Sagan reflects on the future of humanity and the question of 'who speaks for Earth?' when meeting extraterrestrials. He discusses the very different meetings of the Tlingit people and explorer Jean-François de La Perouse with the destruction of the Aztecs by Spanish conquistadors, the looming threat of nuclear warfare, and the threats shown by destruction of the Library of Alexandria and the murder of Hypatia. The episode ends with an overview of the beginning of the universe, the evolution of life, and the accomplishments of humanity and makes a plea to mankind to cherish life and continue its journey in the cosmos. The Cosmos Update notes the preliminary reconnaissance of planets with spacecraft, the fall of the Berlin Wall and the end of apartheid in South Africa, and measures towards the reduction of nuclear weapons.

'Blood Brothers' follows the lives of two species, Paranthropus boisei and Homo habilis who embody two alternative ways of ape-man life. Although heavyset, with distinctive gorilla-like faces, the boisei are gentle characters. They live within a strict social structure and are led by a dominant male whose strength and power holds the group together. The habilis have taken a different approach to survival. They don't have the specialisms of the boisei but instead have developed into the archetypal jack-of-all-trades, inquisitive scavengers prepared to try almost anything to survive. Tough, active, gregarious and noisy, they are always on the move and always alert to the possibility of a meal. But in the near drought of the dry season the habilis are struggling. It seems as if their way of life cannot help them when conditions are tough.

The very heart of Africa is covered in dense tropical rainforest. The animals that live here find the most ingenious ways to carve out their space in a claustrophobic landscape. Danger lurks in every shadow, but some animals thrive here, from honey-stealing chimps to birds with a lineage as old as the dinosaurs, thundering elephants and kick-boxing frogs. Here in the Congo, no matter how tough the competition, you must stand up and fight for yourself and your patch.

David Attenborough comes face-to-face with a baby rhino and asks what the future holds for this little one. He meets the local people who are standing side-by-side with the wildlife at this pivotal moment in their history. We discover what it takes to save a species, hold back a desert and even resurrect an entire wilderness - revealing what the world was like before modern man.

Fifty years ago there were close to half-a-million lions in Africa. Today there are around 20,000. To make matters worse, lions, unlike elephants, which are far more numerous, have virtually no protection under government mandate or through international accords. This is the jumping-off point for a disturbing, well-researched and beautifully made cri de coeur from husband and wife team Dereck and Beverly Joubert, award-winning filmmakers from Botswana who have been Explorers-in-Residence at National Geographic for more than four years. Pointing to poaching as a primary threat while noting the lion's pride of place on the list for eco-tourists-an industry that brings in 200 billion dollars per year worldwide-the Jouberts build a solid case for both the moral duty we have to protect lions (as well as other threatened "big cats," tigers among them) and the economic sense such protection would make. And when one takes into account the fact that big cats are at the very top of the food chain-and that their elimination would wreak havoc on all species below them, causing a complete ecosystem collapse-the need takes on a supreme urgency.

Part 2 examines how the freewheeling modernism that had shocked audiences in the first two decades of the century came under state control. Initially, many practitioners thought the totalitarian regimes would be good for music and the arts. What followed in Germany was a ban on music written by Jews, African-Americans and communists, while in the Soviet Union there was a prohibition on music the workers were unable to hum. After the cataclysm of the 1940s, a new generation of composers - Boulez, Stockhausen, Xenakis, Nono, Ligeti - turned their back on what they saw as the discredited music of the past and tried to reinvent it from scratch. Or, at least, from serialism, which became as much of a straitjacket as totalitarianism's strictures had been. But from this period of avant-garde experimentation, which many listeners found baffling and terrifying, came some of the most influential and radical musical innovations of the century.