This week, Culture Vulture brings together some remarkable cinema, challenging documentaries and music worth rediscovering.

My first recommendation is Akira Kurosawa’s Ran, showing on BBC Four on Saturday evening. It’s one of my favourite films, an extraordinary interpretation of Shakespeare’s King Lear, and a reminder of just what cinema can achieve when a great director is working at the height of his powers. Better still, it’s followed by an Arena documentary about Kurosawa himself.

There’s also Surviving the London Nail Bombings on Prime Video, revisiting the far-right attacks that terrorised London’s Black, Bangladeshi and gay communities in 1999. It’s an important story about hatred, its victims and the resilience of those who survived.

And BBC Four pays tribute to Jeff Buckley, the hugely gifted American singer-songwriter whose life ended tragically in 1997. He would have been 60 this week. A concert from Chicago and a documentary about his life provide an opportunity to appreciate an artist whose influence has lasted far longer than his career.

Elsewhere, we have Honey, a new espionage drama set in Cold War Berlin; a fascinating documentary about the making of Sofia Coppola’s Marie Antoinette; and a disturbing investigation into medical experiments conducted on prisoners in the United States.

There’s plenty to enjoy, and quite a lot to think about.

SATURDAY 14 NOVEMBER

8pm — Wallis Simpson: Marriage and Exile Channel 5 — Part one of two

The first of two programmes examining the life of the American divorcee whose relationship with Edward VIII led to his abdication in 1936.

Their story has often been presented as one of great romantic sacrifice.

There are other questions worth considering, however, including the Duke and Duchess of Windsor’s controversial political associations and their relationship with an institution that has always been exceptionally protective of its public image.

The abdication crisis exposed tensions between personal freedom, constitutional duty and the expectations placed upon members of the royal family.

It also produced one of the most enduring celebrity stories of the twentieth century.

9pm — Ran (1985) BBC Four

This is one of my favourite films, and I’d urge anyone who hasn’t seen it to make the effort.

Akira Kurosawa’s magnificent adaptation of Shakespeare’s King Lear moves the tragedy to sixteenth-century Japan. Tatsuya Nakadai plays Hidetora, an ageing warlord who decides to divide his kingdom between his three sons. The youngest speaks too honestly for his father’s liking and is banished, while the two older sons are more interested in power than family loyalty. Betrayal and warfare follow, and everything Hidetora believed he had built begins to collapse.

I studied King Lear at school, and it’s fascinated me ever since. There’s so much in it about life: pride, ingratitude, the blindness that comes with power and our frequent inability to recognise genuine loyalty. Above all, there’s the tragedy of a man discovering the truth about himself and those around him when it’s far too late.

Kurosawa brings all this to the screen with extraordinary visual imagination. One of the things I particularly love about Ran is the framing of individual shots. I still remember an archer framed within a window. It’s a beautifully composed image, the sort that stays in your mind for years.

And then there are the battles. Quite breathtaking. The camera movements, the positioning of hundreds of people across the landscape and the use of colour are astonishing. Armies sweep across hillsides and through castles with almost choreographed precision, but there’s nothing glorious about the killing. Some of the most horrifying moments are also among the most beautiful to look at.

Kurosawa sometimes allows the camera to observe the destruction from a distance, without forcing our emotions. It’s all the more devastating for that restraint.

The costumes, landscapes, music and performances are superb, with Nakadai particularly impressive as Hidetora. We watch a once-powerful ruler reduced to a broken man, gradually coming to understand the consequences of his own actions.

For me, Ran ranks alongside Kurosawa’s greatest achievements, which is saying something when you’re talking about the director of Seven Samurai, Rashomon and Ikiru.

I’ve watched it more than once, and I still find new things to admire. But it’s those images that remain with me most vividly. Kurosawa could make a single frame say more than many directors manage in an entire film.

A masterpiece.

9pm — Honey BBC One — Episode one of six; episode two follows at 9.50pm

A new espionage drama taking us back to East Berlin in 1982, when the Cold War divided Europe and intelligence officers on both sides lived complicated double lives.

Ann Skelly plays Martha Schmitt, an MI6 officer working undercover in East Germany.

Her already dangerous existence becomes more complicated when she finds herself caught between a CIA operative and an officer of the notorious East German secret police, the Stasi.

It sounds like an intriguing mixture of espionage, romance and dark humour.

The production comes from Sid Gentle Films, the company associated with Killing Eve, and the first two episodes should give us a good indication of whether it can achieve a similar balance between suspense and character.

The period setting is another attraction. Berlin during the Cold War offers enormous possibilities for stories about divided loyalties, deception and the strange everyday realities of living in a city split between competing political systems.

9pm — Wallis Simpson: The Final Days Channel 5 — Part two of two

The concluding documentary examines the later years of the Duke and Duchess of Windsor, including their life in exile and the gradual decline of a couple whose marriage had once provoked an international constitutional crisis.

The contrast between their earlier notoriety and the isolation of their final years provides an interesting perspective on the fleeting nature of public attention and royal celebrity.

9pm — Arena: George Martin Sky Arts

A documentary profile of the record producer who helped transform the Beatles from a hugely successful pop group into one of the most innovative musical acts of the twentieth century.

George Martin began his recording career working with comedy performers, including Peter Sellers and Spike Milligan.

Those experiences helped develop the imagination and willingness to experiment that he later brought to his work with John Lennon, Paul McCartney, George Harrison and Ringo Starr.

Martin’s contribution went far beyond simply supervising recordings.

He brought musical knowledge, technical expertise and an extraordinary capacity to understand what the Beatles were trying to achieve, even when their ideas presented challenges that conventional recording methods could not easily accommodate.

His contribution reminds us that popular music is frequently the product of creative collaboration, even when the public tends to concentrate on the performers.

11pm — A Simple Favor (2018) BBC One

Anna Kendrick and Blake Lively star in Paul Feig’s stylish black comedy thriller about a seemingly ordinary woman drawn into a mystery surrounding her glamorous and secretive friend.

Beneath the attractive surfaces lies a story of deception, manipulation and some very dark secrets.

The film combines mystery with a rather wicked sense of humour, and the performances of its two leads are central to its appeal.

11.35pm — Arena: Kurosawa BBC Four

Immediately following Ran, BBC Four screens a documentary portrait of the director.

It’s a particularly welcome opportunity to explore the life and work of a filmmaker whose influence extends far beyond Japanese cinema.

Kurosawa helped transform the possibilities of cinematic storytelling, and his work has influenced generations of directors around the world.

Watch Ran first, then stay for the documentary.

A splendid double bill.

12.15am — Godland (2022) — BBC Two Overnight Saturday into Sunday

SUNDAY 15 NOVEMBER

12.10pm — Jane Eyre (1943) BBC Two

Orson Welles and Joan Fontaine star in this wonderfully atmospheric adaptation of Charlotte Brontë’s novel, with Fontaine playing the orphaned Jane and Welles bringing his considerable presence to the role of Edward Rochester, the wealthy and mysterious master of Thornfield Hall.

The story follows Jane from an unhappy childhood, during which she is treated cruelly by relatives and subjected to the harsh discipline of a charity school, to her employment as governess at Thornfield. There she develops a relationship with Rochester, although it soon becomes apparent that the house, and its owner, conceal some disturbing secrets.

I’ve always thought there was much more to Jane Eyre than a Gothic love story. Brontë was writing about a woman determined to preserve her dignity and independence in a society where both were difficult to maintain, particularly if you were poor and had no influential family connections. Jane refuses to accept that her social position makes her inferior to those with wealth and status. Nor is she prepared to sacrifice her principles simply because she has fallen in love.

That’s what gives the story much of its enduring appeal. Jane wants affection and security, but not at the cost of her self-respect. For a novel published in 1847, its treatment of female independence and the inequalities of class and gender remains remarkably interesting.

The film itself is a fine example of Hollywood’s ability to create an atmosphere of menace and mystery. The black-and-white photography, heavy shadows, gloomy interiors and imposing architecture make Thornfield feel almost like a character in its own right. There are moments when the influence of German Expressionism, and indeed the visual style associated with Welles’s own Citizen Kane, seems particularly apparent.

Welles is an imposing Rochester, although perhaps rather more domineering than some readers would imagine him. Fontaine provides an effective contrast, conveying Jane’s apparent vulnerability without losing sight of her considerable inner strength.

Directed by Robert Stevenson, the film necessarily compresses parts of Brontë’s lengthy novel, and some of the psychological complexity is lost along the way. Nevertheless, it captures much of the book’s emotional intensity and Gothic atmosphere.

An excellent choice for anyone who enjoys classic literary adaptations, and a reminder that beneath the romance lies a story about class, power and a woman’s determination to live on her own terms.

1.45pm — Spellbound (1945) BBC Two

Alfred Hitchcock’s psychological thriller stars Ingrid Bergman and Gregory Peck.

Famous partly for its dream sequence designed by Salvador Dalí, it’s a fascinating example of Hollywood’s early enthusiasm for psychoanalysis.

The film is also an entertaining mystery, with Hitchcock making effective use of the uncertainty surrounding memory and identity.

9pm — Meet the Fockers (2004) ITV2

Ben Stiller returns for more family embarrassment, joined by Dustin Hoffman and Barbra Streisand as his decidedly unconventional parents.

Robert De Niro’s suspicious former CIA officer remains determined to make everyone’s life difficult.

Broad comedy, certainly, but there’s considerable enjoyment to be had from watching such an accomplished cast.

9pm — Stacey Dooley’s Australia: Off the Beaten Track Channel 4 — Catch up on Channel 4 streaming

Stacey Dooley continues her journey through Australia, looking beyond the familiar images of beaches, sunshine and tourist attractions.

Her documentaries are often strongest when she lets the people she encounters tell their own stories.

Australia is a country with extraordinary natural beauty, but also significant social divisions and a complex history.

A journey that takes us beyond the usual tourist destinations has plenty of potential.

10.15pm — Inside the Asylum Camp ITV1

Britain has spent years arguing about asylum seekers, but how much do we really know about the places where people are housed while their claims are considered?

Inside the Asylum Camp promises to take viewers beyond the political arguments and examine the conditions and experiences of people living in asylum accommodation.

It’s a subject that tends to generate far more heat than light. Politicians talk about numbers, costs and immigration controls, while campaigners raise concerns about living conditions and the treatment of those seeking protection. Somewhere in the middle are the people whose lives are being discussed, often with little opportunity to explain their own circumstances.

What I’d particularly like to know is how people cope with the uncertainty. Imagine being in an unfamiliar country, possibly separated from your family, with limited control over where you live and no clear idea when a decision about your future will arrive.

There are also legitimate questions about how accommodation is organised, what it costs and whether the arrangements provide acceptable living conditions. Those deserve proper scrutiny rather than another round of political shouting.

The value of a documentary like this will depend on how much access it has secured and whether the people living in the accommodation are allowed to tell their stories without being reduced to illustrations of somebody else’s argument.

Whatever your views on immigration, it’s worth understanding what actually happens to people once they enter the asylum system. This could be an illuminating programme if it manages to get beyond the familiar headlines.

10.30pm — Another Simple Favor (2025) BBC One — 11pm in Wales; midnight in Northern Ireland

The sequel catches up with the characters five years after the events of A Simple Favor.

Anna Kendrick and Blake Lively reunite as the intrigue moves to an extravagant wedding on the Italian island of Capri.

Expect more secrets, betrayals and dark comedy.

Showing this immediately after the original film’s Saturday screening makes for an enjoyable weekend pairing.

10.45pm — The Hurt Locker (2008) BBC Two

Kathryn Bigelow’s Oscar-winning drama follows an American bomb-disposal team in Iraq.

Rather than offering a conventional celebration of military heroism, it examines the psychological effects of war and the dangerous attraction of living constantly on the edge of death.

Jeremy Renner gives an outstanding performance as a soldier whose extraordinary ability to function under pressure is accompanied by serious difficulties in ordinary life.

It’s tense, unsettling cinema.

Midnight — Fire Island (2022) E4 — Overnight Sunday into Monday

Jane Austen’s Pride and Prejudice might seem an unlikely starting point for a gay romantic comedy set on New York’s Fire Island, but this lively and frequently very funny film makes the connection work rather well.

Written by and starring Joel Kim Booster, the story follows Noah and his close friend Howie, played by Bowen Yang, as they join their usual group of friends for a summer holiday on the island, long established as a popular destination for gay men. There are parties, romantic encounters, plenty of drinking and the inevitable complications when attraction and expectations don’t quite match.

Anyone familiar with Austen will recognise elements of Elizabeth Bennet and Mr Darcy in the relationships that develop. There are misunderstandings, awkward encounters, wounded pride and snap judgements about other people’s character. The film has considerable fun transferring these familiar situations to a very different social setting.

What makes it more interesting than a straightforward romantic comedy is its treatment of class and status within the gay community itself. Fire Island may offer freedom from some of the prejudices experienced elsewhere, but it certainly isn’t free from snobbery, social divisions or discrimination. Wealth, appearance, race and perceived desirability all affect how people are treated.

There are some sharp observations here about the way people who have experienced prejudice can nevertheless reproduce similar attitudes towards others. That’s hardly a problem confined to any particular community, of course, and it’s one reason Austen’s original story remains so adaptable.

The film is also refreshingly frank about sex and relationships, without making either seem particularly shocking. Its characters are allowed to be funny, selfish, insecure, generous and occasionally rather foolish. They make mistakes, misjudge people and sometimes behave badly towards those they care about. In other words, they’re recognisably human.

For me, the most appealing aspect is the friendship between Noah and Howie, and the wider group around them. Their loyalty to one another provides the emotional centre of the film, even when romantic relationships become complicated. There’s a sense that these friendships represent a kind of chosen family, offering security and acceptance in a world that hasn’t always provided either.

Directed by Andrew Ahn, Fire Island moves along at a lively pace, with some enjoyably sharp dialogue and good comic performances. Not every joke lands, and occasionally the film is a little too eager to make its points about social attitudes. But it has warmth, energy and a genuine affection for its characters.

You certainly don’t need to know Pride and Prejudice to enjoy it, although recognising the parallels adds another layer of amusement.

An entertaining romantic comedy with something to say about class, prejudice and friendship. Austen might have been surprised by the setting, but I suspect she would have recognised quite a few of the characters.

1.50am — Chevalier (2022) Channel 4 — Overnight Sunday into Monday

Kelvin Harrison Jr plays Joseph Bologne, Chevalier de Saint-Georges, the remarkable eighteenth-century composer, violinist and swordsman whose achievements challenged the racial prejudices of French society.

His story also takes us into the political ferment that preceded the French Revolution.

It’s a fascinating historical subject, not least because Bologne’s remarkable accomplishments are far less widely known than they deserve to be.

MONDAY 16 NOVEMBER

10pm — Peelers: The PSNI for Real BBC Two — Episode one of six — Catch up on iPlayer

Following its earlier showing in Northern Ireland, the documentary series comes to viewers elsewhere in the UK.

It follows officers of the Police Service of Northern Ireland as they deal with the realities of policing, particularly in Belfast.

Drug offences, public disorder, dangerous driving and the challenges of dealing with people in crisis are among the situations encountered.

I think it would be particularly interesting to watch this alongside Blue Lights, the excellent fictional police drama set in Northern Ireland.

The comparison between documentary and drama could be revealing.

Both deal with a police service operating in a society where history, identity and community relationships remain unusually significant.

Of course, a documentary also presents an edited version of events.

Nevertheless, having real officers describe their work provides another perspective on a subject that television drama has explored so effectively.

11.30pm — The Hatton Garden Job (2017) Channel to be confirmed

A dramatisation of the notorious 2015 burglary in London’s jewellery district, when a group of ageing criminals carried out an audacious raid on a secure deposit facility.

The story combines the familiar pleasures of the heist film with the almost unbelievable details of the real crime.

The contrast between the criminals’ advancing years and the sheer audacity of their plan provides much of the entertainment.

12.30am — The Mission (1986) Film4 — Overnight Monday into Tuesday

Robert De Niro and Jeremy Irons star in Roland Joffé’s historical drama about Jesuit missionaries working among Indigenous communities in eighteenth-century South America.

The film raises profound questions about colonialism, religious faith, conscience and the relationship between political power and moral responsibility.

Its spectacular setting and Ennio Morricone’s magnificent score are further reasons to watch.

There are powerful performances, too, particularly from De Niro as a former slave trader seeking redemption.

TUESDAY 17 NOVEMBER

9pm — Eileen (2023) Film4

Thomasin McKenzie and Anne Hathaway star in this unsettling psychological thriller set in 1960s Massachusetts.

A lonely young woman working at a juvenile detention centre becomes fascinated by a glamorous new colleague.

Their developing relationship leads towards revelations that are darker and more disturbing than they first appear.

The film makes particularly effective use of its bleak setting and the contrast between the two central characters.

10pm — Storyville: The Last Spy BBC Four — Catch up on BBC iPlayer

Peter Sichel had an extraordinary life. Born into a Jewish family in Germany, he fled Nazi persecution and eventually became an American intelligence officer, serving as the CIA’s first station chief in post-war Berlin.

It’s quite a journey, particularly when you consider that the city where he established his intelligence career was in the same country his family had been forced to escape.

Sichel found himself working at the centre of the emerging Cold War, when Berlin was becoming the principal battleground between Soviet and Western intelligence agencies. Espionage was no longer simply about gathering military secrets. It involved political influence, personal loyalties, defections and the constant suspicion that someone might be working for the other side.

What makes his story especially interesting is the perspective of a man who experienced both Nazi Germany and the confrontation that followed its defeat. He had seen what dictatorship could mean in practice, yet his intelligence career required him to operate in a world where governments routinely employed deception and questionable methods in pursuit of their interests.

The documentary draws on interviews recorded towards the end of his life, giving Sichel the opportunity to reflect on the people he encountered and the decisions he made.

He died in 2024 at the remarkable age of 102, having lived through some of the most consequential events of the twentieth century.

I’m particularly interested in hearing how he viewed his work with the benefit of hindsight. Did the ideals that motivated Western intelligence officers in the early Cold War survive contact with the realities of espionage? And how did someone who had fled one form of tyranny come to terms with the compromises involved in confronting another?

There’s something compelling about hearing history from someone who was actually involved, particularly when they have lived long enough to reconsider events that once seemed perfectly clear.

This promises to be a fascinating personal account of the Cold War, told by a man who witnessed its beginnings from an unusually privileged, and frequently dangerous, position.

10.55pm — Predator (1987) Film4

Arnold Schwarzenegger stars in one of the best action films of the 1980s, although Predator is rather more inventive than the straightforward military adventure it initially appears to be.

Schwarzenegger plays Dutch, leader of an elite commando unit sent into the Central American jungle on what they believe is a rescue mission. Heavily armed, highly trained and supremely confident, they seem capable of dealing with anything. Unfortunately for them, something is watching from the trees, and it regards these formidable soldiers as prey.

The opening is familiar territory: enormous weapons, muscular heroes, spectacular explosions and plenty of macho banter. The commandos appear almost invincible as they overwhelm their human opponents. Then members of the team begin disappearing, and it becomes apparent that they’re facing something far more dangerous.

This change of direction is what makes Predator so effective. Director John McTiernan takes the conventions of the 1980s action movie and turns them against his characters. Their weapons and physical strength, initially the source of their confidence, become increasingly useless. The hunters have become the hunted.

The jungle itself becomes threatening. Every movement in the trees or unfamiliar sound might signal another attack. McTiernan builds the suspense carefully, revealing just enough of the creature to keep us guessing.

And what a creature it is. The camouflage technology, thermal vision and elaborate weaponry remain impressive, while Kevin Peter Hall gives the alien a genuinely intimidating physical presence. The practical effects have aged remarkably well.

Schwarzenegger is perfectly cast. His imposing physique makes it all the more satisfying when Dutch discovers that brute strength won’t save him. He has to rely on intelligence and ingenuity instead. Jesse Ventura and Bill Duke are particularly memorable among the supporting cast, helping establish the camaraderie that makes the team’s gradual destruction more affecting.

There’s also some grim humour in watching these confident, heavily armed men become increasingly desperate. The film enjoys puncturing the macho assumptions it initially appears to celebrate.

Alan Silvestri’s score adds considerably to the excitement, and the jungle photography is excellent. The violence can be gruesome, but McTiernan knows that suspense depends as much on what remains unseen as on what is shown.

Beneath the explosions there’s a rather clever idea about power. These soldiers are accustomed to overwhelming their opponents through superior weapons and training. Faced with an enemy possessing both in greater measure, they discover how vulnerable they really are.

Nearly forty years on, Predator remains an enormously entertaining combination of action, science fiction and horror. It’s tightly constructed, atmospheric and considerably more inventive than many of the expensive sequels and imitations it inspired.

11.25pm — The Comic (1969) Talking Pictures TV

Dick Van Dyke plays a fictional silent-film comedian whose professional success is accompanied by vanity and personal failure.

Directed by Carl Reiner, the film is both a tribute to the great comedians of silent cinema and a rather melancholy examination of fame and the passage of time.

It’s especially interesting for anyone fascinated by the early history of Hollywood and the enormous changes brought about by the arrival of sound.

11.45pm — The Lair of the White Worm (1988) Rewind TV

Ken Russell’s wonderfully bizarre horror film, loosely inspired by Bram Stoker’s novel.

Amanda Donohoe, Hugh Grant and Peter Capaldi feature in a story involving ancient legends, pagan rituals and a monstrous serpent.

It’s outrageous, sometimes absurd and unmistakably a Ken Russell film.

There are few directors who could have made anything quite like it.

WEDNESDAY 18 NOVEMBER

9.10am — Hammer the Toff (1952) Talking Pictures TV

The Toff belongs to that familiar tradition of gentleman detectives who seem equally comfortable among London’s criminal fraternity and the upper classes. It’s an entertaining combination, reflecting a rather romanticised view of British society in which an upper-class amateur can outwit both criminals and the police.

These films are also interesting as glimpses of post-war Britain, with their period fashions, social conventions and unmistakably British mannerisms.

Don’t expect a neglected masterpiece, but there’s pleasure to be had in these unpretentious supporting features. Worth watching if, like me, you enjoy exploring the less celebrated corners of British cinema.

11am — Warlock (1959) Film4

Henry Fonda, Richard Widmark and Anthony Quinn head an impressive cast in this intelligent and rather dark western about a town plagued by lawlessness and the consequences of bringing in a famous gunfighter to restore order.

Fonda plays Clay Blaisedell, a hired gunman whose reputation is enough to frighten most troublemakers. Quinn is his fiercely loyal but increasingly possessive companion, Tom Morgan, while Widmark plays Johnny Gannon, a former outlaw attempting to put his past behind him and establish himself on the right side of the law.

What makes Warlock particularly interesting is its questioning of the traditional western hero. Blaisedell may bring peace to the town, but his authority rests on fear rather than any recognised legal position. The townspeople are happy to give him extraordinary powers when it suits them, without considering what might happen when his interests no longer coincide with theirs.

The relationship between Blaisedell and Morgan adds a darker dimension. Morgan’s devotion borders on obsession, and his jealousy suggests a man whose entire identity depends on his attachment to someone else. Quinn gives a particularly interesting performance, mixing menace with emotional vulnerability. Their relationship is far more complicated than the usual partnership between western gunfighters.

Widmark’s Gannon provides an important contrast. He has a criminal past and knows what men like Blaisedell are capable of, yet he’s the one trying to change. Meanwhile, the supposedly respectable townspeople are prepared to compromise their principles in pursuit of security. The distinction between outlaw and lawman becomes increasingly uncertain.

Blaisedell himself is trapped by his reputation. He must remain the fastest and most feared gunman around, leaving him little opportunity to escape the role he has created. There’s a sadness beneath Fonda’s controlled performance, the suggestion of a man who has achieved status at the expense of his freedom.

Directed by Edward Dmytryk, Warlock has the gunfights and confrontations you’d expect from a good western, but it’s the complicated characters and their conflicting loyalties that make it memorable. Pride, jealousy, fear and resentment all influence events, and there are few straightforward heroes or villains.

I particularly like the way the film questions the appeal of the strong man who promises to solve everyone’s problems. The townspeople want somebody to take charge, but discover that handing over responsibility is easier than getting it back.

7.30pm — The Future with Hannah Fry BBC Two — Catch up on iPlayer

Pain is one of those things we all experience but probably don’t think very much about until something goes wrong. We know it hurts, obviously, but the mechanisms behind it are remarkably complicated.

In this edition of The Future, mathematician Hannah Fry investigates whether scientific advances might eventually allow us to live without pain, or at least offer much better treatment to those who suffer from it.

There’s a fascinating contradiction here. Pain is essential to survival. Without it, we might fail to notice serious injuries or illnesses. Yet for millions of people living with chronic pain, the body’s warning system has effectively become a problem in itself, continuing long after it has ceased to serve any useful purpose.

I’m particularly interested in the possibilities offered by research into the nervous system and how the brain processes pain. If scientists can better understand why some people experience persistent pain, perhaps we can move beyond treatments that simply attempt to suppress the symptoms.

Of course, there’s a difference between making a discovery and ensuring that patients benefit from it. New treatments are of limited value if they’re unavailable to the people who need them, and anyone familiar with the difficulties of obtaining specialist care will appreciate that problem.

Hannah Fry has a talent for explaining complicated scientific ideas without talking down to her audience. This should be an interesting examination of something we tend to take for granted, until it starts interfering with our lives.

10pm — David Copperfield (1999) BBC Four — Introduction followed by the drama — Catch up on iPlayer

BBC Four revisits the 1999 adaptation of Charles Dickens’s classic novel, starring Daniel Radcliffe as the young David, alongside Maggie Smith, Bob Hoskins and Ian McKellen.

Zoë Wanamaker introduces the production before the drama begins.

Dickens’s semi-autobiographical story follows a young man struggling to make his way in a world of poverty, exploitation, cruelty and rigid social distinctions.

It’s worth remembering just how politically observant Dickens could be.

His compassion for vulnerable children and his hostility towards hypocrisy and institutional cruelty remain among the reasons his books continue to speak to modern readers.

The story is full of memorable characters, but beneath the entertainment lies a powerful account of how society treats those who lack wealth and influence.

10pm — Southpaw (2015) ITV4

Jake Gyllenhaal stars as a successful boxer whose life falls apart following a personal tragedy.

As he attempts to rebuild both his career and his relationship with his daughter, the film explores grief, self-destruction and the painful process of recovery.

Gyllenhaal gives a committed central performance, while the boxing sequences provide the expected physical intensity.

11.30pm — New York, New York (1977) BBC Two

Martin Scorsese’s ambitious musical drama stars Robert De Niro and Liza Minnelli as two performers whose artistic ambitions and turbulent relationship repeatedly collide.

It combines the visual extravagance of classic Hollywood musicals with a much less romantic view of the difficulties of personal relationships.

Minnelli’s musical performances are a major attraction, while Scorsese’s willingness to experiment with the conventions of the genre makes this an intriguing film.

THURSDAY 19 NOVEMBER

7.20pm — Capturing Kennedy PBS America

A documentary for photography enthusiasts examining the career of Jacques Lowe, the photographer who enjoyed unusually close access to John F. Kennedy.

Lowe’s images helped establish the youthful, optimistic public image associated with Kennedy’s rise to power.

There’s an intriguing connection with the Marilyn Monroe programmes later in the evening.

Both demonstrate the extraordinary influence photographers can exert over the way public figures are remembered.

A photograph may capture an authentic moment, but the selection, composition and circulation of images also help create a public identity.

In the case of political leaders, those images can become an important part of the way power is presented to the public.

10.05pm — The Prince, the Showgirl and Me (2004) BBC Four — Marilyn Monroe Night — Catch up on iPlayer

BBC Four devotes much of Thursday evening to Marilyn Monroe, combining a film dramatisation with documentaries that explore her extraordinary career and the woman behind the carefully constructed public image.

This opening documentary explores the making of The Prince and the Showgirl, the film on which Monroe worked with Laurence Olivier in Britain during the 1950s.

Their contrasting approaches to acting and the difficulties surrounding the production have become part of Hollywood history.

Monroe’s reputation as a troublesome performer has often obscured the seriousness with which she approached her craft.

10.50pm — X (2022) Film4

Ti West’s horror film follows a group of young filmmakers making an adult film in rural Texas in 1979.

What begins as an exercise in sexual freedom and commercial ambition turns into something considerably more sinister.

The film draws on the tradition of 1970s American horror while exploring ageing, desire and resentment.

It’s both a loving tribute to older horror cinema and an effective thriller in its own right.

11pm — Past Lives (2023) BBC Two — 11.30pm in Northern Ireland

Celine Song’s beautifully understated romantic drama follows two childhood friends whose lives take very different directions after one emigrates from South Korea.

Years later they reconnect, confronting memories of what they once shared and the possibilities of lives they never lived.

It’s a thoughtful, emotionally mature film about love, identity, migration and the choices that shape our lives.

There are no easy villains and few simple answers.

The film’s emotional power comes partly from its restraint. Much of what matters remains unspoken.

A lovely piece of filmmaking.

11pm — The Talented Mr. Ripley (1999) TLC

Matt Damon is Tom Ripley, a young man whose longing for wealth, status and acceptance draws him into a dangerous world of deception and murder.

Anthony Minghella’s beautiful adaptation of Patricia Highsmith’s novel is as much about class and social aspiration as it is about crime.

Jude Law and Gwyneth Paltrow provide excellent support, while the Italian locations offer a seductive contrast to the darkness of the story.

Ripley is a fascinating character because his crimes emerge from an obsessive desire to become someone else.

The film’s elegance only makes its darker elements more disturbing.

11.05pm — My Week with Marilyn (2011)

BBC Four — Marilyn Monroe Night

Michelle Williams gives a memorable performance as Monroe in this drama based on Colin Clark’s recollections of his experiences working on The Prince and the Showgirl.

It attempts to show the insecurities and pressures experienced by a woman whose public image frequently obscured her individuality.

Williams captures something of Monroe’s peculiar combination of glamour, vulnerability and determination.

The film also offers an entertaining behind-the-scenes account of the tensions between Hollywood stardom and the British theatrical establishment.

12.35am — Marilyn Monroe: Talking Pictures BBC Four — Overnight Thursday into Friday

An archive-based portrait drawing on interviews and television appearances.

It’s an opportunity to hear Monroe speaking for herself, something often missing from accounts that concentrate on the mythology surrounding her.

There’s a particular fascination in watching famous people in archive footage, observing their mannerisms and the way they responded to questions before decades of subsequent commentary altered our perceptions of them.

12.50am — Peterloo (2018) Channel 4 — Overnight Thursday into Friday

The British establishment likes to celebrate our democratic traditions. It’s rather less enthusiastic about remembering what happened when working people first demanded a meaningful say in how the country was governed. Mike Leigh’s Peterloo is a powerful reminder that democracy in Britain wasn’t simply granted from above. It had to be fought for, and sometimes the price was paid in blood.

On 16 August 1819, tens of thousands of people gathered peacefully at St Peter’s Field in Manchester to demand parliamentary reform. They wanted representation in a political system that excluded the overwhelming majority of working people. The authorities responded by sending cavalry into the crowd. Eighteen people died and hundreds were injured.

Leigh spends considerable time showing how the movement developed, taking us into the homes of working families, political meetings and the offices of magistrates and government officials. We hear the arguments, see the poverty and understand why reform had become such an urgent issue.

Some viewers may find the pace slow, particularly the lengthy speeches and political discussions. I think they’re essential to understanding what happened. Leigh wants us to appreciate the circumstances that brought ordinary people onto the streets, rather than simply presenting the massacre as an isolated outrage.

The contrast between the lives of the workers and the comfortable existence of those governing them is striking. So too is the contempt with which many in authority regard demands for change. Peaceful organisation is treated as a potential insurrection, with disastrous consequences.

Rory Kinnear is excellent as Henry Hunt, while Maxine Peake gives a moving performance as Nellie, a working-class woman whose family becomes caught up in events.

The massacre itself is harrowing, made more shocking by the careful preparation that precedes it. By the time the cavalry charges, we’ve come to know something of the people in the crowd and what brought them there.

For me, Peterloo is a reminder that the democratic rights we now take for granted weren’t generously handed down by enlightened politicians. Working people organised, campaigned and sometimes paid with their lives to secure them.

Leigh deserves enormous credit for bringing this neglected chapter of British working-class history to the screen. It isn’t always an easy film to watch, but it’s one that deserves to be seen, particularly at a time when we could do with remembering how hard those rights were won.

1.35am — Eve Arnold’s Marilyn Monroe (1987) BBC Four — Overnight Thursday into Friday

A portrait through the photographs and recollections of Eve Arnold, who became a trusted confidante as well as one of Monroe’s most perceptive photographic chroniclers.

Arnold’s work is particularly interesting because she could capture something beyond the manufactured glamour.

Her photographs often reveal Monroe as a working actress, a thoughtful individual and someone conscious of the demands placed upon her.

The relationship between photographer and subject is central to any portrait.

In Arnold’s case, the trust she established allowed her to record moments that might otherwise have remained hidden from public view.

For anyone interested in photography, this may be the most rewarding programme of the evening.

FRIDAY 20 NOVEMBER

7.30pm — Unreported World: China’s Weight-Loss Camps Channel 4 — Catch up on Channel 4 streaming

The idea of sending people to military-style camps to lose weight sounds like something from a particularly unpleasant reality television programme. Yet in China, such establishments have become part of a growing industry offering rapid weight loss through strict discipline and intensive exercise.

This edition of Unreported World travels to Sichuan to investigate the camps and meet some of those taking part.

I’m curious about the daily routines and how people respond to them. What persuades someone to enter such a place? Are they motivated by genuine concerns about their health, pressure from family and society, or simply the promise of achieving results that have proved difficult elsewhere?

The military approach is particularly interesting. Exercise can obviously improve health, but treating weight loss as a test of obedience and willpower seems a rather crude way of addressing something influenced by diet, metabolism, genetics, psychological factors and people’s wider circumstances.

There’s also the question of what happens when participants leave. It’s one thing to lose weight under a tightly controlled regime, quite another to maintain the results when you return to ordinary life.

I’m certainly in favour of encouraging healthier lifestyles and doing more to prevent illnesses associated with obesity. But I have reservations about approaches that rely on punishment, humiliation or unrealistic expectations.

The programme should offer a revealing glimpse of how China is responding to growing concerns about obesity, and of an industry that appears to have found a particularly severe way of turning those concerns into a business.

I’ll be interested to hear what the participants themselves make of the experience, particularly whether they believe it has helped them.

9.30pm — Jeff Buckley: Live in Chicago BBC Four — Catch up on BBC iPlayer

Jeff Buckley would have celebrated his 60th birthday on 17 November.

Born in 1966, he became one of the most distinctive singer-songwriters of his generation before his death in a drowning accident in 1997, aged just 30.

His only completed studio album released during his lifetime, Grace, demonstrated an extraordinary vocal range and a willingness to draw on influences that stretched from rock and folk to jazz and more experimental forms of music.

BBC Four marks his birthday with two programmes.

The first, recorded in 1995, captures Buckley performing songs from Grace alongside interpretations of material by other musicians.

His ability to take an existing song and make it unmistakably his own was one of his greatest gifts.

There is something particularly valuable about seeing an artist performing live, especially one whose recorded output was so tragically limited.

Buckley possessed an extraordinary voice, capable of moving from delicate intimacy to remarkable power.

Yet his appeal was never simply a matter of vocal technique.

He could communicate an emotional intensity that made even familiar songs feel newly discovered.

10.30pm — Jeff Buckley: Everybody Here Wants You BBC Four — Catch up on BBC iPlayer

A documentary exploring Buckley’s life and musical legacy, with contributions from admirers and fellow performers including Chrissie Hynde and Jimmy Page.

It’s impossible to know what he might have achieved had he lived longer.

That uncertainty inevitably adds poignancy to any examination of his career.

But we can appreciate what he left behind, and the influence his music continues to have.

A fitting tribute to an exceptional talent.

10.55pm — Pearl (2022) Film4

Mia Goth gives an extraordinary performance in this prequel to X, playing a young woman trapped on an isolated Texas farm during the influenza pandemic of 1918.

Pearl dreams of becoming a star, but her frustrated ambitions and increasingly disturbed behaviour lead towards violence.

The film’s bright colours and old-fashioned Hollywood styling make an unsettling contrast with its horror.

It’s also a fascinating companion piece to X, shown the previous evening.

Goth’s performance is central to its success, conveying a character whose desperate desire for recognition gradually becomes something monstrous.

STREAMING

Conclave (2024)

Netflix — Sunday 15 November

Ralph Fiennes stars as Cardinal Lawrence, responsible for overseeing the election of a new pope following the death of his predecessor.

Behind the solemn ceremonies and magnificent surroundings, rival factions manoeuvre for power.

Secrets emerge, loyalties are tested and the institution’s spiritual ideals collide with very human ambitions.

Edward Berger’s intelligent, beautifully controlled thriller makes a seemingly enclosed world into compelling political drama.

The Vatican setting provides an extraordinary visual backdrop, but what makes the film work is its understanding of human nature.

Even within an institution devoted to spiritual matters, personal ambition, ideological differences and the desire for influence remain powerful forces.

Fiennes gives an excellent performance, conveying a man who increasingly questions both those around him and his own judgement.

Well worth watching.

Surviving the London Nail Bombings

Prime Video — Tuesday 17 November

In April 1999, a far-right terrorist carried out three nail-bomb attacks targeting London’s Black, Bangladeshi and gay communities.

Three people were killed and many more injured.

The attacks took place in Brixton, Brick Lane and Soho, communities chosen because of the people who lived, worked or socialised there.

This documentary tells the story through those who experienced the attacks and their aftermath.

Their testimony brings home both the brutality of the violence and the courage of communities who refused to be intimidated.

It’s also worth remembering how quickly political hatred can become physical violence.

The people targeted were going about their ordinary lives.

Their supposed offence was simply belonging to communities that the bomber despised.

More than a historical account, this is a reminder of the human consequences of racial and homophobic hatred, and of the importance of remembering those whose lives were lost or permanently changed.

One of my principal documentary recommendations this week.

When a Witness Recants

HBO Max — Wednesday 18 November

What happens when someone is convicted of murder on the strength of witness testimony, only for that witness to admit years later that their evidence was false?

That’s the disturbing question at the heart of When a Witness Recants, directed by Dawn Porter and based on the work of writer Ta-Nehisi Coates.

The documentary examines the case of three Baltimore teenagers convicted of murder in the 1980s. Their lives were effectively taken away from them following testimony that would later be withdrawn, raising questions about police investigations, the reliability of eyewitness evidence and the treatment of young Black defendants in the American criminal justice system.

What particularly interests me is the difficulty of putting matters right once the courts have reached a verdict. You might imagine that a witness admitting they lied would be enough to reopen a case immediately. In reality, overturning a conviction can involve years of legal battles, even when the original evidence has been seriously undermined.

And what happens to someone who has spent decades in prison for a crime they didn’t commit? Compensation may help, but it cannot restore lost youth, broken relationships or the opportunities that disappeared while they were behind bars.

There’s also an uncomfortable question about the pressure that can be placed on witnesses, particularly young people, during criminal investigations. How reliable is testimony obtained in circumstances where those giving it may be frightened, confused or desperate to satisfy the authorities?

This looks like a powerful examination of a miscarriage of justice, made more troubling by the knowledge that the men involved were still teenagers when their lives took such a devastating turn.

A documentary I’d particularly recommend to anyone interested in civil liberties, policing and the workings of the American justice system.

Rivals

Disney+ — Wednesday 18 November — Series two, episode ten

The television adaptation of Jilly Cooper’s novel continues its entertaining mixture of ambition, class conflict, sexual intrigue and battles for control of the broadcasting industry.

David Tennant, Aidan Turner and Alex Hassell lead a cast of characters whose personal rivalries are often inseparable from their professional ambitions.

The period setting provides plenty of opportunities for extravagant costumes, lavish homes and wonderfully excessive behaviour.

But beneath the entertainment there’s also something revealing about the relationships between money, influence and the media.

The characters may be exaggerated, but the determination of powerful individuals to protect their interests is hardly unfamiliar.

There’s plenty of excess, some sharp observations about the wealthy and powerful, and a great deal of pleasure in watching the various schemes unravel.

The Lord of the Rings: The Rings of Power

Prime Video — Wednesday 18 November — Episodes five and six

I’ve watched the first four episodes of the latest series of The Rings of Power and have been very impressed. The scale of the production is extraordinary, but what interests me most is the way the writers are developing the characters and exploring more of Tolkien’s mythology.

I’ve been fascinated by Middle-earth since first encountering Tolkien’s books. I’ve also contributed to books examining Tolkien and politics, so I’ve spent quite a bit of time thinking about the ideas behind his stories, as well as enjoying them. His work raises interesting questions about power, authority, loyalty, tradition and the corrupting influence of ambition. These aren’t simply fantasy adventures with elves, dwarves and wizards.

One of Tolkien’s great achievements was to create a world with an enormous sense of history. Even the smallest incident can have connections with events thousands of years earlier, and characters often find themselves caught up in struggles whose origins they only partly understand.

The series is increasingly making good use of that background. I’m particularly interested in the developing story surrounding Elrond and the legacy of his twin brother Elros, whose decision to embrace a mortal life had profound consequences for the history of Middle-earth. Their different destinies are among the more intriguing elements of Tolkien’s mythology.

Theo is also becoming a more interesting character, and I’m curious to see where his story leads. Then there’s Gandalf, played by Daniel Weyman, whose encounters with the mysterious Dark Wizard, played by Ciarán Hinds, have opened up further possibilities.

What I’ve enjoyed is that the characters are being given room to develop. Their relationships and decisions are beginning to carry more weight as we learn about their backgrounds and the forces shaping their lives.

Visually, the series is magnificent. The landscapes, cities, costumes and elaborate settings give a real impression of the size and variety of Middle-earth. There’s obviously an enormous amount of money on the screen, but expensive production alone doesn’t make good television. It needs interesting characters and a story worth following, and so far I’ve found plenty of both.

Inevitably, comparisons with Peter Jackson’s films are difficult to avoid. Those films set an extraordinarily high standard, particularly in their ability to make Tolkien’s imaginary world seem like a real place. I don’t think the television series needs to imitate them, though. It’s dealing with a different period and has the opportunity to explore aspects of the mythology that Jackson could only hint at.

There will always be arguments among Tolkien enthusiasts about changes to the original material. I understand that, and there are certainly decisions which deserve questioning. But I’m happy to allow the writers some freedom, provided they remain reasonably faithful to the spirit of the stories.

For me, The Rings of Power is increasingly finding its own identity. I’m enjoying the mixture of familiar characters, ancient history and new interpretations of Tolkien’s world.

Four episodes in, I’m thoroughly engaged. Let’s hope the next two maintain the standard.

The Altruists

Netflix — Thursday 19 November — All eight episodes

Julia Garner and Anthony Boyle portray Caroline Ellison and Sam Bankman-Fried in this dramatisation of the spectacular collapse of the cryptocurrency empire FTX.

Bankman-Fried and his associates claimed they wanted to revolutionise finance and use wealth for the greater good.

What emerged instead was one of the most notorious financial fraud scandals of recent years.

There’s an interesting contradiction at the heart of this story: people speaking the language of idealism while pursuing extraordinary wealth and power.

The series promises to explore ambition, self-deception and the dangers of allowing financial innovators to operate without proper accountability.

The case also raises wider questions about the enthusiasm with which sections of the financial world embrace supposedly revolutionary ideas, often without asking sufficiently difficult questions about how the money is being made.

Eight episodes should give the writers plenty of room to explore the personalities and decisions behind the scandal.

Primetime Preacher$

Netflix — Friday 20 November

Religion has always attracted its share of charlatans, but American television gave some of them opportunities for making money that would have astonished their predecessors. By the 1980s, televangelism had become a huge business, with charismatic preachers attracting millions of viewers and building media empires around their personalities.

Joe Berlinger’s documentary concentrates on three of the biggest names in American religious broadcasting: Jim Bakker, Jerry Falwell and Jimmy Swaggart. It examines how they built their television ministries, the bitter rivalries between them and the sex and financial scandals that eventually threatened their empires.

Bakker and his wife Tammy Faye created the enormously successful PTL ministry, complete with its own Christian theme park, Heritage USA. Falwell had become a leading figure in the religious right, while Swaggart attracted enormous audiences with his emotional, sometimes highly theatrical sermons.

The documentary follows the public scandal surrounding Bakker’s ministry and the extraordinary conflict that developed between these powerful religious figures. It also examines how televangelism helped turn evangelical Christianity into a significant force in American politics, with consequences still being felt today.

What particularly interests me is the theatricality of it all. The elaborate studios, emotional appeals, carefully cultivated personalities and promises of miraculous intervention made televangelism a form of entertainment as much as a religious experience. Some of these preachers understood television better than many professional broadcasters.

There was also a remarkable contrast between their public messages and private lifestyles. Many of those sending donations were ordinary Americans who sincerely believed they were supporting God’s work. Meanwhile, certain preachers enjoyed wealth and luxury rather difficult to reconcile with Christ’s teachings about material possessions.

Of course, not every television preacher was dishonest, and religious broadcasting provided genuine comfort to many viewers. But the combination of celebrity, religious authority and enormous amounts of money was always going to raise questions about accountability.

Berlinger has an interesting story to tell here, not least because the relationship between evangelical Christianity, television and American political power has become increasingly important.

And whenever I see a preacher insisting that God wants his followers to send more money, I can’t help wondering why an all-powerful deity should be quite so dependent on a television audience’s credit cards.

Dexter: Resurrection

Paramount+ — Friday 20 November — Series two, episode four

Michael C. Hall continues his return as Dexter Morgan, the serial killer whose attempts to impose his own moral code on murder have always made him one of television’s most disturbing protagonists.

The latest story continues to explore his relationship with his son Harrison, and the consequences of a past that refuses to stay buried.

What has always made Dexter interesting is the contradiction at its centre.

We’re invited to follow a man who commits terrible crimes, yet the series frequently encourages us to sympathise with him because he directs his violence towards other killers.

It’s an uncomfortable proposition, but one that has sustained the character through several incarnations.

The mixture of crime thriller, family drama and extremely dark humour remains distinctive.

Making Marie Antoinette

MUBI — Available now

Here’s something I particularly recommend.

Eleanor Coppola took her camera onto the set of her daughter Sofia’s 2006 film Marie Antoinette, documenting the work involved in bringing that extravagant production to the screen.

It’s a fascinating companion to Eleanor’s earlier documentary work on her husband Francis Ford Coppola’s Apocalypse Now.

The film offers a revealing portrait of the relationship between a mother and daughter who both understood the demands of filmmaking.

There’s the pressure of production, the attention to costume and historical detail, and the challenge of translating a distinctive artistic vision into a finished film.

Sofia Coppola’s Marie Antoinette was itself an unusual historical drama, less interested in delivering a conventional account of the French Revolution than in examining the isolation and experiences of a young woman trapped within the rituals of royal life.

Seeing how that film was created provides another perspective on the choices made by its director.

It’s also a touching record of a family’s creative inheritance.

Well worth watching.

RADIO

There are some particularly rewarding radio programmes this week, including the stories of an extraordinary folk musician, the struggle for disability rights and one of the most disturbing chapters in American medical history.

SATURDAY 14 NOVEMBER

3pm — Fork in the Road: Heat, Dust and Celluloid

BBC Radio 4 — Catch up on BBC Sounds

The making of a film can sometimes be almost as fascinating as the film itself.

This programme revisits the extraordinary circumstances surrounding the production of Heat and Dust, the 1983 film directed by James Ivory and produced by Ismail Merchant, based on Ruth Prawer Jhabvala’s Booker Prize-winning novel.

The Merchant Ivory partnership produced some of the most memorable literary adaptations in British cinema, including A Room with a View, Howards End and The Remains of the Day.

Yet behind the elegant finished productions were often remarkable struggles involving money, personalities and the practical difficulties of independent filmmaking.

Drawing on the memories of those involved, this programme promises an entertaining insight into the realities of making ambitious films with limited resources.

It’s particularly interesting to consider how some of the most polished films in British cinema emerged from productions that were often anything but straightforward.

SUNDAY 15 NOVEMBER

7.15pm — My Dream Dinner Party

BBC Radio 4 — Catch up on BBC Sounds

The appealing premise of this series is to bring together a selection of guests who could never normally share a dinner table, using archive recordings to create an imaginary conversation.

It’s a clever way of revisiting the lives and personalities of notable figures, allowing familiar voices to be heard in unexpected combinations.

The enjoyment comes partly from imagining how such people might respond to one another, and partly from discovering material that reveals a different side of their public identities.

It’s a reminder of how valuable radio archives can be in preserving not just the words of famous people, but their voices, humour and personalities.

MONDAY 16 NOVEMBER

11am — Chiselled: My Reckoning with Eric Gill

BBC Radio 4 — Part one of three — Catch up on BBC Sounds

This promises to be one of the most challenging programmes of the week.

Eric Gill was among the most influential British artists and designers of the twentieth century.

His sculptures, lettering and typefaces became part of the country’s visual landscape, and his work can still be found in prominent public buildings.

Yet Gill’s artistic achievements are inseparable from deeply disturbing revelations about his private life, including his sexual abuse of his daughters.

The programme is presented by a descendant of Gill, exploring the legacy of his work and the consequences of his behaviour for members of his family.

It raises a question that has become increasingly important in discussions about art and culture.

How should we respond when an artist responsible for work of genuine significance is revealed to have committed terrible acts?

There are no easy answers.

We cannot simply erase history, nor should admiration for artistic achievement become an excuse for minimising abuse.

The voices and experiences of victims must be central to any serious examination of that history.

This series seems particularly valuable because it approaches the subject through the artist’s own family, rather than treating the controversy merely as an abstract debate about whether art can be separated from its creator.

1.45pm — For Pity’s Sake

BBC Radio 4 — Part one of eight — Catch up on BBC Sounds

Presented by disability rights campaigner Sophie Morgan, this new series tells the story of the activists who helped transform the treatment of disabled people in Britain.

For much of the twentieth century, disability was commonly approached through the language of charity, sympathy and dependence.

Disabled people were too often spoken about rather than listened to, while barriers to employment, transport, education and public life were accepted as part of the natural order.

But a generation of campaigners challenged those assumptions.

They organised demonstrations, confronted discriminatory practices and demanded legal rights rather than charitable gestures.

Among those featured are Barbara Lisicki, Alan Holdsworth and David Ruebain, whose campaigning helped pave the way for the Disability Discrimination Act 1995.

That legislation was a major step forward, although it certainly didn’t end discrimination.

The programme’s title captures an important distinction.

Disabled people don’t need to be regarded as objects of pity.

They are entitled to equal opportunities, independence and the practical support necessary to participate fully in society.

It’s a history worth knowing, not least because rights that now seem established were secured through years of campaigning and collective action.

And, of course, the struggle continues.

Legal rights are important, but their value depends upon effective enforcement and the willingness of employers, public bodies and wider society to make equality a reality.

One of my principal radio recommendations this week.

MONDAY 16 – FRIDAY 20 NOVEMBER

9.45pm — The Essay: Peggy Seeger — A Life in Music

BBC Radio 3 — Five parts — Catch up on BBC Sounds

Peggy Seeger has enjoyed an extraordinary musical career stretching across seven decades.

Born into a distinguished American musical family, she became an important figure in the folk revival and developed a particularly close association with British political songwriting through her personal and musical partnership with Ewan MacColl.

Her songs have addressed feminism, working-class life, relationships, social injustice and the changing experiences of women.

In this five-part series, Seeger sits at her piano at home in Oxfordshire and talks to Kate Molleson about five songs from her career, exploring both their musical development and the circumstances that inspired them.

There’s something especially appealing about hearing an artist explain her own work.

Songs can become so familiar that we forget the experiences and decisions that shaped them.

Seeger belongs to a tradition of musicians who saw no contradiction between artistic excellence and social engagement.

Her work demonstrates how songs can preserve history, express anger, challenge accepted attitudes and give voice to people whose experiences are often overlooked.

Monday — Buffalo Holler

Seeger reflects on her songwriting and musical beginnings.

Tuesday — The Fight Game

Her contribution to the radio ballad about boxing.

Wednesday — Everyone Knows

Feminism and the use of humour in songwriting.

Thursday — Primrose Hill

Love songs and writing later in life.

Friday — Everything Changes

Family memories, ageing and the continuing importance of music.

For anyone interested in folk music, protest songs or the relationship between art and political campaigning, this should be essential listening.

WEDNESDAY 18 NOVEMBER

1.30pm — World of Secrets: Dr Skin

BBC World Service — Also available as a BBC podcast

This is a deeply disturbing investigation into medical experiments conducted on prisoners at Holmesburg Prison in Philadelphia.

From the early 1950s until the 1970s, dermatologist Albert Kligman carried out experiments involving prisoners, many of whom were Black men.

The testing programme included work connected with pharmaceutical and cosmetics companies.

The prisoners were an exceptionally vulnerable population.

Questions about whether they could genuinely give informed consent, particularly within the unequal power relationships of a prison, go to the heart of the scandal.

Kligman reportedly saw the inmates as a vast supply of experimental subjects.

Their humanity was subordinated to the interests of scientific research and commercial development.

There are disturbing parallels with other historical examples of medical experimentation in which particular groups were treated as less deserving of protection than others.

The reference to Nazi medical experimentation inevitably comes to mind, although the circumstances, methods and purposes should not be confused or treated as identical.

What unites such abuses is the willingness to disregard the dignity and rights of human beings in the pursuit of supposedly scientific objectives.

The series, presented by Alzo Slade, also examines connections between these experiments and the development of products associated with modern skincare.

The racial dimension is particularly important.

Many of the prisoners were Black men living in a society where racial discrimination remained deeply embedded in institutions and everyday life.

Their imprisonment made them vulnerable, while their race contributed to a wider pattern of inequality in the protection of individual rights.

It’s a story that deserves to be much more widely known, particularly because of what it reveals about racism, imprisonment, corporate interests and the responsibilities of medical researchers.

A genuinely shocking subject.

THURSDAY 19 NOVEMBER

9pm — The Moody Blues: Nights in White Satin

Boom Radio

A documentary about one of Britain’s most distinctive bands and the song that became their signature recording.

Formed in Birmingham in the 1960s, the Moody Blues began as a rhythm and blues group before developing a far more ambitious musical style.

Their combination of rock instrumentation, orchestral arrangements and reflective lyrics helped establish a sound that would become closely associated with progressive rock.

Nights in White Satin, written by Justin Hayward, remains one of the most memorable songs of its era.

Its sweeping orchestration and melancholy atmosphere helped demonstrate that popular music could be both commercially successful and musically adventurous.

The band’s wider catalogue deserves attention too.

Albums such as Days of Future Passed, In Search of the Lost Chord and On the Threshold of a Dream showed a willingness to experiment with musical forms and ideas.

The Moody Blues were part of a remarkable period in British popular music when the boundaries between rock, classical music and other genres were being challenged.

They also demonstrated that ambitious arrangements and reflective lyrics could reach a mass audience.

This should be a welcome opportunity to revisit their achievements and consider why their music continues to attract listeners almost sixty years after their breakthrough.

A FINAL WORD

Looking back over this week’s selections, I’m struck by how many deal with power, particularly what happens when those who exercise it are challenged or allowed to act without restraint.

In Ran, an ageing ruler discovers far too late the consequences of his own pride. Peterloo takes us back to a time when demanding a say in how Britain was governed could cost you your life. And in For Pity’s Sake, we hear about the campaigners who refused to accept the discrimination faced by disabled people.

There are some particularly disturbing stories too. Dr Skin examines the medical experiments carried out on prisoners in America, while Surviving the London Nail Bombings recalls the terrible consequences of hatred directed against minority communities.

I think there’s value in programmes that remind us how much of what we now take for granted was achieved through the efforts of people who were prepared to challenge authority. Rights are rarely conceded without a struggle, and they’re not necessarily secure once they’ve been won.

But there’s plenty here to enjoy simply for the pleasure of it. Jeff Buckley’s extraordinary voice, the music of Peggy Seeger and the Moody Blues, and the wonderful films produced by Merchant Ivory are all worth your time.

And then there’s Kurosawa’s Ran.

I make no secret of my admiration for this film. I studied King Lear at school and have been fascinated by Shakespeare’s tragedy ever since. Kurosawa’s adaptation brings something remarkable to it, particularly in the extraordinary compositions and battle sequences. There are images I can recall as clearly today as when I first saw them.

If you haven’t watched Ran, please do. It’s my strongest recommendation this week, and I rather envy anyone discovering it for the first time.

There’s something wonderful about encountering a great work of art without knowing quite what you’re in for. And there’s almost as much pleasure in returning to one you know well and finding something you’d previously missed.

Enjoy your viewing and listening. I’ll be back next week with another selection.

Selections, previews and reviews by Pat Harrington