from Exploration of Space and sections stayed while new ones were introduced. We opened a new satellite section at the far end inspired by software showing all of the satellites – working and dead – then in orbit (bar the military ones!). We projected these onto a large screen where little yellow dots represented the satellites in the three main types of orbit (low, medium and high). Three touch screens allowed visitors to see which type of orbit was best for whatever you wanted your satellite to do, from weather monitoring to communication.
Then at the other end of the gallery was a section looking at the ways we explore space but without sending astronauts up there. We had a flight spare instrument from the Hubble Space Telescope and a beautiful full-size replica of the Huygens lander which carried out the most distant touch-down ever when it descended to the surface of Saturn’s largest moon, Titan, in 2005. Also displayed here was the actual CHASE instrument, built in the UK, that was flown on the Challenger Space Shuttle in 1985 and measured the relative abundance of hydrogen and helium in the Sun in order to better understand the composition of our star.
The gallery once displayed another instrument flown on that Challenger mission: the Spacelab-2 X-ray Telescope. It had been one of my favourite exhibits as it showed the actual telescope, the science it did – generating the first high energy X-ray image of the centre of our galaxy the ‘Milky Way’ – but also the stories of the scientists (from the University of Birmingham) who devised, built and operated the telescope from the ground. People often ask how the museum gets its objects. Well, the X-ray telescope was the result of a phone call from one of its scientists saying there was no more room to store it. It might go to Australia but if not would be scrapped. I said, absolutely don’t scrap it. We’ll take it.
One change in the gallery was down to President George W. Bush of the United States. For many years, first in Exploration and then in Exploration of Space, we had shown a full-scale model of Apollo 11’s lunar module – ‘Eagle’. It had been built by a company at Pinewood Studios that had worked on the James Bond film Diamonds are Forever. My predecessor John Becklake ordered the model from them, along with a glass fibre ‘lunar’ surface. Over the years the model had started to age and the museum considered removing it to make way for a new exhibit. But then President Bush committed the US to going back to the Moon. This coincided with conservator colleague Ian Miles refurbishing ‘Eagle’ to make it as good as new. The result was impressive and even admired by astronaut Dave Scott – the same Scott who collected the Moon rock also on display in Exploring Space. Buzz Aldrin was also in favour but caused some anxiety among staff when he walked onto the model’s fibre glass lunar surface to pose for photographs.
People often ask what curators’ favourite objects are. It’s a difficult question to answer as there are usually too many to choose from. But space-wise, for me, it would be a two-way race between Apollo 10 (I mean – its been around the Moon!) and the Black Arrow rocket.
The Black Arrow programme launched four rockets between 1969 and 1971 – the last placing the UK’s Prospero satellite in orbit of the Earth. The 5th rocket built for the programme was never launched, and was acquired by the museum in 1972. It had been displayed on the floor in Exploration of Space. When the V2 missile in the same gallery was moved into the Making the Modern World gallery there was a vacant ceiling beam where Black Arrow rocket could be suspended. We worked with the original team that built the rocket as we also separated its stages for dramatic (and educational) effect. I got to know that rocket really well and through it a fascinating period of UK space history usually eclipsed by the domineering achievements of project Apollo.
That Black Arrow was built and test-fired on the beautiful Isle of Wight off the south coast of England also appealed. But the rocket represented the culmination of a story that stretched back to the end of World War 2 when German scientists were brought to the UK to work on the country’s own rocket programme. Through Black Arrow one can trace a story of the country’s postwar years, its challenges, priorities and – in the case of Black Arrow – abandoned expertise.
Later this year our new Space gallery will welcome some of those old friends from Exploring Space and be joined by a few newcomers. The timing is apt. Exploration of Space and Exploring Space were very much of the original space age where space endeavour was spectacular and the preserve of national governments.
We are now well into a second space age where private enterprise is ringing the changes and raising questions about the very nature of space exploration. After the heady days of the 1960s, space lost a little of its sheen and glamour. But it is now more important than ever. We cannot do without the satellites orbiting overhead.
Space really is back on the agenda.
Exploring Space will partially close from 16 May 2025. The north side of the gallery with lots of exciting space exhibits and objects will still be available to see, before the gallery fully closes on 2 June 2025 as part of preparations for a new Space gallery which will open in autumn 2025.
Analyzing the Potential Future Trends in Dark Photons and their Implications in the Industry
Introduction:
The study of dark matter is an enigmatic field that continues to perplex scientists and researchers worldwide. One of the most intriguing proposals in this realm is the existence of dark photons, hypothetical particles that would account for the mysterious dark matter present in our universe. Recent satellite observations of solar radiation have shed light on the potential properties of these dark photons and have opened up a realm of possibilities in understanding dark matter and its implications in the industry.
Understanding Dark Photons:
Dark photons are theoretical particles that would interact with dark matter, a substance that is believed to make up around 85% of the matter in the universe. While dark matter itself does not interact with ordinary matter and light, dark photons, if they exist, would act as messengers between dark matter and the observable universe. These particles are expected to have unique properties and interactions that could revolutionize our understanding of both dark matter and the broader universe.
Satellite Observations and Narrowing Down Properties:
Recent satellite observations of solar radiation have provided valuable insights into the potential properties of dark photons. By carefully analyzing the behavior of light emitted by the sun, scientists have been able to narrow down the possible properties of these elusive particles. The data collected from these observations has enabled researchers to develop more accurate models and predictions about dark photons.
Potential Future Trends:
Based on the current understanding of dark photons and the advancements in observational techniques, several potential future trends can be anticipated in this field:
Experimental Validation: With the narrowed down properties of dark photons, researchers will focus on designing and conducting experiments to directly detect these particles. Advanced detectors and particle colliders will be employed to observe the interactions and behavior of dark photons, providing experimental validation of their existence.
Dark Matter Understanding: The confirmation of dark photons would not only validate the existence of dark matter but also provide a wealth of information about its properties and behavior. This could lead to a breakthrough in understanding the nature of dark matter and its role in the formation and evolution of galaxies and the universe as a whole.
Technological Advancements: The pursuit of dark photons would drive advancements in technology, particularly in the fields of particle physics, astrophysics, and observational techniques. New detectors and instruments capable of detecting and studying dark photons would be developed, leading to transformative innovations and potential applications in various industries.
Energy Generation: Dark photons, if harnessed and controlled, could hold immense potential for energy generation. The ability to capture and utilize the energy carried by these particles could revolutionize renewable energy sources and provide a sustainable and clean energy solution for future generations.
Recommendations for the Industry:
Given the potential future trends in the study of dark photons, it is essential for the industry to actively engage and invest in this field. The following recommendations can help leverage the opportunities presented by dark photon research:
Collaborative Research: Industry players should collaborate with academic and research institutions to contribute resources and expertise towards the study of dark photons. Such collaborations can accelerate advancements, enhance knowledge sharing, and foster a multidisciplinary approach to understanding dark matter.
Investment in Technology: Companies should invest in the development of cutting-edge technologies and equipment that enable the detection and study of dark photons. This could involve funding research projects, supporting startups in the field, or establishing research and development centers focused on dark matter exploration.
Exploration of Energy Applications: Industries related to energy generation and storage should explore the potential applications of dark photons in renewable energy. Investing in research on harnessing dark photons for energy generation could lead to significant breakthroughs in clean energy solutions.
Conclusion:
The recent satellite observations of solar radiation and the narrowed down properties of dark photons have opened up new avenues of exploration in the field of dark matter research. The potential future trends, including experimental validation, advancements in technology, and energy applications, highlight the transformative impact that the study of dark photons can have on various industries. It is crucial for the industry to actively participate and invest in this field to unlock the vast potential presented by dark photons and pave the way for groundbreaking discoveries.
Ten years earlier in May 1980 Namco began public testing of its new arcade game Puck Man. Initial feedback was positive and so later that year Namco took its new title to trade shows around the world. After a quick name change (courtesy of American Execs at Midway fearing what vandals might change the title to) Pac-Man hit the arcades.
