Travelling forward in time to 30,000 years ago, it's the middle of an ice age. The landscape is dominated by mighty mammoths, living side-by-side with woolly rhinos, giant deer and two separate species of human. The programme follows the fate of a herd of mammoths in their annual struggle against the harsh ice-age conditions. Every summer they spend on the grassy plains of what will one day become the bottom of the North Sea, but every winter they are forced to head for the less exposed valleys further south. It is a journey fraught with danger: mammoths can get trapped in frozen bogs, and the herd must run the gauntlet of hunters like cave lions and the deadly Neanderthals.

This is the story of a book that could have changed the history of the World. To the untrained eye, it is nothing more than a small and unassuming Byzantine prayer book. For faintly visible beneath the prayers on its pages are other, unique, writings - words that have been lost for nearly two thousand years. The text is the only record of work by one of the world's greatest minds - the ancient Greek, Archimedes - a mathematical genius centuries ahead of his time. Hidden for a millennium in a middle eastern library, it has been written over, broken up, painted on, cut up and re-glued. But in the nick of time scientists have saved the precious, fragile document, and for the first time it is revealing just how revolutionary Archimedes' ideas were. If it had been available to scholars during the Renaissance, we might have reached the Moon over a hundred years ago.

Japan's role in World War II gets a whole new perspective in this consisting entirely of full colour footage, including colour films from Japan that were recently discovered. As the visuals of the world war take on a new vivid immediateness, the story of the rise of the militarists in Japan is told through the personal writings of the Japanese themselves. From the first overconfident tastes of victory, to the devastating losses that led to an unthinkable defeat amidst the ruins, the Pacific Theater of World War II is told through the Japanese's eyes.

This remarkable series profiles on the major defendants of the Nuremberg war crimes trials. In the first episode, Nathaniel Parker plays the most inscrutable Nazi on trial at Nuremberg, Hitler's architect and armaments minister Albert Speer.
He was the only defendant who unreservedly accepted responsibility for the Nazis' crimes. But was Speer's remorse genuine or just a clever defense strategy to get off the hook? The film tells the intriguing behind-the scenes-story of Speer's trial and his showdown with unrepentant rival, Hermann Goering.

Episode three explores the mind of one of the most fanatical of all Nazis and the insight that gives into the psychology of dictatorship. Hess is brought to Nuremberg from the UK where he had flown 4 years earlier much to the bemusement of the British. Overy explains that they must have quickly realised he was not normal. In the intervening time Hess’s mental state has further deteriorated and when interviewed by Chief Interrogator Colonel John Amen proclaims amnesia. Chief Interpreter Richard Sonnenfeldt explains that they brought in Göring to confront Hess but that he too failed to make an impression.
Psychopathologist Prof. Edgar Jones proposes Hess’s behaviour patterns may be his way of escaping reality as he is forced to face the extent of the atrocities and choose between accepting his part of the blame or forsaking his Führer. However, as history Professor Robert Gellatel explains it is difficult to construct a case against Hess as he was imprisoned in England when the worst of the atrocities were carried out so British Prosecutor Mervyn Griffith-Jones must argue a conspiracy charge linking the pre-1939 persecutions to the post-1939 atrocities and a crimes against peace charge proving the flight to Scotland was merely a ruse.

Salvador Dali's strange crucifixion is often called the greatest religious painting of the 20th century. Yet its artist was a notorious blasphemer some of whose work had outraged the Catholic Church. The Christ of St John of the Cross by Salvador Dali is the first of two extraordinary crucifixions painted by Dali in the early 1950s. The painting is based on a 'cosmic dream' Dali is said to have had, in which the nucleus of the atom was a figure of Christ himself.
The painting offers a surrealist view of the crucifixion of Christ, and is based on a drawing by the 16th century Spanish friar Saint John of the Cross. But Dali's vision was somewhat unique, using an unusual artistic perspective in which Christ is seen from above. His Christ of St. John of The Cross was inspired by a weird mix of Spanish mysticism and nuclear physics, with his Christ being modelled by a Hollywood stuntman. It's also a masterpiece of painting technique.