When the U.S. is attacked with monsterous submarine/aeroplanes by the demagogue Moyen, it's up to Professor Mariel to find a way to save the country, possibly even through the manipulation of time itself!

Pete Davidson has inherited all the properties of an uncle who had been an authority on the fourth dimension, including the Fourth-Dimensional Demonstrator that can pull copies of matches, coins, dollar bills, fiancées, and kangaroos out of the past.

Karl Tarig plans to murder his kindly cousin, Dr. Claude Morrison, who took Karl in when nobody else would. Then he'll toss cousin Claude’s body into the time machine that Claude built. Lastly, he’ll sell all of Claude’s valuables and run away in time with the indomitable Ellen Warren. The perfect crime!

Oh, dear! Albert Miller has dialed a wrong number on the Mugwump-4 exchange, and the mutants who answered have decided that the only solution is to catapult him into the future where he won’t be able to upset their plans for World Domination.

Back in the 1880s, just after a man without conscience is dropped from a lone tree with a rope around his neck, a scientist pulls him into 20th-century New York City.

Serling wrote this script based on a George Clayton Johnson’s bare bones, present-tense treatment for a TV script, complete with an indication of where the commercial break should go. For this episode, Serling filled in the flesh and cut the fat from a bare bones, present-tense treatment by George Clayton Johnson. The treatment appeared in Johnson’s 1977 retrospective collection of scripts and stories, and in Volume 9 of Serling’s collected Twilight Zone scripts, Johnson commented that “Rod took my idea and went off to the races with it. He had a remarkable knowledge of what would and wouldn’t work on television, and he took everything that wouldn’t work out of ‘Execution’. He worked like a surgeon; a little snip here, a complete amputation over there, move this bone into place, graft over that one. When he was done, my little story had grown into a television script that lived and breathed on its own.” Serling also added a nice twist at the end that, for us, warranted the TV episode an Eloi Honorable Mention.
Rod Serling wrote this script based on a 1960 Twilight Zone episode of the same name, but I’m uncertain whether the story was published before Johnson’s 1977 retrospective collection.

The Marvel Comics Brand began in 1939 with the first edition of Marvel Comics. Throughout the ’40s and ’50s, some of the Timely and Atlas comics had the slogan “A Marvel Magazine,” ”Marvel Comic,” or a small “MC” on the cover. As for me personally, I was hooked when Marvel started publishing the Fantastic Four in 1961. During the sixties, I devoured as many Marvels as I could as they arrived at the local Rexall Drug Store or swapping comcs with my pals, and this is the first of those Marvel issues in the ’60s involved superhero time travel.

Nowadays, we all know that Doc Doom is far too smart to think the most profitable way to use his time platform is by sending three of the FF into the past with orders to bring back Blackbeard’s treasure (while keeping the fourth member of their team captive). And yet, the story has a charm that stems from the causal loop of Ben Grimm’s presence in the past actually causing the legend of Blackbeard, which in turn caused Doom to send the loveable lunk back.

This story is as close as Spidey ever got to time traveling in the Silver Age. He didn’t travel himself, but he did meet and battle Kang’s time traveling Spider-Man robot. On top of that, Don Heck gave us his interpretations of Ditko art taken from the pages of the Amazing Spider-Man Annual #1. Can you tell which is which?

Charlton’s Gorgo comic was inspired by the the 1961 movie of the same name Unlike the movie, however, the comic book Gorgo had one adventure in time when Dr. Hobart Howarth rescues Gorgo from YaPa* by sending the giant reptile back to the late Jurassic. Sadly, as a child, I bought only one Gorgo comic, which was not the time-travel issue, although that one issue I had was drawn by Steve Ditko, hooray!
* Yet another Pentagon attack

After an accident at a temporal research facility in Idaho, a manlike monster known as John Delgano shows up for half a seoncd once a year at the same time and place.

As early as the 1930s, stories have addressed the issue of the Earth moving to a different position when a time traveler moves through time. This story addresses the issue by saying that the time traveler appears only once per year, but that doesn't really solve the problem for so many reasons, starting with the fact that a given position on the surface of the Earth will not be at “the same” position in the subsequent year.

In the moments before a jump, a traveler muses over the realities of time travel.

After fifteen years of estrangement, bookish Zelda Jones reunites with her best friend from high school, Cassie . At the start of their new relationship, it’s not apparent that their interactions are going anywhere, but as the other main characters weave their way into the plot, Zelda learns about time travel on a single, static timeline, and the pieces lock nicely into place.

Oh, and Dave’s grandfather had a plot to go back and kill Hitler, but that’s not really relevant to Zelda (and Cassie and Walter and John and Charlie).

The cinematic vision of writer/director Seth Larney was beyond his grasp in this story of a Philip K. Dick-esque future where all plant life has been killed off, an evil corporation has cornered the market in artificial oxygen, and a lowly utility worker with a dying wife is called four centuries into the future by a successfully executed causal loop accompanied by the usual kind of unexplained skeleton timeline.

Young genius Han Tae-sul is the focus of dangerous people and a mysterious woman—Gang Seo-hae—from a war-torn near future.

Sadly, the story comes close to being a slick static timeline, but alas, the writers could not follow through.