The film chronicles Allen's career - from teen writer to Sid Caesar's TV scribe, from stand-up comedian to award-winning writer-director averaging one film-per-year for more than 40 years. Exploring Allen's writing habits, casting, directing, and relationship with his actors first-hand, new interviews with A-listers, writing partners, family and friends provide insight and backstory to the usually inscrutable filmmaker.

What if we could explore the vastness of Space? Science fiction has always fed upon our need to explore – to wonder what is out there. Space journeys from Jules Verne’s earliest ideas about attempts to leave our planet, to the Star Wars far away galaxy through to Nichelle Nichols revealing how her groundbreaking role as Lt. Uhura in Star Trek led to her participation in the recruitment of NASA’s astronauts. It explores the deep sea inspiration for Avatar, finds out why Ursula K Le Guin wrote The Left Hand of Darkness and discovers how Stanley Kubrick was able to make 2001: A Space Odyssey seem so believable. In addition, the program looks at the way Dune and The Mars Trilogy embraced the challenge of world building and discusses the appeal of the beaten up ‘dirty space’ of Dark Star and Firefly. From the horrifying scenes of Alien, to the epic spectacle of Star Wars, this is a journey to the stars and the alien encounters that await us there.

What if we could travel not just through space, but through time itself? If you could travel through time, would you change the past or the future? What if you found it couldn’t be changed? What price does the time traveller -- and the people they are closest to -- pay? This is a journey from H. G. Wells' The Time Machine through ideas like The Grandfather Paradox and The Butterfly Effect to the professional time traveller that is the ever popular Doctor Who. Steven Moffat, David Tennant, Karen Gillan, and Neil Gaiman offer a unique perspective on the Doctor. Edward James Olmos reveals the hidden meaning of the language he created for the vision of the future that is Blade Runner. Bob Gale and Christopher Lloyd take us behind the scenes of Back to the Future, while Ed Solomon describes the joy of solving a time travel conundrum for Bill & Ted’s Excellent Adventure. But what would be the physical and emotional cost to the time traveller? Audrey Niffenegger explains what inspired her novel The Time Traveller’s Wife. And what if someone from the future tried to travel back in time to warn us? Would we believe them? From the apocalyptic tones of 12 Monkeys to the drama of Quantum Leap and the comedy of Groundhog Day, time travel is a subject that has been irresistible to the creators of every type of science fiction.

The power of visual storytelling is not a modern phenomenon, feature films today are using techniques developed way back in the distant past. For thousands of years, artists grappled with ways to bring their stories alive, to engage their audience. This is the story of how our ancient ancestors made the discoveries that have given films such a hold over our imaginations.

To fly like a bird, Earthflight not only captured remarkable images of wild flocks but also relied on some extraordinary relationships between people and birds. Filmed over four years, in six continents and more than 40 countries, the Earthflight team used many extraordinary techniques. For some of the unique flying shots, members of the team became part of the flock. The birds followed wherever they went - even in a microlight over Edinburgh and London. In Africa, paragliders floated alongside wild vultures, while a model vulture carried a camera inside the flock. In South America, wild-living macaws, that were rescued as babies, still come back to visit their 'foster mother' as he travels along a jungle river. In Africa, a radio-controlled 'drone' silently infiltrates masses of pink flamingos without disturbing a feather, and microlights and helicopters capture the dramatic moment white storks arrive over Istanbul. In Africa a tame vulture carried a camera across the African bush and recreated the behaviour of his wild relatives. Similarly, in the USA, a flock of hand-reared snow geese followed the migration route of wild flocks and took in the sights and sounds of New York - managing to get lost in Brooklyn

In the second episode, the directors learn their vision for the films is not always permissible by the U.S. government. Wyler is shocked by the racism he encounters against African American soldiers and refused to make a film recruiting black soldiers. Meanwhile, the films' racist depiction of the Japanese versus human depiction of the Germans causes worry for the War Department, which at that time planned to redistribute the Japanese-American population from internment camps into towns across the United States.