In the 80s the nature of the Latino Diaspora changes again. From Cuba a second wave of refugees to United States – the Mariel exodus – floods Miami . The same decade sees the sudden arrival of hundreds of thousands of Central Americans (Salvadorans, Guatemalans, and Nicaraguans) fleeing death squads and mass murders at home like activist, Carlos Vaquerano. By the early 1990s, a political debate over illegal immigration – has begun. Globalization, empowered by NAFTA, means that as U.S. manufacturers move south, Mexican workers head north in record numbers. A backlash ensues: tightened borders, anti-bilingualism, state laws to declare all illegal immigrants felons. But a sea change is underway: the coalescence of a new phenomenon called Latino American culture-as Latinos spread geographically and make their mark in music, sports, politics, business, and education.

This episodes the nature of the cosmos on the micro and atomic scales, using the Ship of the Imagination to explore these realms. Tyson describes some of the micro-organism that live within a dew drop, demonstrating parameciums and tardigrades. He proceeds to discuss how plants use photosynthesis via their chloroplasts to convert sunlight into chemical reactions that convert carbon dioxide and water into oxygen and energy-rich sugars. Tyson then discusses the nature of molecules and atoms and how they relate to the evolution of species. He uses the example set forth by Charles Darwin postulating the existence of the long-tongued Morgan's sphinx moth based on the nature of the comet orchid with pollen far within the flower. He further demonstrates that scents from flowers are used to trigger olfactory centers in the brain, stimulating the mind to threats as to aid in the survival of the species. Tyson narrates how Greek philosophers Thales and Democritus postulated that all matter was made up of combinations of atoms in a large number of configurations, and describes how carbon forms the basic building block for life on earth due to its unique chemical nature. Tyson explains on the basic atomic structure of protons, neutrons, and electrons, and the nature of nuclear fusion that occurs in most stars. He then discusses the existence of neutrinos that are created by these nuclear processes in stars, and that detecting such sub-atomic particles which normally pass through matter require subterranean facilities like the Super-Kamiokande that were used to detect neutrinos from the supernova SN 1987A in the Large Magellanic Cloud before light from the explosion were observed due to their ability to pass through matter of the dying sun. Tyson compares how neutrinos were postulated by Wolfgang Pauli to account for the conservation of energy from nuclear reactions in the same manner as Darwin's postulate on the long-tongued moth. Tyson concludes by noting that there are neutrinos from the Big Bang still existing in the universe but due to the nature of light, there is a "wall of infinity" that cannot be observed beyond.

This episode explores the palaeogeography of Earth over millions of years, and its impact on the development of life on the planet. Tyson starts by explaining that the lignin-rich trees evolved in the Carboniferous era about 300 million ago, then explains on the nature of plate tectonics that would shape the landmasses of the world and the asteroid impact that initiated the Cretaceous–Paleogene extinction event, leaving small mammals as the dominate species on earth. Earth's landmasses are expected to change in the future and postulates what may be the next great extinction event.

Among the ranks of the Wehrmacht there was limited opposition to Hitler. Most officers initially felt enthusiastic about the prospect of war and were grateful to Hitler whose war-mongering had furthered their personal careers. Furthermore all soldiers had to make an oath of allegiance to the Führer and, up until the very end, there were many who felt unable to break this pledge. There were, however, some officers who opposed Hitler. For some it was on moral grounds and for others because they thought that his military tactics would lose them the war. There were plots against Hitler and attempted coups, the best known being the July bomb plot led by Claus von Stauffenberg. Some soldiers refused to bear arms and were shot, others deserted, others still carried out quiet acts of sabotage and subversion. By and large, however, the Wehrmacht carried out the orders Hitler issued, even if it involved perpetrating acts of atrocity.

This is the story of three maps, three 'visions' of London over three centuries. The Morgan Map of 1682 was the first to show the whole of the City of London after the Great Fire of London. In 1746 John Rocque produced at the time the most detailed map ever made of London. Like Morgan's, Rocque's map is all neo-Classical beauty and clinical precision, but the London it represented had become the opposite. In engravings of the time, such as Night, the artist William Hogarth shows a city boiling with vice and corruption. Stephen Walter's contemporary image, The Island, plays with notions of cartographic order and respectability. His extraordinary London map looks at first glance to be just as precise and ordered as his hero Rocque's but, looking closer, it includes 21st century markings such as 'favourite kebab vans' and sites of 'personal heartbreak'.

The series concludes by delving into the world of satirical maps. How did maps take on a new form, not as geographical tools, but as devices for humour, satire or storytelling? Graphic Artist Fred Rose perfectly captured the public mood in 1880 with his General Election maps featuring Gladstone and Disraeli, using the maps to comment upon crucial election issues still familiar to us today. Technology was on the satirist's side with the advent of high-speed printing allowing for larger runs at lower cost. In 1877, when Rose produced his 'Serio Comic Map of Europe at War', maps began to take on a new direction and form, reflecting a changing world. Rose's map exploited these possibilities to the full using a combination of creatures and human figures to represent each European nation. The personification of Russia as a grotesque-looking octopus, extending its tentacles around the surrounding nations, perfectly symbolised the threat the country posed to its neighbours.