7. When one person displays a new and bizarre ability, that's the work of evolution, because survival of the fittest is making only the strongest genes survive. Actually, if there's only one person in the entire world who can shoot cherry-colored death rays out of his eyes, that's not evolution — that's a mutation. It's evolution if the cherry-eyebeam guy has a easier time mating with Famke Janssen than anyone else, and thus makes tons of babies, all of whom can do the red-eyeblast thing. Mutations are only the building blocks of evolution, not the result of evolution. Go back to school, Mohinder.

6. Evolution is puberty. In the X-Men, for some reason, bizarre powers always manifest themselves whenever they first start getting hair in new and unusual places. And it's always treated as though the person's development as an individual is a form of, or a manifestation of, evolution. It's like puberty goes hand in hand with the sudden emergence of weird new genes, and your changes as an individual is confused with the transformation of your whole species. I also love the idea that there's one X-gene, which somehow activates a whole range of powers, from heat-vision to being a chicken-man.

5. Creatures with totally different ancestors will end up looking sorta the same, just because. Biologist and science fiction author Joan Slonczewski says a big problem with most science fiction is that it depicts convergent evolution as happening all the time — that's why aliens look sort of human, and aliens and humans can inter-breed. In fact, divergent evolution is way, way more common than convergent evolution. Divergent evolution is when creatures who share a single ancestor — like, say, mammals — evolve to be very different from each other over time. You're not likely to get just one unique creature in an ecosystem, like the great worm in Dune. Instead, you're likely to get a diversity of creatures from one ancestor. Convergent evolution, when creatures with different ancestors evolve to be similar because they're filling a similar evolutionary niche, is much rarer. (An example of convergent evolution, says Slonczewski: birds, bats and flying fish.)

4. Your children will inherit your body-mods. Maybe the earliest evolutionary theorist was Jean-Baptiste Lamarck (1744-1829) who believed in the idea of "soft inheritance," where you pass on your acquired characteristics to your kids. If your body adapts to circumstances during your life — for example, if a particular organ gets smaller because you use it less — then your children will inherit it. (That organ will be smaller in your kids.) In fact, only genetic changes are passed on. But that doesn't stop science fiction from presenting changes to a creature's body, or non-genetic adaptations that you make in the course of your life, as being heritable. (Lamarck's ideas are sometimes mischaracterized as, "if you lose a leg, you'll have one-legged children," but he wasn't that silly.) In David Cronenberg's 1979 classic The Brood, a cutting-edge psychotherapy causes patients to manifest their darkest emotions in their own bodies — and one transformed woman gives birth to monster children that she can control telepathically.

3. Humans could evolve overnight into a new species in just one generation. In Greg Bear's Darwin's Radio, humans' junk DNA suddenly starts expressing, and certain people are strongly sexually attracted to each other. These chosen people's children, the ones who survive, are a radically different species from homo sapiens. And Bear shows how this is just like when homo sapiens suddenly sprung up overnight, nearly 200,000 years ago. The new breed of humans are super-intelligent and mega-awesome. But it's pretty unlikely that super-rapid evolution would happen within only one generation.

2. It's possible to de-evolve people with rayguns or whatnot. Because evolution is a straight line and always happens in totally predictable ways, it's also a reversible process. You just need the right "de-evolution" device, like in the totally radical movie Mario Bros., where Dennis Hopper's King Koopa, who turns anyone who opposes him into a primordial sludge. Or, in the Next Generation episode "Genesis," a mutated T-virus from whiner-in-chief Reg Barclay causes everybody on the ship to start devolving — including Captain Picard, who starts turning into a lemur/pygmy/marmoset hybrid. Because Picard's too multi-faceted a guy to devolve into just one type of creature. Something similar also happens in the Doctor Who episode "Ghost Light," where an evolution-doubting clergyman is somehow de-evolved into an ape.

(Which reminds me: How exactly did "Ghost Light"'s interplanetary explorer/surveyor character travel all the way across the galaxy to survey Earth, but manage to be unaware of evolution? Is Earth the only planet where creatures don't just stay the same forever?)

1. We can predict evolution and accelerate it with technobabble. Random weird things, like going really really fast, or getting exposed to weird radiation, or just eating some weird fish, will cause you to evolve 1,000,000 years into the future, like in that Voyager clip above. And then there's the totally AWESOME Voyager episode where the crew meets the long-distant descendants of Earth's dinosaurs, who are spacefaring and intelligent. Janeway deduces they're the great-great-great-great-grandkids of the dinos by asking the computer to predict dinosaur evolution millions of years ahead. Because, of course, evolution is completely predictable in a vacuum, and you don't need to know anything about enviornmental factors.

Radio Lab, an hour-long show where co-hosts Jad Abumraud and Robert Krulwich investigate the why behind subjects like The Ring Cycle, deceit and why we laugh, mixes soundscapes with conversation, humor and hard science to come up with something that's been called the best radio show in America. Their "War of The Worlds" episode - the first recorded live in front of an audience - may lack some of the more inventive remixing of interview and dialogue, but makes up for it with the amazing - and somewhat unbelievable - stories behind the various radio versions of HG Wells' story.

With guests including Blair Witch Project creator Daniel Myrick and the daughter of an Equadorian radio producer whose version of the play didn't end so well, creates an essential hour of listening that - as the show's website puts it - examines the "power of the mass media to create panic." Listen and wonder whatever happened to the power of science fiction.

War of the Worlds [Radiolab.org]

In the 45 minute episode, to be broadcast in Radio 4's traditional "Afternoon Play" slot, the Torchwood team - portrayed by their television cast - will deal with a mission revolving around a particle accelerator. Why a particle accelerator, you ask? Well, because the episode will be transmitted on the same day as the opening of the world's biggest particle accelerator in Switzerland, and if nothing else, Radio 4 likes to keep up with what's happening in the world.

The episode will be written by Joseph Lidster, who came up with the "A Day In The Death" episode of Torchwood season 2.

Radio 4 to air one-off Torchwood [Digital Spy]

According to Anneila Sargent, a Caltech professor and ALMA Board member:

Most of the photons in the Universe are in the wavelength range that ALMA will receive, and ALMA will give us our first high-resolution views at these wavelengths. This will be a tremendous advancement for astronomy and open one of our science's last frontiers.

The National Radio Astronomy Observatory explained ALMA's capabilities in greater detail:

The millimeter and submillimeter wavelength range lies between what is traditionally considered radio waves and infrared waves. ALMA, a system using up to 66 high-precision dish antennas working together, will provide astronomers with dramatically greater sensitivity, the ability to detect faint objects, and resolving power, the ability to see fine detail, than has ever before been available in this range . . .

Astronomers expect ALMA to make extremely important contributions in a a variety of scientific specialties. The new telescope system will be a premier tool for studying the first stars and galaxies that emerged from the cosmic "dark ages" billions of years ago. These objects now are seen at great cosmic distances, with most of their light stretched out to millimeter and submillimeter wavelengths by the expansion of the Universe.

In the more nearby Universe, ALMA will provide an unprecedented ability to study the processes of star and planet formation. Unimpeded by the dust that obscures visible-light observations, ALMA will be able to reveal the details of young, still-forming stars, and is expected to show young planets still in the process of developing. In addition, ALMA will allow scientists to learn in detail about the complex chemistry of the giant clouds of gas and dust that spawn stars and planetary systems.

Atacama Large Millimeter/Submillimeter Array [Official Site]

This is the enormous radio dish seen from above in 1962. The guy painting you see above is standing over the dish on a catwalk.

Top image via AP. Bottom image courtesy of the NAIC - Arecibo Observatory, a facility (at least for now) of the NSF.

Arecibo Back in Operation [NYT]

• The Green Hornet appeared on the radio back in 1936, pre-dating the first appearance of Batman by only three years. However, both men wear masks, have cars that do neat tricks, and feature sidekicks who save their bacon on more than one occasion.
• Britt Reid, newspaper magnate by day, masked crimefighter by night, is The Green Hornet. He's a distant relative of The Lone Ranger (no, we aren't making this up) who travels around in a car he calls "Black Beauty." Hi-yo.
• The Green Hornet is a wanted criminal in the city, and he uses that notoriety as leverage when dealing with criminals.
• The only people who know the Hornet's identity are his secretary Lenore Case and the district attorney, Frank Scanlon.
• The Green Hornet's sidekick and chauffeur Kato was changed from Japanese, to Filipino, to Korean during the run of the show, although he was famously played by Bruce Lee when the series came to television.
• While he may not have worn a utility belt, The Green Hornet did use two specialized guns. One fired knockout gas, and the other one delivered "Hornet Stings" in the form of electric shocks.
• His car featured drop-down tubes that could fire rockets, had a knockout gas nozzle, could launch a flying surveillance device from its trunk, and even featured "infra-green" headlights that could let the driver see in the dark.
• On the radio, the Green Hornet's theme song was "The Flight of the Bumblebee," complete with a theremin providing the sound of a buzzing hornet.
• When The Green Hornet came to television in 1966, it was on the heels of the success of Batman, and both programs aired on ABC. Although Batman was played up to be campy, The Green Hornet was played straight. Both series featured the same announcer, were made by the same production company, and wouldn't you know it... Batman met The Green Hornet on his show.

Sadly, The Green Hornet never had the sticking power that Batman did, probably because a newspaper publisher who punches people just isn't all that exciting. Batman had scads of nifty gadgets and a Batcave, but all The Green Hornet has is a couple of funky guns and a car that looks... like a car. As a radio serial, The Green Hornet worked best in your imagination, just like The Shadow did. When Alec Baldwin brought that character to the screen in 1994, it tanked pretty hard. Billy Zane's 1930's comic-strip movie adaptation The Phantom did even worse in 1996.

So maybe instead of trying to make film adaptations of popular radio dramas and comic strips from the 1930's, Hollywood should create something new and cool. As much as we love our imagination, there is just no way we can picture Seth Rogen as a pugilistic publisher with a secret identity.