As almost all animal inhabitants of Antarctica are forced to migrate north, the sea underneath the frozen ice still provides a home to many specially adapted fish whose cells are protected from freezing through an 'antifreeze' liquid. Many of them feed on the faeces of other animals. The most notable larger animal that does not migrate north is perhaps the Weddell Seal, which can be found as close as 1300 kilometres to the pole. Groups of seals tear holes into the ice to dive for food and come up to breathe. The females come back to the ice to give birth. This episode also describes primitive plant life such as lichen, which can still be found on the continent in winter, even in the extremely dry and permanently frozen valleys conditions under which dead animals can lie frozen for many centuries without decomposing. It details the life of the Emperor Penguin, 'the only birds to lay their eggs directly on ice'. While other animals retreat, Emperors migrate not just to the ice, but into the Antarctic continent. The females lay eggs which are incubated by the males under the harshest conditions on Earth (huddling closely together for warmth), while the females return to the sea.

This episode discusses the human exploration of Antarctica, in particular the mission led by Captain Robert Falcon Scott, whose team died on the way back from the South Pole. It shows the scientific work in the modern human bases in Antarctica, especially Mawson Base and its observation of Adelie Penguins (partially through tracking devices). The second half of the episode describes how the series was made. Most crucial was of course the camera work. To get access to the wildlife of the sea, for example, boats, divers, suspended capsules and remotely controlled cameras mounted on inflatables were used. Particularly dangerous to divers were Leopard Seals and other predators. The film concludes that although working in Antarctica is now much easier than during the early days of exploration, human footsteps on the continent are still exceedingly rare in part because of international treaties prohibiting industrial exploitation.

U2, the '80s sensation, captivated with their unique sound, blending old-school alternative rock's good intentions with epic '70s scale. 'The Joshua Tree,' delves into America's contrasting faces, from vast deserts to big city anonymity and human rights issues. This album is a social snapshot of the late '80s, offering hope amid dark themes.
The documentary explores The Joshua Tree Tour in America. Directed by Barry Devlin and Meiert Avis, it features unreleased videos like 'Spanish Eyes' and 'In God's Country.' Discover unseen footage from this iconic band in the 20th Anniversary Edition of 'The Joshua Tree.' Don't miss it!

One of the world's biggest bands return to the scene of their Live Aid triumph a year earlier to play all their greatest hits in front of a packed Wembley Stadium.
Everything is done right and to perfection here. There is a majesty in the filming and editing that is missing in the other performances. Maybe it's the energy of this awesome Wembley crowd. Shot just before sunset, the transition to night time is magic and Freddie commands! He is loved by and connected to the crowd like very few performers. The sound is stellar, Brian is in great form, the harmonies are spot on, it is incredible to realize this wall of great sound is coming mostly from a live trio.

There is a majesty in the filming and editing that is missing in the other performances. Maybe it's the energy of this awesome Wembley crowd. Shot just before sunset, the transition to night time is magic and Freddie commands! He is loved by and connected to the crowd like very few performers. The sound is stellar, Brian is in great form, the harmonies are spot on, it is incredible to realize this wall of great sound is coming mostly from a live trio.

Over the course of three nights at Hollywood's Pantages Theater in December 1983, filmmaker Jonathan Demme joined creative forces with Jordan Cronenweth and Talking Heads... and miracles occurred. Following a staging concept by singer-guitarist David Byrne, this euphoric concert film transcends that all-too-limited genre to become the greatest film of its kind. A guaranteed cure for anyone's blues, it's a celebration of music that never grows old, fueled by the polyrhythmic pop-funk precision that was a Talking Heads trademark, and lit from within by the geeky supernova that is David Byrne.
This circus of musical pleasure defies the futility of reductive description; it begs to be experienced, felt in the heart, head, and bones, and held there the way we hold on to cherished memories. On those three nights in December 1983, Talking Heads gave love, life, and joy in generous amounts that years cannot erode, and Demme captured this act of creative goodwill on film with minimalist artistic perfection. Stop Making Sense is an invitation to pleasure that will never wear out its welcome.