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The third episode is devoted to the ways in which plants reproduce. Pollen and a stigma are the two components needed for fertilisation. Most plants carry both these within their flowers and rely on animals to transport the pollen from one to the stigma of another. To do this, they attract their couriers with colour, scent and nectar. It isn't just birds that help pollination: some mammals and reptiles also do so. However, it is mostly insects that are recruited to carry out the task. To ensure that pollen is not wasted by being delivered to the wrong flower, some species of plant have developed exclusive relationships with their visitors, and the gentian and its attendant carpenter bees is one example. Since pollen can be expensive to produce in terms of calories, some plants, such as orchids, ration it by means of pollinia and a strategically placed landing platform. Other orchids offer no reward for pollination, but instead mislead their guests by mimicking their markings and aroma, thus enticing males to 'mate' with them (Pseudocopulation). The most extreme fertilisation method is one of imprisonment, and one plant that uses it is the dead horse arum. It is often found near gull colonies, and mimics the appearance and smell of rotting flesh. Blow-flies are attracted to it, and are forced to stay the night before being allowed to depart in the morning, laden with pollen. Finally, Attenborough introduces the world's largest inflorescence: that of the titan arum.

The fifth programme explores the alliances formed between the animal and plant worlds. Attenborough dives into Australia's Great Barrier Reef and contrasts the nocturnal feeding of coral, on microscopic creatures, with its daytime diet of algae. Some acacias are protected by ants, which will defend their refuge from any predator. Besides accommodation, the guards are rewarded with nectar and, from certain species, protein for their larvae as well. Fungi feed on plants but can also provide essential nutriment to saplings (Mycorrhiza). The connection is never broken throughout a tree's life and a quarter of the sugars and starches produced in its leaves is channelled back to its fungal partners. Meanwhile, fungi that feed on dead wood leave a hollow trunk, which also benefits the tree. Orchids enjoy a similar affiliation. Lichens are the product of a relationship between fungi and a photosynthetic associate, usually algae. They are extremely slow-growing, and a graveyard is the perfect location to discover their exact longevity. Mistletoe is a hemiparasite that obtains its moisture from a host tree, while using own leaves to manufacture food. Its seeds are deposited on another by the mistletoe tyrannulet, following digestion of the fruit. The dodder (Cuscuta) is also parasitic, generally favouring nettles, and siphons its nourishment through periodic 'plugs' along its stem. The rafflesia has no stem or leaves and only emerges from its host in order to bloom — and it produces the largest single flower: one metre across.

Sir David Attenborough reveals plants as they have never been seen before - on the move and dangerously devious. About the major problems of life - growing, finding food, reproduction - and the varied ways plants have evolved to solve it. Filmed from the plant's point of view, using computer animations, fibre-optics and unique time-lapse photography. The first episode looks at how plants are able to move". The bramble is an aggressive example: it advances forcefully from side to side and, once settled on its course, there is little that can stand in its way. An altogether faster species is the birdcage plant, which inhabits Californian sand dunes. When its location becomes exposed, it shifts at great speed to another one with the assistance of wind — and it is this that allows many forms of vegetation to distribute their seeds. While not strictly a plant, the spores of fungi are also spread in a similar fashion. One of the most successful (and intricate) flowers to use the wind is the dandelion, whose seeds travel with the aid of 'parachutes'. They are needed to travel miles away from their parents, who are too densely packed to allow any new arrivals. Trees have the advantage of height to send their seeds further, and the cottonwood is shown as a specialist in this regard. The humidity of the tropical rainforest creates transportation problems, and the liana-species Alsomitra macrocarpa is one plant whose seeds are aerodynamic 'gliders'. Some, such as those of the sycamore, take the form of 'helicopters', while others, such as the squirting cucumber release their seeds by 'exploding'. Water is also a widely used method of propulsion. The tropical sea bean Entada gigas has one of the biggest fruits of all plants and is dispersed by water streams. However, most plants use living couriers, whether they be dogs, humans and other primates, ants or birds, etc., and to that end, they use colour and smell to signify when they are ripe for picking.

The second episode is about how plants gain their sustenance. Sunlight is one of the essential requirements if a seed is to germinate, and Attenborough highlights the cheese plant as an example whose young shoots head for the nearest tree trunk and then climb to the top of the forest canopy, developing its leaves en route. Using sunshine, air, water and a few minerals, the leaves are, in effect, the "factories" that produce food. However, some, such as the begonia, can thrive without much light. To gain moisture, plants typically use their roots to probe underground. Trees pump water up pipes that run inside their trunks, and Attenborough observes that a sycamore can do this at the rate of 450 litres an hour — in total silence. Too much rainfall can clog up a leaf's pores, and many have specially designed 'gutters' to cope with it. However, their biggest threat is from animals, and some require extreme methods of defence, such as spines, camouflage, or poison. Some can move quickly to deter predators: the mimosa can fold its leaves instantly when touched, and the Venus flytrap eats insects by closing its leaves around its prey when triggered. Another carnivorous plant is the trumpet pitcher that snares insects when they fall into its tubular leaves. Attenborough visits Borneo to see the largest pitcher of them all, Nepenthes rajah, whose traps contain up to two litres of water and have been known to kill small rodents.

As almost all animal inhabitants of Antarctica are forced to migrate north, the sea underneath the frozen ice still provides a home to many specially adapted fish whose cells are protected from freezing through an 'antifreeze' liquid. Many of them feed on the faeces of other animals. The most notable larger animal that does not migrate north is perhaps the Weddell Seal, which can be found as close as 1300 kilometres to the pole. Groups of seals tear holes into the ice to dive for food and come up to breathe. The females come back to the ice to give birth. This episode also describes primitive plant life such as lichen, which can still be found on the continent in winter, even in the extremely dry and permanently frozen valleys conditions under which dead animals can lie frozen for many centuries without decomposing. It details the life of the Emperor Penguin, 'the only birds to lay their eggs directly on ice'. While other animals retreat, Emperors migrate not just to the ice, but into the Antarctic continent. The females lay eggs which are incubated by the males under the harshest conditions on Earth (huddling closely together for warmth), while the females return to the sea.

Over the course of three nights at Hollywood's Pantages Theater in December 1983, filmmaker Jonathan Demme joined creative forces with Jordan Cronenweth and Talking Heads... and miracles occurred. Following a staging concept by singer-guitarist David Byrne, this euphoric concert film transcends that all-too-limited genre to become the greatest film of its kind. A guaranteed cure for anyone's blues, it's a celebration of music that never grows old, fueled by the polyrhythmic pop-funk precision that was a Talking Heads trademark, and lit from within by the geeky supernova that is David Byrne.
This circus of musical pleasure defies the futility of reductive description; it begs to be experienced, felt in the heart, head, and bones, and held there the way we hold on to cherished memories. On those three nights in December 1983, Talking Heads gave love, life, and joy in generous amounts that years cannot erode, and Demme captured this act of creative goodwill on film with minimalist artistic perfection. Stop Making Sense is an invitation to pleasure that will never wear out its welcome.