In the fifth episode Neil deGrasse Tyson explores questions that have baffled scientists for centuries. Can we know the universe? Are our brains capable of comprehending the cosmos in all of its complexity and splendor?. We don't yet know the answers because our brain remains almost as much of a mystery to that questions as the universe itself. An abandoned orphan's dream opened the way to understanding the architecture of thought.

Episode 7 focuses specifically on first contact and the search for intelligent life in the vastness of the cosmos. Are humans ready to make first contact with other intelligent beings? Is our technology even sophisticated enough to detect communication signals from another world? Who are we to search for alien intelligence when we can't even recognize or respect the consciousness all around us, or even beneath our feet.
Neil deGrasse Tyson reveals the hidden underground network that is a collaboration of four kingdoms of life, and a true first contact story between humans and beings who communicate in a symbolic language and have maintained a representative democracy for many tens of millions of years.

Hanging in the Barnes Foundation in Philadelphia, Seurat’s Les Poseuses is probably his least-known painting. It is also a picture brimming with codes and hidden meanings. It shows three nudes in the artist’s studio, but included in the background is Seurat’s famous masterpiece, A Sunday Afternoon on the Island of La Grande Jatte. Why is it there? What is it trying to say? Why two pictures at once? Waldemar Januszczak investigates.

When Homo sapiens, which means 'wise ones,' discovered and controlled fire hundreds of thousands of years ago, everything changed. Fire allowed us to cook food and heat dwellings, and it served as a focal point for storytelling and sharing cultural identity among community members. We don't yet have established parameters for what it means to be 'distinctly human,' It would seem the only thing that separates us from other animals, Neil deGrasse Tyson ponders, is our neurotic need to feel 'special'. Against the backdrop of the Halls of Extinction, Tyson insists that there must be a clear distinction between ourselves and animals that justifies our eating them, wearing them and even bringing an end to their species.
From the birth of the devil in ancient Persia to a searing story of saintliness among macaque monkeys, this episode is an exploration of human potential for change. It concludes with the story of how one of history's greatest monsters was transformed into one of its shining lights.

At 11 o'clock on New Year's Eve of the Cosmic Calendar, Homo erectus stood up for the first time, freeing its hands and earning the species its name. They began to move around, to explore, daring to risk everything to get to unknown places. Our Neanderthal relatives lived much as we did and did many of the things we consider to be 'human.' More restless than their cousins the Neanderthals and Denisovans, our Homo sapiens ancestors crossed seas and unforgiving landscapes, changing the land, ocean and atmosphere, leading to mass extinction. The scientific community gave our age a new name, 'Anthropocene.'
Since the first civilizations we've wondered if there's something about human nature that contains the seeds of our destruction. Syukuro Manabe was born in rural Japan and took an intense interest in Earth's average global temperature. In the 1960's, he would assemble the evidence he needed to predict the increase of Earth's temperature due to greenhouse gases until it becomes an uninhabitable and toxic environment, leading to our extinction. 'This doesn't have to be,' says Neil deGrasse Tyson, 'it's not too late. There's another hallway, another future we can still have; we'll find a way.'

The Vision After the Sermon, also known as Jacob Wrestling with the Angel, is a painting full of symbolism and mystery. But what does Gauguin’s famous work have to do with a 17-year-old girl called Madeleine, with Victor Hugo’s Les Miserables, and with sumo wrestlers?
Waldemar Januszczak reveals all as he investigates Gauguin’s epic religious painting about good and evil, temptation and desire.