Nathan and Angela accelerate their parenting rehearsal with three-year-old, then six-year-old actors portraying their fake son, 'Adam'. Angela refuses to participate in Halloween due to her belief in Satanic conspiracies.
Nathan balances parenting duties with a rehearsal for Patrick, a man who wants to confront his brother over their late grandfather's will, which bans Patrick from inheriting money if he is dating a 'gold digger'. The rehearsal occurs in a replica Raising Cane's restaurant in a warehouse next to the relocated Alligator Lounge. To introduce real emotions to the rehearsal, Nathan stages a scenario to convince Patrick that he could inherit buried gold from the grandfather of Isaac, the actor who plays Patrick's brother. After Patrick has an emotional breakthrough during a rehearsal, he leaves the production and never returns. Nathan narrates that he is envious that self-deception is easy for some people as he ponders his fake family.

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

The big blue is the world's greatest wilderness, far from shore and many kilometres deep. It's a vast marine desert where there is little to eat and nowhere to hide. Yet it's home to some of the biggest and most spectacular creatures on earth. This episode reveals what it takes to survive in this savage and forbidding world. We witness feats of incredible endurance, moments of high drama and extraordinary acts of heart-wrenching self-sacrifice. Every animal in the big blue must find their own unique way to survive. Sperm whales have the largest brains in the world. They live for 80 years, and we are only now beginning to learn the extraordinary complexity of their language of clicks - thought to coordinate the whole family in everything from childcare to hunting. With special pressure-proof cameras, we witness record-breaking feats of endurance as they hunt for squid a kilometre down into the abyss. Only recently have we begun to solve the mystery of where baby turtles disappear to in their early years. They leave the crowded waters of the coast and head to the open ocean, where they use floating debris like logs as life rafts. Here they remain until adulthood, adrift on the high seas in relative safety away from coastal predators. Over half of all animals in the open ocean drift in currents. Jellyfish cross entire oceans feeding on whatever happens to tangle with their tentacles. The jelly-like Portuguese man-of-war can harness sail power to fish with its deadly tentacles. Sometimes there is a brief explosion of food in this marine desert, but ocean hunters must be fast to make the best of this bonanza. We witness super pods of up to 5,000 spinner dolphins racing to herd vast shoals of lanternfish, briefly caught at the surface where it is thought they spawn. New aerial footage reveals, for the first time, the truth to a centuries-old sailors' legend of the 'boiling seas' - the spectacular feeding frenzy of 90kg tuna and dolphins smashing through the lantern fish shoals turning the sea white with foam.

This episode includes footage of wildlife inhabiting underwater kelp forests, thousands of giant cuttlefish spawning along a restricted area of rocky reef off the south coast of Australia. Males outnumber females 11 to one, which leads to fierce competition. Larger males use brute force to drive off competition, while their smaller rivals use deception by mimicking the appearance of females. The programme also features tiger sharks hunting for green turtles in fields of seagrass and spider crabs trying to avoid predators while they shed their shells.

On the coast, two worlds collide. Coasts are the most dynamic and challenging habitats in the ocean - that brings great rewards but also great danger. The extraordinary animals that live here must find ingenious ways to cope with two very different worlds. This episode is a rollercoaster ride of heart-stopping action and epic drama, peopled with characters from the beautiful to the bizarre. We meet fish that live on dry land and puffins that must travel 60 miles or more for a single meal, and witness a life-and-death struggle in a technicolour rock pool. In a secluded cove in the Galapagos, sea lions feast on 60kg tuna. It should be impossible - tuna are usually far too fast for sea lions to catch. But here the sea lions club together to herd their prey inshore. Once trapped in the shallows, these huge fish are easy pickings. As the tide recedes in Brazil, lightfoot crabs leap from rock to rock, desperately avoiding the water - their lives depend on it. Moray eels launch themselves from rock pools, jaw gaping. Then octopuses, too. Both crawl across dry rock to set their ambush. Elsewhere, the ever-changing tides create rock pools. But these temporary worlds are a battleground. Predatory starfish turn a magical garden into the stuff of nightmares.

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.