Special thanks to Chris Hughes and Helium Records for the use of Shift Part IV from the album Shift

Producer Briana Breen brings us the story: Diane’s new neighbors across the way never shut their curtains, and that was the beginning of an intimate, but very one-sided relationship.

Please listen to as much of Love + Radio as you can.

Produced by Tim Howard & Matt Kielty. With production help from Andy Mills.

Special thanks to VIH, Eskoria, Metamorfosis and Alio Die & Mariolina Zitta for the use of their music.

Thanks to Nick Hakim for the use of his song "The Light".

Ok, yeah, we’re talking about Facebook. Because Facebook, or something like it, is more and more the way we share and like, and gossip and gripe. And because it's so big, Facebook has a created a laboratory of human behavior the likes of which we’ve never seen. We peek into the work of Arturo Bejar and a team of researchers who are tweaking our online experience, bit by bit, to try to make the world a better place. And along the way we can’t help but wonder whether that’s possible, or even a good idea.

Invisibilia has an upcoming episode about categories, so Alix tells us a story about two very basic categories: boy and girl. We've heard lots of stories about the sometimes blurry boundaries between boy and girl, but Alix introduces us to someone who experiences those categories in a way that was totally, completely new to us.

Confused? Push the button marked Play.

Special thanks for the music of Brian Carpenter's Ghost Train Orchestra

NPR's East Africa correspondent Gregory Warner takes us back to the 2013 terrorist attacks on the Westgate Mall in Nairobi, Kenya. Warner reported on the attack as it happened, listening to eyewitness accounts, sorting out the facts, establishing the truth. But he's been been wrestling with it ever since as his friends and neighbors try not only to put their lives back together, but also try to piece together what really happened that day.

Special thanks to Jason Straziuso, Heidi Vogt, Robert Alai, Didi Schanche and Edith Chapin.

We start with the story of perhaps the most iconic Patient Zero of all time: Typhoid Mary. Then, we dive into a molecular detective story to pinpoint the beginning of the AIDS epidemic, and we re-imagine the moment the virus that caused the global pandemic sprang to life. After that, we update the show with a quick look at the very current Ebola outbreak in west Africa. In the end, we're left wondering if you can trace the spread of an idea the way you can trace the spread of a disease and find ourselves faced with competing claims about the origin of the high five.

Special thanks for the music of Brian Carpenter's Ghost Train Orchestra

When Jad started to compose music for our live show Apocalyptical, he immediately thought of John Luther Adams. Adams' symphony “Become Ocean,” rooted in the sounds of nature, is elemental, tectonic, and unstoppable. It seemed a natural fit for our consideration of the (spoiler alert) extinction of the dinosaurs.

In this piece, Jad introduces Robert to a special on Adams from a podcast called Meet the Composer. Through interviews and snippets of his music, it captures all the forces at play in Adam's work and reveals the dark majesty of Adams' take on the apocalypse.

3 months later a specialist sat Ron and Cornelia down and said the word that changed everything for them: Autism.

In this episode, the Suskind family finds an unlikely way to access their silent son's world. We set off to figure out what their story can tell us about Autism, a disorder with a wide spectrum of symptoms and severity. Along the way, we speak to specialists, therapists, and advocates including Simon Baron-Cohen, Barry and Raun Kaufmann, Dave Royko, Geraldine Dawson, Temple Grandin, and Gil Tippy.

Today on Radiolab, a puzzle. Jad’s brother-in-law wrote a book called 'In The Dust of This Planet'.

It’s an academic treatise about the horror humanity feels as we realize that we are nothing but a speck in the universe. For a few years nobody read it. But then …

We talk nihilism with Eugene Thacker & Simon Critchley, leather jackets with June Ambrose, climate change with David Victor, and hope with the father of Transcendental Black Metal - Hunter Hunt Hendrix of the band Liturgy. Special thanks to Thrill Jockey for use of the Liturgy song 'Generation'. It's from their album Aesthetica, out now, which is highly recommended listening for the end times.

You can find Eugene Thacker's 'In The Dust Of the Planet' at Zero Books

Correction: An earlier version of this piece mistakenly identified Nic Pizzolatto as the director of True Detective, when he is in fact the creator, writer, and executive producer of the series. The audio has been adjusted to reflect this fact. Cary Fukunaga (brilliantly) directed season one of True Detective.

In this episode, we try to make contact with some of the strangest strangers on our little planet: dolphins. Producer Lynn Levy eavesdrops on some human-dolphin conversations, from a studio apartment in the Virgin Islands to a research vessel in the Bermuda Triangle.

Special thanks for the music of Brian Carpenter's Ghost Train Orchestra

For his birthday surprise we all listened to some old NPR pieces that Robert did in the 70s, 80s and early 90s — a news piece on the dawn of the ATM, a fake opera on interest rates, and the story of a family business splintered into relatives fighting to be first in the phone book. Along the way, we hear some incredible stories from Robert’s life …

And, just to celebrate the man whose infectious curiosity draws so many people (including us) to his side … we share with you the kind of gonzo, full-throated Krulwich story we usually can’t include in the show … an epic of secret zoos, sewing machines, an alligator farm, a marching band, and a bus full of French tourists that save the day.

We are dedicating a whole hour to the Galapagos archipelago, the place that inspired Darwin’s theory of evolution and natural selection. 179 years later, the Galapagos are undergoing rapid changes that continue to pose -- and possibly answer -- critical questions about the fragility and resilience of life on Earth.

Sally Adee, an editor at New Scientist, was at a conference for DARPA - The Defense Advanced Research Projects Agency - when she heard about a way to speed up learning with something called trans-cranial direct current stimulation (tDCS). A couple years later, Sally found herself weilding an M4 assualt rifle, picking off enemy combatants with a battery wired to her temple. Of course, it was a simulation, but Sally's sniper skills made producer Soren Wheeler wonder what we should think of the world of brain stimulation.

In the last couple years, tDCS has been all over the news. Researchers claim that juicing the brain with just 2 milliamps (think 9-volt battery) can help with everything from learning languages, to quitting smoking, to overcoming depression. We bring Michael Weisend, neuroscientist at Wright State Research Institute, into the studio to tell us how it works (Bonus: you get to hear Jad get his brain zapped). Peter Reiner and Nick Fitz of the University of British Columbia help us think through the consequences of a world where anyone with 20 dollars and access to Radioshack can make their own brain zapper. And finally, Sally tells us about the unexpected after-effects of a day of super-charged sniper training and makes us wonder about world where you can order up a state of mind.

Special thanks for the music of Brian Carpenter's Ghost Train Orchestra

Today, the story of one little thing that has radically changed what we know about humanity’s humble beginnings and the kinds of creatures that were out to get us way back when.

Wits University Professor Lee Berger and Dr. Chris Stringer from London’s Natural History Museum explain how a child’s skull, found in an ancient cave, eventually helped answer one of our oldest questions: Where do we come from? Then Lee takes us on a journey to answer a somewhat smaller question: how did that child die? Along the way, we visit Dr. Bernhard Zipfel at Wits University in Johannesburg to actually hold the skull itself.

We wanted to give you a chance to hold the skull, too. So we did a little experiment: we made a 3D scan of it. If you visit our page on Thingiverse, you’ll see the results. Anyone with access to a 3D printer can print their own copy of the skull. (We printed a bunch, with help from our friends at MakerBot—there’s even a purple one with sparkles.)

We also collaborated with the folks at Mmuseumm, a tiny (really tiny, it’s in an elevator shaft) museum in Manhattan. You can visit them to see the 3D printed skull, along with the other wonderful things in their collection: mosquitoes swatted mid-bite, toothpaste tubes from around the world, and much more.

Thanks to JP Brown, Emily Graslie and Robert Martin at the Field Museum in Chicago for scanning the skull. Thanks to Curtis Schmitt and shootdigital for refining the scan. Thanks to Bre Pettis and Jenifer Howard at MakerBot for guiding us through the world of 3D printing.

How a sunken nuclear submarine, a crazy billionaire, and a mechanical claw gave birth to a phrase that has hounded journalists and lawyers for 40 years and embodies the tension between the public’s desire for transparency and the government’s need to keep secrets.