We live our lives pursuing happiness 'out there' as if it is a commodity. We have become slaves to our own desires and craving. Happiness isn't something that can be pursued or purchased like a cheap suit. This is Maya, illusion, the endless play of form. In the Buddhist tradition, Samsara, or the endless cycle of suffering is perpetuated by the craving of pleasure and aversion to pain. Freud referred to this as the "pleasure principle." Everything we do is an attempt to create pleasure, to gain something that we want, or to push away something that is undesirable that we don't want. Even a simple organism like the paramecium does this. It is called response to stimulus. Unlike a paramecium, humans have more choice. We are free to think, and that is the heart of the problem. It is the thinking about what we want that has gotten out of control. The dilemma of modern society is that we seek to understand the world, not in terms of archaic inner consciousness, but by quantifying and qualifying what we perceive to be the external world by using scientific means and thought. Thinking has only led to more thinking and more questions. We seek to know the innermost forces which create the world and guide its course. But we conceive of this essence as outside of ourselves, not as a living thing, intrinsic to our own nature. It was the famous psychiatrist Carl Jung who said, "one who looks outside dreams, one who looks inside awakes." It is not wrong to desire to be awake, to be happy. What is wrong is to look for happiness outside when it can only be found inside.

A bistro is typically defined by its modesty – they are relatively small, affordable and humble. The bistro has become rather ubiquitous these days but despite its many incarnations, at its core, a bistro is a place where every man can eat, and eat well. With Petit Trois, Ludo Lefebvre has brought the spirit of the bistro to Los Angeles.
In this episode, Ludo brings us back to Paris to introduce us to some of the people and places that first inspired him to begin a culinary career.

Loot found secreted in pagan graves in Norway provides some major clues that point to Viking perpetrators following the discovery of murder victims in Wales and a monastery razed to the ground in Scotland.

In 2009, competing in the most expensive and technologically advanced racing series on Earth, the impossible happened. An understaffed, underfinanced and independent team won the World Championship. Go behind the scenes of this Formula 1 fairytale with Keanu Reeves and the people who were there, on the track, in the garage and the boardroom, giving their own thrilling versions of a miraculous year.
With exclusive access to the F1 archives, much of it previously unseen - from a year that global sport will never forget, with contributions from British F1 driver Jenson Button and Ross Brawn, who led the team to victory.

The third part of the series begins with the excitement of Button's initial victories, highlighting his talent and skill on the tracks. However, as the season progresses, the focus shifts to the growing tension between Button and Barrichello. This tension is fueled by the internal struggle for leadership in the team and the drivers' championship. These rivalries affect performance on the track. Another key point is the management of the Brawn GP team, facing financial and technical challenges while seeking to maintain its competitive edge against rivals like Red Bull and McLaren. We discover the psychological aspect of racing, showing how the pressure of the championship affects Button, leading him to make mistakes and question his abilities. At the same time, Barrichello's resurgence is observed, showing determination and experience to take advantage of his opportunities.
Finally, the evolution of the Brawn GP team is addressed, from its triumphs to moments of uncertainty, culminating in a season that is both a success story and a testimony to the unpredictable nature of Formula 1.

Caravaggio's approach to painting was unconventional. He avoided the standard method of making copies of old sculptures and instead took the more direct approach of painting directly onto canvas without drawing first. He also used people from the street as his models. His dramatic painting was enhanced with intense and theatrical lighting. Caravaggio's fate was sealed when he killed a man in a duel in 1606. He fled to Naples where he attempted to paint his way out of trouble, he became a Knight, but was then imprisoned in Malta and then finally moved to Sicily. He was pardoned for murder in 1610, but died of a fever when attempting to return to Rome. For me the power of Caravaggio's art is the power of truth, not least the truth about ourselves. If we are ever to hope for redemption we have to start from the recognition that the Goliath competes with the David in all of us."