Donald Trump is the 45th President of the United States and commander in chief of America's armed forces, the most powerful position in the world. But who is Donald Trump? What's he really like? And what does he really believe? To find the answer, we’re going back to his roots. This documentary tells the remarkable story of Donald Trump's family, an extraordinary immigration success story.
It reveals how Trump's penniless German grandfather arrived in America in the 1880s, and ended up running bars and brothels in the gold rush. And how his Scottish mother travelled from the Outer Hebrides to New York and worked as a maid before marrying Donald's tycoon father. We will meet his driven parents, his wayward brother, and his three wives.

A look at the probes which explored our Solar System, laying the groundwork for a future spacecraft to search for life on a second Earth. That space craft must communicate, it must navigate, it must have power, it must have propulsion. We will have to give it all the intelligence necessary to make its own decisions. In 'The Explorers' the spacecraft Artemis initiates launch sequence and begins its 4.7 light year journey to Minerva B - an Earth-like exoplanet.

Vintage footage from the Vietnam war is presented along with narration from both war veterans and Hollywood voice talent. The documentary follows key events and their impact on both the war effort and the American public.
The Beginning: The first episode looks at the early months of the Vietnam war from the escalation following the Gulf of Tonkin incident to the grim fighting of the Battle of Ia Drang where a few hundred American soldiers are pinned down by three battalions of North Vietnamese infantry. Using superior air power and reinforcements, the Americans fight the North Vietnamese to a draw.

Dr Hannah Fry explores a paradox at the heart of modern maths, discovered by Bertrand Russell, which undermines the very foundations of logic that all of maths is built on. These flaws suggest that maths isn't a true part of the universe but might just be a human language - fallible and imprecise. However, Hannah argues that Einstein's theoretical equations, such as E=mc2 and his theory of general relativity, are so good at predicting the universe that they must be reflecting some basic structure in it. This idea is supported by Kurt Godel, who proved that there are parts of maths that we have to take on faith.
Hannah then explores what maths can reveal about the fundamental building blocks of the universe - the subatomic, quantum world. The maths tells us that particles can exist in two states at once, and yet quantum physics is at the core of photosynthesis and therefore fundamental to most of life on earth - more evidence of discovering mathematical rules in nature. But if we accept that maths is part of the structure of the universe, there are two main problems: firstly, the two main theories that predict and describe the universe - quantum physics and general relativity - are actually incompatible; and secondly, most of the maths behind them suggests the likelihood of something even stranger - multiple universes.
We may just have to accept that the world really is weirder than we thought, and Hannah concludes that while we have invented the language of maths, the structure behind it all is something we discover. And beyond that, it is the debate about the origins of maths that has had the most profound consequences: it has truly transformed the human experience, giving us powerful new number systems and an understanding that now underpins the modern world.

Arguably the most powerful painting about war ever achieved. It portrays the slaughter of civilians after Napoleonic troops entered Madrid in 1808. The programme reveals the historical truths behind the painting and shows exactly how Goya achieved this masterpiece of protest. he painting's content, presentation, and emotional force secure its status as a groundbreaking, archetypal image of the horrors of war. Although it draws on many sources from both high and popular art, The Third of May 1808 marks a clear break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct precedent, and is acknowledged as one of the first paintings of the modern era.
According to the art historian Kenneth Clark, The Third of May 1808 is 'the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention'. Discover how Goya used drawings by authentic witnesses to depict a real firing squad.

The film uses drones, hidden and handheld cameras to expose the dark underbelly of modern animal agriculture, questioning the morality and validity of humankind's dominion over the animal kingdom. While mainly focusing on animals used for food, it also explores other ways animals are exploited and abused by humans, including clothing, entertainment and research.
In words of its writer & director, Chris Delforce, 'Dominion to me is the idea of one group or entity exercising control, power or authority over another, under the belief that they have the right to do so. Often this belief seems to stem from the perception of self-superiority and that might equals right. Through this film I challenge both the notion that animals are inferior, and that we as humans have the right to use and treat them as we please for our own ends – and I briefly examine how this superiority complex has and continues to complement some of humanity's darkest ideologies, asking viewers to consider the similarities between racism, sexism and speciesism.'