The Sounds of the Sounds of Science is a score written by Yo La Tengo for filmmaker Jean Painlevé. It contains 78 minutes of instrumental music to accompany his eight short documentary-style films shot underwater.

Jordy wants to use his precious robots for scientific pursuits, while his employers have other plans for them.

The series heads to the very frontiers of space and science to produce the definitive television history of science fiction, told through its impact on cinema, television and literature, with the help of filmmakers, writers, actors, and graphic artists. Each episode will explore one of the enduring themes of science fiction: time travel; the exploration of space; robots and artificial intelligence; and aliens.

Adrenaline Rush: the Science of Risk takes audiences on a breathtaking journey from extraordinary heights, featuring spectacular footage of extreme skydiving while delving into both the biology of risk-taking and the physics that make human flight possible

Mano Reiji, a man who experienced a gruesome incident, is a forensic researcher at the Tokyo Metropolitan Police Department's Investigative Science Research Institute. Under the belief that "appraisal will result in the truth" and with his vast knowledge, Mano approaches cases from a view point that differs from others. On the other hand, Sawaguchi Nonna (Araki Yuko) is a rookie forensic researcher that begins working with the no nonsense Mano. They are forced to work together on a murder case.

How to create the imagination of movement for fun parks is the theme of this documentary. Although engineers try and try to create machines that shake, tilt, turn, lift and drop people in a way that fools their senses, the real McCoy cannot be imitated: Roller Coasters just let you experience movement much, much more intense than everything else - even on the screen.

Tom Sawyer and Huck Finn return in all-new, science-filled adventures. With Becky Thatcher and friends, they tackle trappers, robbers, and old foes-learning real science like gravity, energy, and magnetism along the way.

The journey of She and Loverboy – a dealer of the sacred flower’s seeds. Led by the invisible force of the kidnapper, she is soon caught in a delusion of their strangely automatic, lonely honeymoon

Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."

Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."