When mankind eventually leaves the cradle of Earth and ventures forth into the uncharted territories of the cosmos, where, and what form, will our new homes take?

It sounds like a Hollywood blockbuster: a deadly asteroid is on a collision course with Earth. But in reality, it's only a matter of time before a giant space rock threatens to wipe out civilization. An asteroid took out the dinosaurs sixty-five million years ago. Are we next? This episode analyzes the threat and explores the many ways--from a nuclear bomb to ingenious new technology--that experts are proposing to stop Armageddon

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.

It was the defining moment of the 20th Century - the scientific, technological, military, and political gamble of the world's first atomic attack. This drama-documentary attempts to do what no other film has done before - to show what it is like to live through a nuclear explosion, millisecond by millisecond. Set in the three weeks from the first test explosion in New Mexico to the eventual dropping of the bomb, the action takes viewers into the room where the crucial political decisions are made; on board the Enola Gay on her fateful voyage; inside the bomb as it explodes; and on the streets of Hiroshima when disaster strikes. Parallel storylines interweave, unfolding the action from both US and Japanese perspectives, and revealing the tensions and conflicts in the actions and minds of people who were making history. Special effects recreate the reality of the mission - even going inside the workings of the bomb - and archive film replays the horrific aftermath.

During 1953-1958, as the Cold War intensifies, Korolev is asked to build a rocket capable of carrying a five-ton warhead to America - he designs and constructs the R-7 Semyorka, and is later allowed to use it to launch the first satellite, Sputnik 1. Meanwhile, von Braun struggles to persuade the US government to allow him to launch his own satellite - after Sputnik's launch and the failure of the US Navy to launch a Vanguard satellite, he is finally allowed to launch the first American satellite, Explorer 1.

During 1964-1969 both sides now plan to put a man on the Moon - while the Soviets struggle, the Americans pull ahead in the space race with Project Gemini, but then suffer a disaster with the Apollo 1 fire. The Soviet space programme suffers its own blows: Sergei Korolev dies when his heart fails during an operation, Soyuz 1 crashes and kills cosmonaut Vladimir Komarov, and their planned moon rocket, the N-1 rocket, fails to successfully launch. In America, von Braun has difficulties with the Saturn V, but they are overcome, and the rocket successfully launches the first manned lunar mission, Apollo 8, and the first manned lunar landing, Apollo 11.