Documentary AreaSimply the best Documentaries

This episode is centered around how science, in particular the work of Clair Patterson (voiced in animated sequences by Richard Gere[33]) in the middle of the 20th century, has been able to determine the age of the Earth. Tyson first describes how the Earth was formed from the coalescence of matter some millions of years after the formation of the Sun, and while scientists can examine the formations in rock stratum to date some geological events, these can only trace back millions of years. Instead, scientists have used the debris from meteor impacts, such as the Meteor Crater in Arizona, knowing that the material from such meteors coming from the asteroid belt would have been made at the same time as the Earth. Patterson also examined the levels of lead in the common environment and in deeper parts of the oceans and Antarctic ice, showing that lead had only been brought to the surface in recent times. He would discover that the higher levels of lead were from the use of tetraethyllead in leaded gasoline resulting in government-mandated restrictions on the use of lead.

This episode explores the palaeogeography of Earth over millions of years, and its impact on the development of life on the planet. Tyson starts by explaining that the lignin-rich trees evolved in the Carboniferous era about 300 million ago, then explains on the nature of plate tectonics that would shape the landmasses of the world and the asteroid impact that initiated the Cretaceous–Paleogene extinction event, leaving small mammals as the dominate species on earth. Earth's landmasses are expected to change in the future and postulates what may be the next great extinction event.

Dr Michael Scott looks at the dramatic decline of Athens and the remarkable triumph and transformation of theatre. During the 4th century BC Athens would lose its Empire, its influence and even its democracy. But theatre, that most Athenian of inventions, would thrive, spreading throughout the Greek world and beyond and giving rise to a new kind of comedy, one so popular and prevalent that it is still at the heart of our comedy today.

Graham-Dixon reveals how the north of the country has produced some of the most dazzling and iconic art of the modern age. Spain's turbulent history has shaped artists from Francisco Goya to Pablo Picasso. Graham-Dixon argues that Spanish architecture is the art form now taking the nation forward in the new millennium.

This is the story of three maps, three 'visions' of London over three centuries. The Morgan Map of 1682 was the first to show the whole of the City of London after the Great Fire of London. In 1746 John Rocque produced at the time the most detailed map ever made of London. Like Morgan's, Rocque's map is all neo-Classical beauty and clinical precision, but the London it represented had become the opposite. In engravings of the time, such as Night, the artist William Hogarth shows a city boiling with vice and corruption. Stephen Walter's contemporary image, The Island, plays with notions of cartographic order and respectability. His extraordinary London map looks at first glance to be just as precise and ordered as his hero Rocque's but, looking closer, it includes 21st century markings such as 'favourite kebab vans' and sites of 'personal heartbreak'.

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.