Granted, not all of these foods will actually devour you; some will simply kill you or turn you into their zombie slave. But all are best approached with caution, and should only be handled by chefs with combat training.

Killer Tomatoes (Attack of the Killer Tomatoes): After years of being made into ketchup and mistaken for vegetables, the tomatoes get their revenge, and a killer theme song.

The Stuff (The Stuff): It's not clear what would possess a man to taste a slimy substance he found out in the woods, but it turns out the Stuff is delicious, addictive, and contains no calories. It also turns out that the Stuff is alive, and it chews on your brain until you've transformed into a nice, pliable zombie.

Bubble Shock! (The Sarah Jane Adventures "Invasion of the Bane"): Another zombifying substance is Bubble Shock!, a fizzy organic beverage. But it's actually an alien life form, one that turns drinkers into slaves of Mother Bane. While it doesn't have quite the brain-mushing powers of the Stuff, Bubble Shock! has a viral quality, with Bane zombies offering the beverage to anyone who hasn't tried it.

Popplers (Futurama "The Problem with Popplers"): Another mysterious foodstuff found lying on the ground, popplers are incredibly delicious nuggets of meaty goodness. There are just two problems: first, popplers are intelligent; second, they're the juvenile form of the ornery Omicronians, and Lrrr, the Omicronian ruler, thinks it's only fair that he should get to eat a human to set things right.

The Blue Plate Special (Spaceballs): Poor John Hurt. When he tried to enjoy a meal in Alien, he had a chestburster pop right out of him. Then he sits down for the blue plate special at a diner in Spaceballs and meets with the same fate.

Curry Monster (Red Dwarf "DNA"): In a typically boneheaded move, the crew of the Red Dwarf test a DNA modifier on a container of vindaloo, creating a monster that's half man, half Indian takeaway.

Killer Pizzas (Teenage Mutant Ninja Turtles "Case of the Killer Pizzas"): The pizza-loving foursome find that sometimes their favorite food can get a case of the munchies. An alien species from Dimension X lays eggs that happen to look like meatballs, and they manage to land on a handful of pizzas. Pop your pizza in the microwave, and those little critters hatch mean and hungry.

TMNT - Case of the killer pizzas

Wolfbullet | MySpace Video

Pizza the Hut (Spaceballs): He's delicious enough that he ate himself to death, but woe unto those who cross this cheesy gangster. They'll learn what it's like to have Pizza send out for you.

Bezoar Eggs (Buffy the Vampire Slayer "Bad Eggs"): When Buffy and the crew are given eggs to babysit as a class assignment, it seems like a minor nuisance. But it turns out those aren't chicken eggs they're faux parenting; they actually hatch bezoars, little parasites that attach to your brain stem (and, like all good parasites, render you their zombie slave). And Xander gets a nasty surprise when he hardboils his egg son and decides to enjoy a mid-afternoon snack.

Evil Gingerbread Men (The Tick, The Gingerdead Man): Be they the product of an eager baker or possessed by the spirit of a serial killer, these confections can be downright deadly. You'd imagine, though, that milk would be a major weakness.

Werewolf (Angel "Unleashed"): Werewolf is considered a delicacy among certain sadistic members of the Los Angeles elite. Unfortunately, werewolves tend to revert to their human form once they're killed, so they have to be served alive while the meat is carved off. But if the werewolf isn't properly restrained, you could end up on the menu.

Wub ("Beyond Lies the Wub" by Philip K. Dick): Again, it's rarely a smart idea to eat a species you happen to find just hanging out on another planet, especially if it's capable of literary discussions. The pig-like wub will let you eat it, but there's a hefty price; the wub will completely take over your body, essentially booting out your soul through your stomach.

Martian Water (Doctor Who "The Waters of Mars"): Actually, you don't even need to drink water containing the Flood to contract its zombifying contagion — just touching it will do the trick. Still, drinking the water is ill-advised.

Kandy Man (Doctor Who "The Happiness Patrol"): The good news is that this licorice-based robot won't actually devour you. The bad news is that, if you aren't visibly happy at all times, it will kill you — likely by drowning you in super sugary fondant.

Stay Puft Marshmallow Man (Ghostbusters): Sure, Stay Puft nearly demolished the entire island of Manhattan in the service of Gozer. But that toasted marshmallow glop that dropped on the Ghostbusters at the end of the move looked mighty tasty.

Ebola Cola (Transmetropolitan): As the slogan goes, "You Drink It, It Eats You."

Aqua Teen Hunger Force (Aqua Teen Hunger Force): A mutated meatball, milkshake, and carton of french fries, the Aqua Teens get into all sorts of mayhem, which often gets various creatures (and occasionally Maser Shake) killed. I probably wouldn't put eating the remains past them either, given the right situation.

Triffids (Day of the Triffids): Triffids have a lot going for them. They're a great source of vegetable oil (making them valuable crops), and they can fight off any potential predators with their venomous whips. Plus, they love to feed on rotting meat, which is easy to obtain once most of humanity has been struck blind.

Tom Turkey (The Simpsons "Treehouse of Horror XIX"): Since it's Thanksgiving week, this musket-wielding bird will cap off our list. After rescuing the children of Springfield from the murderous Grand Pumpkin, Tom Turkey gets invited to Thanksgiving dinner. But once he learns what people eat on Thanksgiving, he starts gobble-gobbling up the children himself.

10. Spaceballs

The Particulars:

Mel Brooks's Star Wars parody is from his later, weaker period, and it lacks some of the wit and inspiration that made Blazing Saddles and Young Frankenstein classics. Neither Bill Pullman's Han Solo character nor Daphne Zuniga's Princess Leia are particularly memorable, placing most of the comedic responsibilities on the rest of the cast.

Luckily, the supporting players are more than up to the challenge. Brooks roped in two SCTV powerhouses, John Candy and Rick Moranis, to play the Chewbacca and Darth Vader roles, and these two are crucial to the film's success. Candy's Barf is about as lovable as any half-man/half-dog (he's his own best friend) possibly could be, providing Spaceballs with the bare minimum of emotional investment needed for it to be more than a string of hit-or-miss comedic setpieces.

Still, it's the villains, including Moranis's Dark Helmet, Brooks's President Skroob, and George Wyner's Colonel Sandurz, who consistently steal the show. Moranis is particularly inspired as the least likely person to play the galaxy's greatest villain, and the fact that he plays the part as though it's any other Rick Moranis role gets funnier with each passing scene. The film's constant willingness to break the fourth wall doesn't necessarily make for the most satisfying narrative, but it does provide some fantastic gags, as we'll see below.

Spaceballs is far from perfect, but it established many of the conventions that would dominate future space opera parodies, and it represents a comedy legend's one great attempt to take on the science fiction genre. For that alone, it earns a place on our list.

The Visual Evidence:

Also worth checking out:

If you're looking for an even sillier parody of Star Wars, look no further than Hardware Wars. If you're looking for something of the unintentionally hilarious variety, I'd recommend Starcrash, the highly unauthorized Italian remake of Star Wars that may or may not star Christopher Plummer and David Hasselhoff. (It totally does.)

9. Mystery Men

The Particulars:

The film flopped on its initial release, providing yet more evidence that, as a general rule, big budget comedies just don't do very well at the box office. For all its pyrotechnics, Mystery Men is really just an alternative comedy with surprising insight into the superhero genre. If I'm being honest, Mystery Men probably does a better job deconstructing superhero conventions than the Watchmen movie does.

It helps that almost everyone is perfectly cast. It's hard to imagine anyone better suited than William H. Macy for the straightforward family man the Shoveler, Hank Azaria for the wannabe British fop the Blue Raja, Greg Kinnear for the narcissistic sellout Captain Amazing, Ben Stiller for the irritable asshole Mr. Furious, or Geoffrey Rush for the ludicrously over-the-top supervillain Casanova Frankenstein. The only real misstep is Paul Reubens as the Spleen, but I suppose that's because he's just a little too convincingly creepy.

Better than any other superhero movie I've seen, Mystery Men captures what it means to have a city full of costumed heroes and villains, a concept it exploits to hilarious effect. The superhero tryouts really hit upon the absurdity of D-list superheroes, the discussions of whether Captain Amazing is really Lance Hunt (which is impossible, because Lance Hunt wears glasses and Captain Amazing doesn't) make it difficult to ever take the Clark Kent concept seriously ever again, and the climactic fight sequence manages to brilliantly use every last one of the heroes' lame powers. Plus, Michael Bay cameos as a douche bag henchman. Sounds about right.

The Visual Evidence:

Also worth checking out:

The Specials, starring the always awesome Thomas Haden Church and Paget Brewster, came out around the same time as Mystery Men and is its low-budget equivalent. It may lack the action of Mystery Men, but that just allows the film more time to develop its oddball cast of characters. The recent Sky High is actually a pretty decent movie, grafting a lot of good jokes onto what could have been a lame kid's movie (supporting turns from the likes of Kurt Russell, Lynda Carter, and Bruce Campbell certainly help). And of course there's always The Incredibles, which isn't exactly a comedy but is always worth watching.

8. Army of Darkness/Shaun of the Dead

The Particulars:

I'm probably stretching things a bit to consider these films science fiction. (I'll count Army of Darkness because there's time travel and a Day the Earth Stood Still reference, and Shaun of the Dead makes it, because the zombies might have been caused by a meteorite, which is sort of like science.) As such, I'll just combine these two brilliant horror comedies into one entry and say that, together, they just about add up to one science fiction comedy. And why not?

The debate as to whether Evil Dead 2 or Army of Darkness is the better film will likely rage on into eternity, but I think it's fairly clear where I stand. Casting aside the last shreds of seriousness seen in Evil Dead 2, Army of Darkness is nonstop badass quips and undead slapstick. That's a winning combination right there, and Bruce Campbell has never been better than he is here.

Meanwhile, nobody puts more time and effort into their comedies these days than Edgar Wright and Simon Pegg (Hot Fuzz might be the most intricately constructed comedy I've ever seen). Shaun of the Dead is no exception, taking the relatively mundane idea of a zombie comedy and adding onto it a dense web of callbacks and subtle visual gags that demand repeat viewings. It's also just a funny, eminently quotable movie, with Nick Frost's Ed getting all the best lines. Although I still don't see the point of owning a car in London.

The Visual Evidence:

Also worth checking out:

For more Bruce Campbell goodness, look no further than Evil Dead 2. If you must look slightly further, then check out Bubba Ho-Tep, where Campbell plays an aging Elvis Presley in a nursing home who teams up with a black JFK to fight a mummy. It's as awesome as it sounds. Fans of Shaun of the Dead should definitely give Wright and Pegg's series Spaced a try. It's not science fiction, but it's one of the most proudly geeky series ever made.

7. Groundhog Day

The Particulars:

It's easy to forget how committed this film is to its time loop premise. Bill Murray is funny enough that I'd gladly watch a film about him as an asshole weatherman even if he wasn't trapped reliving the same day for an unspecified span of time. (Director Harold Ramis once said it was thousands of years, but the official word now seems to favor about ten years.) The fact that the film keeps coming up with new takes on its premise is what elevates it to the heights of science fiction comedy.

Murray's repeated attempts to woo Andie MacDowell, each day slightly modifying his behavior so that he can give her exactly what she wants, is one of the best examples of what makes Groundhog Day so good. On the one hand, it's simply a funny idea, as the callbacks and repetition mount and build up comic momentum. But the film also wonders about what it really means to live a life without consequences, as by his hundredth attempt Murray isn't even bothering to hide his preparations for his next attempt, fully aware no one will remember his sleaziness.

The film is also refreshingly willing to tackle darker territory. Murray's attempt to save a homeless man are positively heartbreaking, and there's real pathos in a nurse's observation that this is simply his time. His ultimate despair and repeated attempts to kill himself are funny in the bleakest, grimmest way possible, but they're part of the reason the film's eventual happy ending feels so richly deserved.

The Visual Evidence:

Also worth checking out:

There's at least one other Bill Murray/Harold Ramis science fiction collaboration I can think of that's worth watching, but I can't quite remember the name. Maybe it'll occur to me later in the list.

6. Tremors

The Particulars:

Of all the homages to fifties monster movies, Tremors was one of the first and it's still the best. Kevin Bacon and Fred Ward make a wonderfully stupid, profane pair as they try to evade the massive earthworms that have come to devour their desert town. The other twelve residents of Perfection, Nevada, are just as fun to watch, with the survivalist couple and their well-armored rec room a particular highlight.

The film reverently captures the charm of old monster movies without resorting to cheap parody for laughs. Instead, the humor comes from exploring how actual people might react to being attacked by fifty-foot earthworms, and the results are pretty damn hilarious. The gloriously terrible special effects are also part of the appeal of Tremors - if, as is sadly inevitable, they ever remake Tremors, I can only hope the Graboids don't make the leap to CGI. Some things really ought to be sacred.

The Visual Evidence:

Also worth checking out:

Slither is a much more recent homage to this kind of movie, and it has the added advantage of starring Nathan Fillion. For more cult eighties movies, there's always The Adventures of Buckaroo Banzai Across The Eighth Dimension, which is sort of paying homage to every film ever made.

5. Ghostbusters

The Particulars:

Oh yeah, this is the Murray/Ramis film I was thinking of. The special effects in Ghostbusters haven't necessarily stood the test of time, but the movie's enduring themes of "Who you gonna call?" and not being afraid of no ghosts have kept it relevant well into the 21st century.

Day Aykroyd has always struck me in interviews as being far more interested in the paranormal than any normal person should be. (It's possible his claims that he sincerely believes we will soon be visited by ghosts are all part of an elaborate joke, but if so, that is some serious commitment to a bit.) Either way, his and Harold Ramis's complete belief in the seriousness of the ghostly threat lends the film some much-needed authenticity. The rest of the cast, including Sigourney Weaver, Rick Moranis, Annie Potts, and Ernie Hudson, all get their moments to bring the funny, and nobody wastes their opportunity.

Still, this is pretty much completely Bill Murray's movie. Legend once had it that he didn't even read the script, instead electing to ad-lib all of his lines. That's since been denied by pretty much everyone involved, but his hilariously natural, seemingly off-the-cuff readings make it easy to see why the rumor took hold in the first place. Besides, he really made me rethink the wisdom of strapping an unlicensed particle accelerator to my back, and that's really just a public service.

The Visual Evidence:

Also worth checking out:

Whatever you may have heard, Ghostbusters II is a pretty decent film and worth checking out, if only for Cheech Marin's random cameo (his one line is still stuck in my head years after I first saw the movie). The eighties was something of a golden age of science fiction comedies, and there are no shortage of other movies to check out, including Weird Science, Short Circuit, and Earth Girls Are Easy.

4. Star Trek IV: The Voyage Home

The Particulars:

It's the rare science fiction franchise that has the guts to make one of its big-budget movies into a fish-out-of-water comedy, but that's exactly what Star Trek does here. I'm not sure anyone would have guessed the series would have concluded the loose trilogy begun in Wrath of Khan with a lighthearted time travel story about saving humpback whales in eighties San Francisco, and I really doubt anyone would have guessed such a movie would end up being one of the best Star Trek movies.

It helps that the entire cast has so completely grown into their roles. William Shatner is legitimately good as Captain Kirk here, and he displays a newfound willingness to not take himself seriously that would serve him well in pretty much all of his future roles. Leonard Nimoy, who also directed the film, is appropriately spacey as the recently resurrected Spock (though that also might have something to do with all the LDS he took during the sixties). The always brilliant DeForrest Kelley adds another dimension to their adventures in the past as McCoy angrily surveys the state of 20th century medicine.

Then there's Uhura and Chekov's attempt to find the nuclear vessels in Alameda, which takes the form of an amusingly unrehearsed scene where they ask real passersby in San Francisco where the ships are. Speaking of nuclear vessels, it's quite possible that, without this film, Chekov's inability to pronounced his v's would never have taken on such legendary status. And there are few things quite as enjoyable as watching Scotty wrangle with a primitive Apple computer.

The Visual Evidence:

Also worth checking out:

The two Star Trek fans in Free Enterprise are way too insufferable for their own good, but the film is worthwhile if only because William Shatner takes his capacity for self-parody to its logical conclusion. In this case, that conclusion is a rap interpretation of Julius Caesar where he plays all the parts.

3. Sleeper

The Particulars:

Woody Allen only once turned his attention to the science fiction genre, but it was more than enough to show he knew what he was doing. Supposedly a "wildly distorted" adaptation of When the Sleeper Wakes by H.G. Wells, Allen's story hits upon pretty much every science fiction trope that doesn't involve space. From cryogenics to dystopias to changing sexual mores to slapstick robots - it's all here, and it's all hysterical.

The decision to freeze his character in 1973 and awaken him in the 22nd century was undoubtedly part of the movie's success, as it would have been impossible to believe such a staid, repressive future society could ever create an oddball like Allen's trademark character. Besides, Allen's unique status allows him to return to similar territory he tackled in Bananas, as he becomes the world's unlikeliest revolutionary.

Although Allen's turn as a robotic butler and the orgasmatron are justly famous, perhaps the film's best running gag is Allen's willingness to wildly fabricate 20th century history. He calmly agrees with a historian that sportscaster Howard Cosell was used to punish political prisoners, he tells Diane Keaton that giving guns to criminals was considered a public service, and he claims that Bela Lugosi was the mayor of New York. I wish I could get cryogenically frozen, if only so that I could get the chance to make up historical "facts" half as good as those.

The Visual Evidence:

Also worth checking out:

Mike Judge's Idiocracy tackles a lot of the same material, although the dystopian elements of Sleeper are replaced with a more straightforward brand of dumbassery.

2. Galaxy Quest

The Particulars:

Galaxy Quest is a rare trifecta: it's a great science fiction comedy, it's a brilliant comedy about science fiction, and it actually works as a pretty decent science fiction film in its own right. The film never loses sight of its parody of Star Trek's most cliched tropes or its affectionate skewering of the various neuroses of the has-been actors, and it's a tribute to Galaxy Quest's comic dexterity that it perfectly balances both threads. It's also about a million times better than any film starring Tim Allen should be.

Admittedly, some of that is down to his supporting cast. Alan Rickman long ago passed the point where he was even capable of turning in a bad performance, and here he actually has good material to work with as a seriously tortured British thespian who absolutely despises his catchphrase. The movie's deconstruction of science fiction wouldn't have seemed quite so definitive if Sigourney Weaver hadn't been involved, and she shows even more comedic chops here than she did in Ghostbusters. Tony Shalhoub and Sam Rockwell get tremendous comic mileage out of the latter's existential angst over whether he's the doomed extra or the plucky comic relief, maybe the film's best bit of sustained meta-comedy.

Even so, one shouldn't dismiss Tim Allen's contribution just because the rest of his filmography is so full of, well, total crap (the Toy Story movies excepted, of course). More than any other recent actor, Allen captures all that was so distinctive about William Shatner: the hamminess, the bravado, the willingness to turn in terrible performances in terrible films.

It's an open question whether a better actor could have so fully inhabited the Captain Kirk role; in fact, I might go so far as to say he was perfect for the role. Considering the stories that Allen "purposefully" tried to replicate Shatner's legendary dickishness and prima donna tendencies on set, I'd say he knew that too. Whatever works, I guess.

The Visual Evidence:

Also worth checking out:

There's plenty of other Star Trek parodies out there, but I don't think any will ever top the Futurama episode "Where No Fan Has Gone Before." Or, for that matter, any episode with Zapp Brannigan, who Matt Groening has described as 40% Kirk, 60% Shatner.

1. Back to the Future

The Particulars:

Quite simply, there's never been a more complete science fiction comedy. It's legitimately interested in the mechanics of time travel, placing a time paradox at the heart of the film's central conflict. The film never backs away from the admittedly creepy comedic potential of a mother unwittingly falling in love with her time traveling son, and the film's exploration of Marty McFly's culture shock and unwitting anachronisms hilariously climaxes in rocking out just a little too hard at his parents' dance. Back to the Future also respects the rest of the science fiction genre, as can be seen in Marty's brilliant disguise as Darth Vader, extraterrestrial from the planet Vulcan.

Michael J. Fox plays the kind of likable, active protagonist I still don't understand why we no longer see in comedies. Christopher Lloyd's Doc Brown might just be the definitive mad scientist in modern film, and it's hard to imagine a more perfect bully than Thomas F. Wilson's Biff. Lea Thompson is cute and hilarious as Marty's mom, and Crispin Glover dials down his total insanity to steal the film as George McFly.

I'd keep going, but I think I need to go rewatch Back to the Future now. Sadly, there's very little of the film on YouTube, so the trailer will have to do.

The Visual Evidence:

Also worth checking out:

Why, Back to the Future Part II and Part III, of course. The first sequel might be the best pure science fiction of the bunch (though it's not as funny as the original), while the third is basically a payoff for all the running gags set up in the first two movies by doing them all over again in the old West. Which is, to be honest, kind of brilliant.

The series - a 13-episode animated version of Mel Brooks' comedy, with a pilot co-written by Brooks and Thomas Meehan, who wrote the original movie and voice cast including original cast Brooks, Joan Rivers and Daphne Zuniga - began in 2005 as a project from Brooks' production company, before a 2006 announcement that G4 would have the exclusive rights. The original premiere date was given as a somewhat vague "Fall 2007," that was later changed without reason to June 1st, 2008, before finally getting shifted again to September 21st, 2008. Whatever the reason for the delay, it wasn't that the show wasn't ready; G4's reluctance to release the show meant that it's been beaten to its own exclusive by Canada's Super Channel, which started showing the series in June.

Of course, when you see the trailer, you would be forgiven for thinking that G4 saw the footage and wondered if it was too breast-obsessed even for them:

The show premieres on G4 next Sunday at 5pm.

At Ludicrous Speed Or In Painstaking Slow Motion!! Behold the Orb-Centric Promo For SPACEBALLS: THE ANIMATED SERIES!! [Ain't It Cool]

Meet Dave, you may have heard, was originally called Starship Dave, a much better title that actually gives you some clue what the film is about. Rival marketers say Fox ran away from the movie's premise in its marketing as well. "People who saw the ads had virtually no idea what the movie was about," writes Patrick Goldstein in the L.A. Times. "Whenever I quizzed various potential moviegoers about the film, I got a lot of puzzled shrugs." Because most of the movie takes place in New York City, the studio must have thought they could market it as an "earthly delight." This is a rare failure for the marketing department at Fox, which has had 16 movies in a row before Dave that were critically panned and did well at the box office. (Think Alvin and the Chipmunks, Jumper, The Happening, etc.)

The studio's discomfort with marketing a science fiction comedy stems from Fox co-chairman Tom Rothman's belief that "scifi films and films set in the future are box-office poison," writes Goldstein. Fox had been all set to make Used Guys, a scifi comedy featuring Ben Stiller and Jim Carrey and directed by Jay Roach (Austin Powers) — but then Rothman killed it. It was too expensive, but Rothman also thought nobody would go for the premise: men living in a women-ruled world. (Honestly, it does sound pretty hideous, especially with Stiller and Carrey as the men.) Soon after the project was axed, Rothman asked Goldstein to name one scifi comedy that had ever made money. (Goldstein didn't think of Men In Black until it was too late.)

Science fiction writer Alan Dean Foster pops up in the comments on Goldstein's article, somewhat scandalized that the studios don't think scifi comedies make money:

Didn't SPACEBALLS make money? THE INCREDIBLES? WALL-E? The genre is replete with wonderful stories that are both hysterically funny and true SF...many perfectly suitable for film adapation (I have two of mine under option right now). Now if the folks responsible for making such decisions only read books, instead of basing all their references on other films....

Now I'm curious: which two Foster books do you think Hollywood has optioned, and would they make good movies? I haven't read his work since I was a kid.
[LA Times]

We at the io9 Space Station debated the reason why there are so many elongated countdowns in scifi. Here are a few possible theories:

1) When your ship is traveling faster than light, time appears to be moving more slowly to a stationary observer (such as the audience.)
2) Similarly, if you're traveling through time, or there's some element of time-distortion going on, it's entirely possible that two or three of our seconds could equal just one second in our heroes' continuum.
3) Every alien planet will have a day that's much longer, or shorter, than our Earth days. And if your home planet's "day" lasts 40 Earth hours, then you might evolve a clock that moves quite a bit more slowly than our Earth clocks. And who's to say whether the spaceships of the future operate according to Earth time, or Rigelian time? Eh?

So without further ado, here are some examples of the "extra Mississippi" phenomenon in scifi:

Star Trek:

I feel like there are about a hundred countdowns in Trek that last way, way longer than they're supposed to. Here's one of them. I acutally timed it — the computer says there are 25 seconds left before the ship blows up. And then 25 seconds later, Kirk is still giving his chest-thumping speech about how nothing can stop the countdown except him. (Blame Shatner's trademark mid-sentence pauses.) A few seconds after the ship should already have blown up, the computer starts its ten-second countdown. (To be fair, this could be a feature deliberately built into Federation self-destruct sequences, given how often captains use them to bluff their way out of a jam.)

Doctor Who:

Here's the exciting climax from the Doctor's first ever encounter with the Daleks, who are like mutated Nazis in mini-tanks. The Daleks are going to launch some kind of neutron bomb that will kill off everybody who's not them, and give them the nice shiny radiation that they've gotten used to. So the Doctor and his friends launch a desperate last minute attack, as the countdown ticks down to zero... but it all just takes a little too long. The countdown reaches "4" and the guy waiting patiently in the background still hasn't swung down on his rope. Not to mention the Daleks still haven't been defeated, and there's a lot of pre-choreographed mayhem still to go. In those days, Doctor Who was recorded in one take, with little chance for retakes. So obviously somebody decided to just let the countdown stop, and let the last battle take as long as it needs to. You can't rush an apocalyptic final battle between humans and machine-creatures. You just can't.

Green Lantern/Green Arrow:

When Green Lantern and Green Arrow first teamed up, based on their color schemes matching so well, their comic was all about the mismatched duo traveling around and discovering America. It was one long civics lesson, about racial injustice and smack being bad for you. But low sales drove writer Denny O'Neill to reinvent it as a crazy space-opera, where Green Lantern fights aliens with his self-righteous buddy Green Arrow along for the ride. In this sequence, Green Arrow decides he can survive in the vacuum of space for ten seconds... which is enough time for him to jump from ship to ship, get inside the other ship's airlock, make himself some lunch, and invent a whole new space dance:

Spaceballs:

Watching this scene, I feel as though Spaceballs wasn't even trying to be taken seriously or something. I mean, what is up with this final self-destruct countdown? First the computer says it'll take two minutes and 45 seconds, and some three minutes later Mel Brooks is still goofing around. And then the computer skips the number 7 and goes straight to six — and has time to make a joke about it and restart the countdown at 6. And then when it reaches zero, it still pauses to wish the soon-to-be-incinerated people a nice day. At least it's a suicidal computer with manners. But seriously, it's almost as though they were mocking the genre conventions or something.

The Fifth Element:

This one doesn't take any longer than it's supposed to, but it's still a tad unrealistic to evacuate an entire huge pleasure ship in five minutes — and it actually only seems to take three minutes, since everyone's gone by the two-minute mark. And you can watch that awesome sequence here.

• My Favorite Martian: This series premiered in 1963 and starred Bill Bixby in his pre-Hulk days as a hapless human who takes in a Martian who crash-lands his spaceship near Los Angeles. He passes him off as his Uncle Martin, who proceeds to do wacky things with his Martian powers, much like Jeannie or Samantha would do with their magic. It's vintage 1960s-era television sitcom material and worth seeking out on DVD or watching on YouTube. Just ignore the horrible feature film version they made in 1999 with Christopher Lloyd, Jeff Daniels, and Elizabeth Hurley.

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• Spaceballs: Mel Brooks lampooned Star Wars and a slew of other science fiction films in this 1987 movie that gave us quotes like "I see your schwartz is just as big as mine" and "Prepare ship for ludicrous speed!" Once you've seen this, it's hard to picture John Candy wearing anything except a giant furry dog suit. 20 years later, it's starting to show its age just a bit, but it's still a classic.

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• Red Dwarf: This British series about the last human being in the universe and his annoying holographic shipmate was one of the best things the BBC gave us, after Doctor Who. After an accident kills everyone onboard the Red Dwarf except for technician Dave Lister, the computer keeps him in suspended animation until the radiation dies down some three million years later. The computer also brings his former bunkmate and boss Arnold Rimmer to life as a hologram to keep him company.

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• Weird Science: in 1985 Anthony Michael Hall and Ilan Mitchell-Smith used science, computers, and wore bras on their heads in an effort to create the perfect woman. They end up with Kelly LeBrock, who helps them change from nerds to studs with her pseudo-magic "science powers." It's vintage John Hughes moviemaking that tried to build on the success of the previous year's Revenge of the Nerds, and succeeded. Except it gave birth to a terrible television series.

• Mork & Mindy: This Happy Days spinoff appeared in 1978 and helped propel Robin Williams to stardom by letting him improv most of his scenes as a wacky alien from Ork. Mork reported back to his boss Orson at the end of every episode, telling him what he'd learned that day on Earth, which usually involved something happening with Mindy. They eventually got married and had Jonathan Winters as a baby. No kidding. I still have my Mork from Ork action figure, complete with egg-shaped space capsule.

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• The Ice Pirates: This 1984 movie starred Robert Urich as the heroic Jason in search of the universe's most precious commodity: water. They spoof other science fiction films while hamming it up in b-movie style. You can also catch Anjelica Huston and Ron Perlman in this thing if you don't blink.

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• Galaxy Quest: Hands down the best send-up of the Star Trek franchise and its fans. In the flick, Galaxy Quest is a canceled television show that lives on through fan conventions and autographs signings. Tim Allen parodies William Shatner excellently, but it's Tony Shalhoub steals most of the scenes he's in as the fumbling head of engineering.

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• Mystery Science Theater 3000: This show made comedy out of making fun of movies and television shows that tried to be serious. Broadcast for the Satellite of Love, lone human being Joel and his two robot friends Tom Servo and Crow offered up alternative commentary on the shows that mad scientist Dr. Forrester would beam up to them. It spawned a feature film and two new alternative movie commentary programs, Cinematic Titanic and RiffTrax, both from MST3K former cast members Joel and Mike.

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• The Hitchhiker's Guide to the Galaxy: This series has been a radio series, a book, a television series, a computer game, a comic book, and a feature film. In it, lone Earthman Arthur Dent finds himself hitchhiking through the galaxy with a writer for The Hitchhiker's Guide after the Earth gets blown up. Although the effects aren't that stellar (thanks BBC), I actually prefer the television version to the movie. If that means I have to turn in my offical geek card, so be it.