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.

This episode examines those birds whose sustenance comes from flesh and their methods of hunting. In New Zealand, Sir Attenborough observes Keas, parrots that do not eat meat exclusively, raiding a shearwater's burrow for a chick. However, it is the dedicated birds of prey, such as owls, buzzards, eagles, falcons and vultures, to which much of the programme is devoted. In order to spot and pursue their victims, senses of sight and hearing are very acute. Vultures are the exception, in that they eat what others have left, and once a carcass is found, so many birds descend on it that the carrion seems submerged beneath them. The Turkey Vulture is an anomaly within its group, as it also has a keen sense of smell. Eagles defend their territory vigorously, and a pair of sea eagles are shown engaging in an aerial battle. The Galápagos Hawk hunts Marine Iguanas, but can only do so when its quarry is vulnerable, during the breeding season. The African Harrier Hawk has adapted to extracting burrowing animals by virtue of an especially long, double-jointed pair of legs. By contrast, a shrike is not equipped with the requisite sharp beak and talons needed for butchery, and so dismembers its kill by impaling it on the thorns of acacias. The Lammergeier eats bones, and will drop them on to rocks from a great height in order to break them down to a digestible size. Also featured are the Eurasian Sparrowhawk, Goshawk and Peregrine Falcon.

Over the course of three nights at Hollywood's Pantages Theater in December 1983, filmmaker Jonathan Demme joined creative forces with Jordan Cronenweth and Talking Heads... and miracles occurred. Following a staging concept by singer-guitarist David Byrne, this euphoric concert film transcends that all-too-limited genre to become the greatest film of its kind. A guaranteed cure for anyone's blues, it's a celebration of music that never grows old, fueled by the polyrhythmic pop-funk precision that was a Talking Heads trademark, and lit from within by the geeky supernova that is David Byrne.
This circus of musical pleasure defies the futility of reductive description; it begs to be experienced, felt in the heart, head, and bones, and held there the way we hold on to cherished memories. On those three nights in December 1983, Talking Heads gave love, life, and joy in generous amounts that years cannot erode, and Demme captured this act of creative goodwill on film with minimalist artistic perfection. Stop Making Sense is an invitation to pleasure that will never wear out its welcome.

The Nazca Lines of Peru have been an important part of the Ancient Astronaut theory since its beginning. Originally Von Daniken claimed that the lines were kind of a UFO runway, or a type of alien airport, where the alien craft landed and took off. The idea that it was an airport makes no logical sense, and the symbols and rituals which were a huge part of the Nazcan culture more than explain the so called Nazca lines.

The film takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Zizek, the Slovenian philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Zizek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves.
The Pervert's Guide To Cinema offers an introduction into some of Zizek's most exciting ideas on fantasy, reality, sexuality, subjectivity, desire, materiality and cinematic form. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Zizek illuminates the screen with his passion, intellect, and unfailing sense of humour. The film applies Zizek's ideas to the cinematic canon, in what The Times calls 'an extraordinary reassessment of cinema.'

The film is focused on and celebrating the radical changes in postwar Britain under the Labour government of Clement Attlee, which came to power in 1945. Relying primarily on archive footage and interviews, and without a narrative voiceover, the documentary recounts the endemic poverty in prewar Britain, the sense of optimism that followed victory in World War II and the subsequent expansion of the welfare state, founding of the National Health Service and nationalisation of significant parts of the UK's economy.
The film documents the extent to which these achievements, as the filmmaker Ken Loach sees them, have since been subject to attack in the decades that followed, particularly under the Conservative governments of Margaret Thatcher in the 1980s