THE WHOLE ITTDB   CONTACT   LINKS▼ 🔍 by Keywords▼ | by Media/Years▼ | Advanced
 
The Internet Time Travel Database

Time Tethers

Time Machines

The End of Eternity

by Isaac Asimov

Andrew Harlan, Technician in the everwhen of Eternity, falls in love and starts a chain of events that could lead to the end of everything.
— Michael Main
He had boarded the kettle in the 575th Century, the base of operations assigned to him two years earlier. At the time the 575th had been the farthest upwhen he had ever traveled. Now he was moving upwhen to the 2456th Century.

The End of Eternity by Isaac Asimov (Doubleday, August 1955).

Unusual Tales #5

The Man Who Changed Times

by Joe Gill [?] and Dick Gordano [?]

A prisoner, Vincent Rand, is offered a way out of his ten-year sentence.
— Michael Main
Wouldn’t you prefer being free, even five hundred years in the past, to serving out a ten year sentence in this prison?

“The Man Who Changed Times” by Joe Gill [?] and Dick Gordano [?], Unusual Tales #5 (Charlton Comics, September 1956).

Time Travel Inc.

by Robert F. Young

I found this in one of three old sf magazines that I traded for at Denver’s own West Side Books. (Thank you, Lois.) Both the title and the table-of-contents blurb (They wanted to witness the Crucifixion) foreshadow Moorcock’s “Behold the Man,” although the story is not as vivid.
— Michael Main
Oh . . . The Crucifixion. You want to witness it, of course—

“Time Travel Inc.” by Robert F. Young, Super-Science Fiction, February 1958.

Fantastic Four #5

Prisoners of Doctor Doom!

by Stan Lee, Jack Kirby, and Joe Sinnott

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.

And now I shall send you back. . . hundreds of years into the past! You will have forty-eight hours to bring me Blackbeard’s treasure chest! Do not fail!

“Prisoners of Doctor Doom!” by Stan Lee, Jack Kirby, and Joe Sinnott, in Fantastic Four 5 (Marvel Comics, July 1962).

Avengers Annual #2

. . . and Time, the Rushing River . . .

by Roy Thomas, Don Heck, and Werner Roth

After the Scarlet Centurion waylays the Avengers on their way back from the 1940s, they find themselves in an alternative 1968 where the five original Avengers stayed together under the thumb of the Scarlet Centurion.

The story includes flashbacks and previously unknown explanations of the team’s previous trip to the ’40s in Avengers #56, and at the end of the story, Goliath uses Dr. Doom’s Time Platform to banish the Scarlet Centurion back to his time—and we think this is the only time travel that actually appears in the story (apart from the flashbacks). We don’t know what happens to the alternative 1968 (now known as Earth-689, but the traveling Avengers return to the universe that we all knew and loved in the 1960s (a.k.a. Earth-616), with their memory of the whole affair wiped by the Watcher.

— Michael Main
Time is like a river! Dam it up at any one point . . . and it has no choice but to flow elsewhere . . . along other, easier routes!

“. . . And Time, the Rushing River . . .” by Roy Thomas, Don Heck, and Werner Roth, in The Avengers Annual 2 (Marvel Comics, September 1968).

Avengers #56

Death Be Not Proud!

by Roy Thomas and John Buscema

Using Doc Doom’s time platform, the tag-3743 } Wasp sends Cap and the other three 1968 Avengers back to observe Bycky Barnes’s death at the hands of Baron Zemo.
— Michael Main
That’s just what’s begun to torure me! How can I be sure he’s dead? I saw only a single searing blast! If I somehow survived it . . . couldn’t he have, too?

“Death Be Not Proud!” by Roy Thomas and John Buscema, in The Avengers 56 (Marvel Comics, September 1968).

Closing the Timelid

by Orson Scott Card

Centuries in the future, Orion throws an illicit party in which the partygoers get to experience complete death in the past.
— Michael Main
Ah, agony in a tearing that made him feel, for the first time, every particle of his body as it screamed in pain.

“Closing the Timelid” by Orson Scott Card, Magazine of Fantasy and Science Fiction, December 1979.

Ripples in the Dirac Sea

by Geoffrey A. Landis

A physics guy invents a time machine that can go only backward and must always return the traveler to the exact same present from which he left.
— Michael Main
  1. Travel is possible only into the past.
  2. The object transported will return to exactly the time and place of departure.
  3. It is not possible to bring objects from the past to the present.
  4. Actions in the past cannot change the present.

“Ripples in the Dirac Sea” by Geoffrey A. Landis, in Asimov’s Science Fiction, October 1988.

Quantum Leap (s01e01–02)

Genesis

by Donald P. Bellisario, directed by David Hemmings

Physicist and all-around good guy Sam Beckett rushes his time machine into production—funding is about to be cut!—and as a consequence, he leaps into the life of a USAF test pilot, where Sam and his holographic cohort Al have a moral mission. And after setting things right in that pilot’s life, Sam—“oh, boy”—takes a few moments to win the big baseball game in 1968.
— Inmate Jan
One end of this string represents your birth, the other end your death. You tie the ends together, and your life is a loop. Ball the loop, and the days of your life touch each other out of sequence, therefore leaping to one point in the string to another . . .

Quantum Leap (s01e01–02), “Genesis” by Donald P. Bellisario, directed by David Hemmings (26 March 1989) [double-length broadcast].

Quantum Leap (s01e03)

Star-Crossed

by Deborah Pratt, directed by Mark Sobel

Why would anybody leap into English Professor Gerald Bryant during June 1972? Sam is certain that his mission is to he can reconcile his own future quantum physicist girlfriend with her father so that her fear of commitment won’t cause her to leave Sam at the alter in another twelve years.
— Michael Main
Don’t ya see, Al? I’m here to give Donna and I a second chance.

Quantum Leap (s01e03), “Star-Crossed” by Deborah Pratt, directed by Mark Sobel (NBC-TV, USA, 31 March 1989).

Quantum Leap (s01e04)

The Right Hand of God

by John Hill, directed by Gilbert Shilton

Sam leaps into professional boxer Clarence “Kid”Cody in 1974, where he must win his first legitimate fight in a year to save the sisters of St. Mary’s, start a new life with Dixie, and also—if things work out as expected in the Rumble in the Jungle—escape the mob.
— Michael Main
That surprise punch in the last inning . . . it was inspired.

Quantum Leap (s01e04), “The Right Hand of God” by John Hill, directed by Gilbert Shilton (NBC-TV, USA, 7 April 1989).

Quantum Leap (s01e05)

How the Tess Was Won

by Deborah Arakelian, directed by Ivan Dixon

Sam leaps into Doc Young, DVM, back in 1956 Lubbock, Texas, where it seems his purpose is to out-rope, out-ride, and out-posthole-dig cowgirl Tess McGill in an effort to win her heart.
— Michael Main
You can’t expect me to do this and not get involved. So if Tess falls in love with Doc, I’d appreciate it if you just leap me outta here as soon as possible.

Quantum Leap (s01e05), “How the Tess Was Won” by Deborah Arakelian, directed by Ivan Dixon (NBC-TV, USA, 14 April 1989).

Quantum Leap (s01e06)

Double Identity

by Donald P. Bellisario, directed by Aaron Lipstadt

Sam does a double leap at one location: First into hitman Frankie LaPalma at the moment when he and Don Geno’s former girlfriend are in the sack together, and then as Don Geno himself.
— Michael Main
Who ever heard of one lousy hairdryer blacking out all of the East Coast?

Quantum Leap (s01e06), “Double Identity” by Donald P. Bellisario, directed by Aaron Lipstadt (NBC-TV, USA, 21 April 1989).

Quantum Leap (s01e07)

The Color of Truth

by Deborah Pratt, directed by Michael Vejar

Upon arriving in an Alabama diner in 1955, Sam sits at the counter and sees an elderly Black man looking back at him from the mirror.
— Michael Main
You’re hear to save her tomorrow, not to initiate the civil rights activity in the South.

Quantum Leap (s01e07), “The Color of Truth” by Deborah Pratt, directed by Michael Vejar (NBC-TV, USA, 3 May 1989).

Quantum Leap (s01e08)

Camikazi Kid

by Paul Brown, directed by Alan J. Levi

It seeems that the only way Sam can fulfill his mission of stopping 17-year-old Cam Wilson’s older sister from marrying shithead Bob is to race Bob “for pinks” in hopes that Bob will lose his cool and show his true self, but that’ll only work if Sam (as Cam) and his buddy Jill can soup up Cam’s pink mommobile with a blast of nitrous oxide at exactly the right moment of the race.
— Michael Main
Older Brother: Come on, Mikey, we gotta rehearse.

Mikey: [waving] Bye-bye!


Quantum Leap (s01e08), “Camikazi Kid” by Paul Brown, directed by Alan J. Levi (NBC-TV, USA, 10 May 1989).

Quantum Leap (s01e09)

Play It Again, Seymour

by Donald P. Bellisario and Scott Shepard , directed by Aaron Lipstadt

Sam arrives in 1953 as a private eye who looks like Humphrey Bogart and has to solve the mystery of his partner’s murder while trying to figure out his relationship with his partner’s wife and the eager kid at the newsstand.
— Michael Main
Kid, if I’m lucky I’m gonna spend the rest of my life leaping around from one place to another instead of face down in a pool of blood.

Quantum Leap (s01e09), “Play It Again, Seymour” by Donald P. Bellisario and Scott Shepard , directed by Aaron Lipstadt (NBC-TV, USA, 17 May 1989).

Quantum Leap (s02e01)

Honeymoon Express

by Donald P. Bellisario, directed by Aaron Lipstadt

Sam pops into newly married Tom McBride (a New York policeman), who is headed to Niagara Falls with his new bride (a budding lawyer and the daughter of a senator). The two of them engage in the usual honeymoon activities—fighting off ex-boyfriend thugs, rolling underneath moving trains, studying for the bar exam—while unbeknownst to Sam, Al is at a Senate committee meeting in Washington, D.C., fighting for the life of Project Quantum Leap. Oh, yes, and it’s now official: Sam and Al believe that God has taken control of the project, although Al refuses to be pinned down as to which god she is.
— Michael Main
This committee has decided that your 2.4 billion dollar funding request for Project Quantum Leap . . .

Quantum Leap (s02e01), “Honeymoon Express” by Donald P. Bellisario, directed by Aaron Lipstadt (NBC-TV, USA, 20 September 1989).

Quantum Leap (s02e02)

Disco Inferno

by Paul Brown, directed by Gilbert Shilton

Sam finds out what it’s like to be a stuntman in a family with broken dynamics and (to him but not Al) in an era with broken music.
— Michael Main
Disco’s not gonna last forever. I got a feeling it’s probably gonna die in a couple of years.

Quantum Leap (s02e02), “Disco Inferno” by Paul Brown, directed by Gilbert Shilton (NBC-TV, USA, 27 September 1989).

Quantum Leap (s02e03)

The Americanization of Machiko

by Charlie Coffey, directed by Gilbert Shilton

In 1953, Sam steps off a bus as a sailor returning home from Japan with—surprise! to Sam and everyone else—a new bride named Machiko.
— Michael Main
“I try to find a husband . . . to find my husband”

Quantum Leap (s02e03), “The Americanization of Machiko” by Charlie Coffey, directed by Gilbert Shilton (NBC-TV, USA, 11 October 1989).

Quantum Leap (s02e04)

What Price Gloria?

by Deborah Pratt, directed by Alan J. Levi

Sam leaps into the body of executive secretary Samantha Stormer during a time rife with sexual harrassment that hadn’t yet been challenged or even given a name.
— Michael Main
You know, this is degrading. First he chases me around the office, then he says I gotta wear lipstick

Quantum Leap (s02e04), “What Price Gloria?” by Deborah Pratt, directed by Alan J. Levi (NBC-TV, USA, 25 October 1989).

Quantum Leap (s02e05)

Blind Faith

by Scott Shepard, directed by David G. Phinney

Who knew that if Sam leaped into a blind pianist’s body that he’d be able to see with his own eyes and stop a Central Park killer?
— Michael Main
He says he wants to play.

Quantum Leap (s02e05), “Blind Faith” by Scott Shepard, directed by David G. Phinney (NBC-TV, USA, 1 November 1989).

Quantum Leap (s02e06)

Good Morning, Peoria

by Chris Ruppenthal, directed by Michael Zinberg

Somewhat disoriented Sam—as Howlin’ Chic Howell at a 50’s radio station—must help station owner Rachel Powell defend rock’n’roll from the town elders and mobs of pitchfork-carrying, record-burning hayseeds.
— Michael Main
Fred, I appreciate your opinion, but no matter how many editorials you publish, I am not gonna stop playing rock’n’roll.

Quantum Leap (s02e06), “Good Morning, Peoria” by Chris Ruppenthal, directed by Michael Zinberg (NBC-TV, USA, 8 November 1989).

Cloche vaine

English release: Empty ring Literal: Vain bell

by Francine Pelletier

At the end of her long successful writing career, a woman is still haunted by her sister’s death four decades earlier.
— Michael Main
We had talked about SF literature, books on the theme of going back in time. This was related to the activities of the day. During the convention, one of the guest scientists had stated that time travel was impossible.

[ex=bare]“Cloche vaine” | Vain bell[/ex] by Francine Pelletier, in Solaris 109, Spring 1994.

12 Monkeys

by David Webb Peoples and Janet Peoples, directed by Terry Gilliam

In the year 2035, with the world devastated by an artificially engineered plague, convict James Cole is sent back in time to gather information about the plague’s origin so the scientists can figure out how to fight it.
— Michael Main
If you can’t change anything because it’s already happened, you may as well smell the flowers.

12 Monkeys by David Webb Peoples and Janet Peoples, directed by Terry Gilliam (premiered at an unknown movie theater, New York City, 8 December 1995).

Ransom

by Albert E. Cowdrey

Time travel agent Maks Hamilton is told by mysterious kidnappers that if he ever wants to see his own son again, he must travel back three centuries—just before the Troubles—to abduct another boy.

Despite the characters’ belief that they can change history, up in the ITTDB Citadel we all agreed that the characters are an unreliable source and this story actually lives in a carefully crafted single static timeline along with a nice bootstrap paradox.

— Michael Main
I want you to bring someone from the past to the present—someone who would otherwise die only a few hours afterward. Surely that’s possible.

“Ransom” by Albert E. Cowdrey, Magazine of Fantasy and Science Fiction, March 2002.

12 Monkeys, Season 1

written by Terry Matalas, Travis Fickett, et al., directed by multiple people

Same pandemic backstory as the movie, similar names for the characters, no Bruce Willis, and a mishmash of time-travel tropes along with tuneless minor-key chords in place of actual tension and slowly spoken clichéd dialogue in place of actual plot. Random discussions of fate brush shoulders with an admixture of possible time travel models from narrative time (when a wound sprouts on old JC’s shoulder while watching young JC get shot), to skeleton timelines (JC thinks that his timeline will vanish if he succeeds), to a fascination with a single static timeline (you’ll see it in Chechnya) and time itself has an agenda. Primarily, we’d say that the story follows narrative time from Cole’s point of view.

By the end of the first season, one principal character has seemingly been trapped in the 2043, and Cole is stuck in 2015, having just gone against fate in a major way, but with a third principal character poised to spread the virus via a jet plane.

P.S. Whatever you do, whether in narrative time or elsewhen, don’t bring up this adaptation as dinnertime conversation with Terry Gilliam (but do watch it if you can set aside angst over a lack of a consistent model and just go with Cole’s flow).

— Michael Main
About four years from now, most of the human race will be wiped out by a plague, a virus. We know it’s because of a man named Leland Frost. I have to find him.

—from “Splinter” [s01e01]


12 Monkeys, Season 1 written by Terry Matalas, Travis Fickett, et al., directed by multiple people (SyFy, USA, 16 January 2015 to 10 April 2015).

A Time Travel Short

written and directed by Antonette Ho

A mysterious box allows Linda to travel back in time for five minutes at each go, so she starts out by taking five minutes at age 14 to stand up to a bully who’s harrassing a friend.
— Michael Main
Rule 3: Owner will be sent back to the present after 5 minutes are up.

A Time Travel Short written and directed by Antonette Ho, 3-part serial (Youtube: Antonette H Channel, 4 November 2015) to 17 January 2016).

Again, but Better

by Christine Riccio

Shy Shane Primaveri heads to London for a semester abroad for a semester abroad program in creative writing where she hopes to become more outgoing, kiss a boy that she likes, and convince her parents after-the-fact that her decision to explore paths outside of a pre-med major was the right one. But things don’t go exactly as planned the first time through the semester.
— Michael Main
Could the elevator have been, like, a time machine?

Again, but Better by Christine Riccio (Wednesday Books, May 2019).

The Tomorrow War

by Zach Dean, directed by Chris McKay

Forty-year-old high school biology teacher Dan Forester is drafted for a seven-day tour of the future where he must fight what seems to be a losing cause in the war against bug/T-rex aliens.
— Michael Main
We need you to fight beside us if we stand a chance at winning this war. You are our last hope.

The Tomorrow War by Zach Dean, directed by Chris McKay (Amazon Prime, 2 July 2021).

as of 8:31 p.m. MDT, 16 May 2024
This page is still under construction.
Please bear with us as we continue to finalize our data over the coming years.