Athens, Alexandria, Tikal and Rome: these legendary cities are some of the world's most famous archaeological sites. And yet, they still have not revealed all their secrets. The ambition of this series is to resuscitate the first megalopolises of universal history.
In the first episode, the extraordinary city of Athens, the richest and most powerful in all of ancient Greece. The film leads us in the footprints of a nation of extraordinary builders, thinkers, and inventors of incredible machines.

In this historical drama, the turbulent transition from Roman republic to autocratic empire, which changed world history through civil war and wars of conquest, is sketched both from the aristocratic viewpoint of Julius Caesar, his family, his adopted successor Octavian Augustus, and their political allies and adversaries, and from the politically naive viewpoint of a few ordinary Romans, notably the soldiers Lucius Vorenus and Titus Pullo and their families.
'The Stolen Eagle.' In Gaul in 52 B.C., two Roman soldiers, Legionary Titus Pullo and Centurion Lucius Vorenus, are tasked with recovering Julius Caesar's personal Eagle, stolen from his camp in the dead of night. With his campaign in Gaul coming to a successful conclusion, Caesar's popularity is continuing to grow. He's saddened however when he receives news from his good friend Pompey Magnus that his daughter, Pompey's wife, has died in childbirth. In the Senate, Pompey must defend the prolonged absence of his friend and co-Consul Caesar against charges of corruption.

Richard Rudgley goes in search of evidence of the barbarians of the dark ages, people whose names have for 1500 years been bywords for mindless brutality. The real truth about the barbarians who marched across Europe during the Dark Ages is more shocking than what you may know. Where did they come from? Who are their descendants? Are any of their techniques and inventions still used? Richard discovers the secrets of forgotten empires, and of mighty clashes throughout Europe. The art, society and cultural legacy of the barbarians are shown to have shaped and moulded the destiny of Europe even more than the Roman Empire.
In the first part of the journey through the Dark Ages we will be tracing the legacies of the Huns, Vandals and Goths, to ask whether the 'dark ages' represent a resurfacing of much older tribal lines. Sites in Austria show how sophisticated pre-Roman communities had become with evidence of stunning craftsmanship and sophisticated farming techniques which defy the image of a mindless rabble we have come to accept without challenge.

Even 2,000 years after his death, General Hannibal's battle strategies are still studied today. But of all his military feats, perhaps his greatest was leading his massive Carthaginian army of men and three-dozen elephants across the Alps and into the heartland of Rome in 218 B.C. Until now, the route they took has been a matter of dispute, but thanks to modern-day technology, geomorphologist Bill Mahaney and microbiologist Chris Allen believe they've accurately traced this ancient journey.

Caesar has been murdered, Mark Antony emerges from the Senate in shock, only to face Quintus Pompey and his thugs, who immediately follow him to try to kill him. Brutus returns home shaking after the murder. His mother is already plotting the return of the Roman Republic. Titus Pullo asks Eirene to marry him and she accepts. Erastes Fulmen kidnaps Lucius Vorenus' children and sister-in-law.
Mark Antony proposes an amnesty to the rest of the senate to keep the peace and allow the Republic to continue. Vorenus says goodbye to Niobe while Rome says goodbye to Caesar. Vorenus and Pullo track down Fulmen to a bath house, where he tells them he killed Vorenus' family.

Years after he changed the landscape of filmmaking with The Exorcist, filmaker and writer William Friedkin moves from fiction to fact with this documentary. What began as a brief conversation between Friedkin and Father Gabrielle Amorth - the head Exorcist for the Diocese of Rome for over 30 years - as two professionals who knew of each other's work, soon transformed into an once-in-a-lifetime opportunity, as Amorth agreed Friedkin could film an exorcism ceremony. It would be the ninth exorcism for a painfully afflicted woman, and it would be filmed by Friedkin alone, with no other crew allowed, no light other than the natural light in the room and a small digital camera-and-mic unit that could capture the ritual and its revelations.
Combining the startling and singular footage from Cristina's exorcism with interviews from priests and psychologists, neurosurgeons and non-believers, Friedkin guides us on a journey into the twilight world between the boundaries of what we know and what we don't.