Someone once observed: 'America is great because she is good; if she ever ceases to be good she will cease to be great.' Today that notion of the essential goodness of America is under attack, replaced by another story in which theft and plunder are seen as the defining features of American history-from the theft of Native American and Mexican lands and the exploitation of African labor to a contemporary foreign policy said to be based on stealing oil and a capitalist system that robs people of their "fair share"

Irena Salina's award-winning documentary investigation into what experts label the most important political and environmental issue of the 21st Century - The World Water Crisis. Salina builds a case against the growing privatization of the world's dwindling fresh water supply with an unflinching focus on politics, pollution, human rights, and the emergence of a domineering world water cartel. Interviews with scientists and activists intelligently reveal the rapidly building crisis, at both the global and human scale, and the film introduces many of the governmental and corporate culprits behind the water grab, while begging the question "CAN ANYONE REALLY OWN WATER?" Beyond identifying the problem, FLOW also gives viewers a look at the people and institutions providing practical solutions to the water crisis and those developing new technologies, which are fast becoming blueprints for a successful global and economic turnaround.

There are some who believe that Darwin's theory of evolution has weakened religion. Conor Cunningham argues that nothing could be further from the truth.He travels to the Middle East where he shows that from the very outset, Christianity warned against literal readings of the biblical story of creation. In Britain, he reveals that, at the time, Darwin's theory of evolution was welcomed by the Anglican and Catholic Churches. Instead, he argues that the conflict between Darwin and God was manufactured by American creationists in the 20th century for reasons that had very little to do with science and religion and a great deal to do with politics and morality. Finally, he comes face to face with some of the most eminent evolutionary biologists, geneticists and philosophers of our time to examine whether the very

Ltes follow the development of some the biggest names in Rock in the 70s and 80s, among them Queen, Bruce Springsteen & The E Street Band, The Police and Dire Straits and shows how, through events such as Live Aid and the rise of MTV, rock achieved a global influence on culture and politics. The film concludes in the early 90s, as U2 effectively brought the era to a close by reinventing the big rock show.

In the 80s the nature of the Latino Diaspora changes again. From Cuba a second wave of refugees to United States – the Mariel exodus – floods Miami . The same decade sees the sudden arrival of hundreds of thousands of Central Americans (Salvadorans, Guatemalans, and Nicaraguans) fleeing death squads and mass murders at home like activist, Carlos Vaquerano. By the early 1990s, a political debate over illegal immigration – has begun. Globalization, empowered by NAFTA, means that as U.S. manufacturers move south, Mexican workers head north in record numbers. A backlash ensues: tightened borders, anti-bilingualism, state laws to declare all illegal immigrants felons. But a sea change is underway: the coalescence of a new phenomenon called Latino American culture-as Latinos spread geographically and make their mark in music, sports, politics, business, and education.

The series concludes by delving into the world of satirical maps. How did maps take on a new form, not as geographical tools, but as devices for humour, satire or storytelling? Graphic Artist Fred Rose perfectly captured the public mood in 1880 with his General Election maps featuring Gladstone and Disraeli, using the maps to comment upon crucial election issues still familiar to us today. Technology was on the satirist's side with the advent of high-speed printing allowing for larger runs at lower cost. In 1877, when Rose produced his 'Serio Comic Map of Europe at War', maps began to take on a new direction and form, reflecting a changing world. Rose's map exploited these possibilities to the full using a combination of creatures and human figures to represent each European nation. The personification of Russia as a grotesque-looking octopus, extending its tentacles around the surrounding nations, perfectly symbolised the threat the country posed to its neighbours.