The film is an immersive chronicle of the insurrection at the U.S. Capitol on January 6, 2021, when thousands of Donald Trump's followers from across the country gathered in Washington D.C. to protest the results of the 2020 presidential election, many with the intent of disrupting the certification of Joe Biden’s presidency.
'Four Hours at the Capitol' features never-before-seen footage and vivid first-hand accounts from lawmakers, staffers, police officers, protesters, and rioters who stormed the Capitol building where the electoral votes were being counted. The film details how the violence quickly escalated, leaving Capitol security forces outnumbered and overwhelmed, and highlights the high-stakes standoff between police and rioters. The documentary presents a stark reminder of the wider ramifications of the events of that unprecedented day, which ended with the deaths of five people and more than 140 police officers injured.

Iain Stewart investigates a new and controversial energy rush for the natural gas found deep underground. Getting it out of the ground involves hydraulic fracturing - or fracking. We travel to America to find to find out what it is, why it is a potential game changer and what we can learn from the US experience". Sometimes, this is right under the places people live in. He meets some of the people who have become rich from fracking as well as the communities worried about the risks. Director Jeff Wilkinson

The ultimate adventure in scientific inquiry, this fascinating program follows the exploits of a small group of pioneering mathematicians who discovered a whole area of study that is revolutionizing all branches of understanding in the world: fractal geometry. Fractals are most recognized as a series of circular shapes with a border surrounded by jagged "tail-like" objects. The program, aimed at the average viewer does a fine job of explaining the background of fractals, first by beginning with the story of Pixar co-founder, Loren Carpenter's work at Boeing, developing 3D terrain from scratch using fractals. From there the program starts at the beginning with an introduction to Benoit Mandelbrot and his revolutionary work. The explanations are full of solid factual information but never talk above the level of a viewer who has some understanding of basic mathematical principles. Once the concept is presented the program spends the rest of the time showing how prevalent the fractal is in life. For a program about a mathematical concept, "Fractals" is very engaging, showing how the process was applied to special effects as far back as the Genesis planet from "Star Trek II" all the way to the spectacular finale on Mustafar in "Star Wars: Episode III." I found myself astonished at how fractals were the source of the lava in constant motion and action during the Obi-Wan/Anakin fight. What is more amazing is when the program delves into practical applications such as cell phone antennas, and eventually the human body. For the average person who enjoys watching science related programs, even on a sporadic basis, "Fractals" will prove to be a very worthwhile experience. The program is well produced, integrating talking head interviews (including some with Mandelbrot himself) with standard "in the field" footage. The structure of the program is very logical and never finds itself jumping around without direction. In simplest terms, this is a program as elegant as the designs it focuses on.

In the seventh episode, as the murder trial continues, Steven's attorneys present their case that law enforcement officials planted evidence to frame him.

Regarded as one of the greatest singers in the history of rock music, Freddie Mercury was known for his flamboyant stage persona and four-octave vocal range. Mercury defied the conventions of a rock frontman, with his highly theatrical style influencing the artistic direction of Queen.
This film tells the amazing story of Freddie’s life and career, from the early days of the band, their show-stopping performance at Live Aid and their dominance of music charts, to his final appearance on stage.

Part 2 examines how the freewheeling modernism that had shocked audiences in the first two decades of the century came under state control. Initially, many practitioners thought the totalitarian regimes would be good for music and the arts. What followed in Germany was a ban on music written by Jews, African-Americans and communists, while in the Soviet Union there was a prohibition on music the workers were unable to hum. After the cataclysm of the 1940s, a new generation of composers - Boulez, Stockhausen, Xenakis, Nono, Ligeti - turned their back on what they saw as the discredited music of the past and tried to reinvent it from scratch. Or, at least, from serialism, which became as much of a straitjacket as totalitarianism's strictures had been. But from this period of avant-garde experimentation, which many listeners found baffling and terrifying, came some of the most influential and radical musical innovations of the century.