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.

Diarmaid MacCulloch traces the growth of an exuberant expression of faith that has spread across the globe - Evangelical Protestantism. Today, it is associated with conservative politics, but the whole story is distinctly more unexpected. It is easily forgotten that the evangelical explosion has been driven by a concern for social justice and the claim that one could stand in a direct emotional relationship with God. It allowed the Protestant faith to burst its boundaries from its homeland in Europe. In America, its preachers marketed Christianity with all the flair and swashbuckling enterprise of American commerce. In Africa, it converted much of the continent by adapting to local traditions, and now it is expanding into Asia. But is Korean Pentecostalism and its message of prosperity in the here and now an adaptation too far?

Earthflight departs on its grand European tour, using a host of techniques including taking extraordinary footage from microlites as they fly alongside imprinted birds. Among other wonders, cameras soar with cranes and geese over Venice, the white cliffs of Dover and Edinburgh. White storks leave Africa and struggle to reach Istanbul, the gateway to Europe, while cranes take an easier route over the monkey-guarded Rock of Gibraltar. In France, the white horses of the Camargue make a splash around the new arrivals. In Rome, the heat of the city lures 20 million starlings that perform nature's greatest aerial display to outwit peregrines. In Hungary, sand martins grab mayflies from the air; and at Bass Rock, gannets create Britain's greatest natural spectacle as they dive in exquisite slow-motion. The story takes an emotional turn as storks and swallows wait for their partners to return and indulge in a spot of DIY to impress. Finally, geese touch down in Svalbard to raise a family. To protect their young, a squadron of birds assemble to see off polar bears. With views of birds flying over the Loire Valley, London docklands and the bulb fieds of Holland, this is Europe as never before.

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.

A single microscopic brain cell cannot think, is not conscious, but if you bring in a few more brain cells, and a few more, and connect them all, at a certain point, the group itself will be able to think and experience emotions and have opinions and a personality and know that it exists. How can such astonishing things be made from such simple ingredients? Well, answering that question means learning not only who we are but, more importantly, how we are.
Today, using what neuroscientists know so far, we are going to make a town function like a brain, using people as neurons.

Our relationship with destruction is not a simple one. It can release endorphins and relax our minds. It can amp us up and make us even more aggressive. It can even help us regulate our emotional reactions. Can violently breaking things calm us down? Or does it simply anger us more? Find out as Michael Stevens takes a look into our urge to destroy.