Al Capone moves back to Chicago and takes over two floors of the city's finest hotel, the Lexington. With a thriving business and Chicago politicians in his back pocket, Capone soon reaches a level of celebrity normally reserved for athletes and entertainers. As Capone's profile grows, he begins to indulge in all that the Roaring '20s have to offer, including cocaine. While Capone enjoys his reign at the top of the Chicago underworld, Irish gangster Bugs Moran seeks to take him down as revenge for the deaths of his partners Dean O'Banion and Hymie Weiss. On March 7, 1928, Moran orders a hit on one of Capone's top associates, Jack McGurn, the man who took out Hymie Weiss. McGurn survives but Capone decides to retaliate by taking out Moran and as many of his men as possible - all at once. On February 14, 1929, Capone's men dress as law enforcement and raid the liquor buy. They order Moran's men to face the wall for handcuffing, but while their backs are turned, Capone's men shoot all of them. Firing 70 rounds of ammunition in less than 10 seconds, the assassins carry out the biggest gangland hit in American history that will come to be known as the St. Valentine's Day Massacre. Through a stroke of luck, Moran avoids the massacre, but knows he's been defeated.

Why were the most fearsome warriors our planet has ever known stopped by a flaming light in the sky? How did Columbus use secret knowledge of the heavens to cheat death in the New World? Our ancestors saw a universe filled with bad omens. The film examines the interpretations by ancient peoples of celestial phenomena as bad omens, and the impact that the perceived omens may have had on history.

What happens when a machine makes life-or-death decisions? This documentary explores the dangers of artificial intelligence in military application. To behold the fascinating military technology shown here is to witness the birth of a terrible beauty that could annihilate us all.
The documentary is not only chilling, it makes this dark side of artificial intelligence seem inevitable. It is also an essential chronicle to get a general idea of how artificial intelligence is being applied not only in warfare, but also in other areas of our society.

Painting became an important means of communication for David since his face was slashed during a sword fight and his speech became impeded by a benign tumour that developed from the wound, leading him to stammer. He was interested in painting in a new classical style that departed from the frivolity of the Rococo period and reflected the moral and austere climate before the French Revolution. David became closely aligned with the republican government and his work was increasingly used as propaganda with the Death of Marat proving his most controversial work.

This episode provides an overview of the nature of electromagnetism, as discovered through the work of Michael Faraday. Tyson explains how the idea of another force of nature, similar to gravitational forces, had been postulated by Isaac Newton before. Tyson continues on Faraday, coming from poor beginnings, would end up becoming interested in studying electricity after reading books and seeing lectures by Humphry Davy at the Royal Institution. Davy would hire Faraday after seeing extensive notes he had taken to act as his secretary and lab assistant. After Davy and chemist William Hyde Wollaston unsuccessfully tried to build on Hans Christian Ørsted's discovery of the electromagnetic phenomena to harness the ability to create motion from electricity, Faraday was able to create his own device to create the first electric motor by applying electricity aligned along a magnet. Davy, bitter over Faraday's breakthrough, put Faraday on the task of improving the quality of high-quality optical glass, preventing Faraday from continuing his research. Faraday, undeterred, continued to work in the Royal Institution, and created the Christmas Lectures designed to teach science to children. Following Davy's death, Faraday returned to full time efforts studying electromagnetism, creating the first electrical generator by inserting a magnet in a coil of wires. Tyson continues to note that despite losing some of his mental capacity, Faraday concluded that electricity and magnetism were connected by unseen fields, and postulated that light may also be tied to these forces. Using a sample of the optical glass that Davy had him make, Faraday discovered that an applied magnetic field could affect the polarization of light passing through the glass sample (a dielectric material), leading to what is called the Faraday effect and connecting these three forces. Faraday postulated that these fields existed across the planet, which would later by called Earth's magnetic field generated by the rotating molten iron inner core, as well as the phenomena that caused the planets to rotate around the sun. Faraday's work was initially rejected by the scientific community due to his lack of mathematical support, but James Clerk Maxwell would later come to rework Faraday's theories into the Maxwell's equations that validated Faraday's theories. Their combined efforts created the basis of science that drives the principles of modern communications today.

In this final episode, Mary Beard delves even deeper into ordinary Roman life by going behind the closed doors of their homes. She meets an extraordinary cast of characters - drunken housewives, teenage brides, bullied children and runaway slaves - and paints a more dynamic, lusty picture of Roman family life. Mary uncovers their preserved beds, furniture and cradles, tries on Roman wedding rings and meets some eccentric wives like Glyconis, praised by her husband for liking a drink or two, and Allia Potestas, who lived in a Roman menage a trois. Mary explores Roman parenting, childbirth and children, including Sulpicius Maximus, an 11-year-old schoolboy who was worked to death by his pushy parents, and Geminia Mater, a 5-year-old tomboy. Finally, Mary paints a more nuanced picture of Roman slavery and asks why if it was such a brutal institution did many Romans choose to be buried with their servants - living cheek by jowl in death, as in life