Paul Jones

A physician discovers that two children are being kept virtually imprisoned in their house by their father. He investigates, and discovers a web of sex, incest and satanic possession.

Jools Holland takes a personal look at the historical influences that have helped to create the sound of London. His journey takes him back to Roman times, and then forward through history until the present day, taking in well-known landmarks, pubs, music halls and more recent venues such as the 100 Club. Archive film footage is interspersed with contributions from performers such as Roy Hudd (comedian and music hall expert), Lucy Skeaping (of The City Waites ensemble), Eliza Carthy (folk musician), Sterling Betancourt (steelpan pioneer), Danny Baker (DJ and presenter), Ray Davies (of The Kinks rock band), Paul Jones (of the Manfred Mann pop group), Joe Brown (rock and roll singer), Suggs (of the Madness ska band), and Lisa Hannigan (Irish indie folk singer).

Special introducing William Shakespeare to young people through sketches, readings and music.

The Committee, starring Paul Jones of Manfred Mann fame, is a unique document of Britain in the 1960s. After a very successful run in London’s West End in 1968, viewings of this controversial movie have been few and far between. Stunning black and white camera work by Ian Wilson brings to life this “chilling fable” by Max Steuer, a lecturer (now Reader Emeritus) at the London School of Economics. Avoiding easy answers, The Committee uses a surreal murder to explore the tension and conflict between bureaucracy on one side, and individual freedom on the other. Many films, such as Total Recall, Fahrenheit 451 and Camus’ The Stranger, see the state as ignorant and repressive, and pass over the inevitable weaknesses lying deep in individuals. Drawing on the ideas of R.D. Laing, a psychologically hip state faces an all too human protagonist.

Britain's biggest pop singer, Steven Shorter, receives unwavering adulation and possesses total control over his rabid fans, which includes nearly the entire population. Yet Shorter is not an autonomous performer -- he is little more than a puppet for the government, promoting whatever agenda they see fit. When a beautiful artist, Vanessa Ritchie, is commissioned to paint his portrait, she pushes Shorter to question his obedience to his manipulative handlers.