Three years in the making, Francis Whately’s film is a social and musical history of (probably) the world’s greatest music festival, as told by its principal curators, Michael and Emily Eavis, and many of the key artists who’ve appeared there between 1970 and 2019 – Billie Eilish, Thom Yorke, Florence Welch, Dua Lipa, The Levellers, Aswad, Orbital, Fatboy Slim, Linda Lewis, Noel Gallagher, Ed O’Brien, Chris Martin, Stormzy and more.
Balancing the driving forces of social conscience and hedonism, Glastonbury has always been both a world apart and a barometer of the state of the nation. Looking at the hippie days, CND, the contribution of the travellers, dance music, Britpop, The Wall, the impact of television and the first black British solo headliner, this film takes viewers backstage and deep into the archive to reveal the forces that have driven this alternative nation between utopia and dystopia, the greatest night of your life and a muddy field in the middle of nowhere.
This is not a chronological plod through the festival’s evolution so much as a thematic and story-driven exploration of the peaks and troughs, and the agonies and ecstasies, that have shaped Glastonbury’s 50 years and counting.

Since the dawn of civilization, humans have wondered who or what created the universe. Religion offers a spiritual answer, but do the latest discoveries in physics show evidence of a transcendent intelligence, or simply that the laws of physics by themselves could have led to the universe in which we live? This episode embarks on a mind-bending scientific search for God, asking physicists and theologians if the seemingly miraculous way the universe has been calibrated to support life is evidence of a creator...whether string theory will eventually be able to rule out the existence of God...why Stephen Hawking says the universe could have been created spontaneously...and how an advanced civilization in another universe could have conceivably created our own.

In this revealing documentary, Giancarlo Granda, former pool attendant at the Fontainebleau Hotel, shares the intimate details of his 7-year relationship with a charming older woman, Becki Falwell, and her husband, the Evangelical Trump stalwart Jerry Falwell Jr. Directed by Billy Corben, the film outlines Granda's entanglement with the Falwell's seemingly perfect lives and the overarching influence this affair had on a presidential election.
The life of Jerry Falwell — the late Moral Majority televangelist who for decades helped catalyze the rightward shift of American evangelicals before his death in 2007 — is a quintessentially American story. But it’s in the next generation that the Falwell narrative becomes at once soap opera and morality tale. The film covers the graceless fall of Jerry Falwell Jr., who after the death of his father was placed in the presidency of the family’s conservative organ Liberty University. There, he seemed to remain painfully in thrall to his appetites. We hear testimony about his alleged tendency to drink on the job and discomfiting, slurry interviews between him and sympathetic media — but most crucially, we receive the testimony of Giancarlo Granda.
Granda was a pool attendant at a Miami hotel when he met Falwell and his wife, Becki, in 2012. Today, he alleges that he was persuaded to have sex with Becki while Falwell watched, and that the pair engaged in an ongoing campaign of communication with him that could be described as coercive. His energies were consumed with managing their tempers and occasionally threatening behavior, and he blames the swirl of scandal around them for derailing his professional future. Plainspoken and only occasionally visibly emotional, Granda is his own best advocate as he describes a couple who, he says, craved his body and were willing to discard the rest of him.

Diarmaid MacCulloch's own life story makes him a symbol of a distinctive feature about Western Christianity - scepticism, a tendency to doubt which has transformed both Western culture and Christianity. In the final programme in the series, he asks where that change came from. He challenges the simplistic notion that faith in Christianity has steadily ebbed away before the relentless advance of science, reason and progress, and shows instead how the tide of faith perversely flows back in. Despite the attacks of Newton, Voltaire, the French Revolutionaries and Darwin, Christianity has shown a remarkable resilience. The greatest damage to Christianity was actually inflicted to its moral credibility by the two great wars of the 20th century and by its entanglement with Fascism and Nazism. And yet it is during crisis that the Church has rediscovered deep and enduring truths about itself, which may even be a clue to its future.

In the third episode of the series, his experience upon joining Real Madrid for the 2003/2004 season is depicted. The episode begins with Beckham receiving a surprising invitation to join Real Madrid, and it narrates his emotions and concerns as he embarks on his career at the club, particularly under a coach who didn't initially want him on his former team. Beckham describes the intense pressure and expectations he faced upon joining Real Madrid, a club with passionate fans who consider the team as a religion.
As the season progresses, Beckham grapples with adapting to his new team, facing challenges such as competition for his position and constant media and fan pressure. However, as he gradually acclimates, he begins to earn the respect and affection of his teammates and showcases his prowess on the field. The episode highlights a pivotal moment in his home debut when Beckham scores a celebrated goal, solidifying his place at Real Madrid. Additionally, it delves into the relationship between Beckham and his wife Victoria during this life transition and how his family provided support during this challenging period.

Written and presented by Robert Hughes, one of the world’s most prominent art commentators, this program explores the life and work of Francisco Goya—focusing on the painter’s subversive, often gruesome outlook. The video provides in-depth visual and intellectual analysis of dark Goya masterpieces, including The Dream of Reason, Witches in the Air, and The Third of May, as well as examples of his portraiture and early work—such as The Duchess of Alba, both Majas, and a gratuitously violent tapestry painting. Links between Goya’s work, deafness, and political stance are explored in detail, while observations from painter Leon Golub highlight Goya’s continuing relevance.