There is a tendency to deny German culture the equal reverence of Italy or Spain, and this enlightening new series provides a wonderful opportunity to explore a great, yet often neglected, artistic tradition whose influence has been just as profound. Andrew Graham-Dixon concludes his exploration of German art by investigating the dark and difficult times of the 20th century. Dominating the landscape is the figure of Adolf Hitler, failed artist, would-be architect and obsessed with the aesthetics of his 1,000-year Reich". In a series of extraordinary building projects and exhibitions, Hitler waged a propaganda war against every form of modern art as a prelude to unleashing total war on the whole of Europe. After the war the shadow of the Third Reich persisted, Germany remained divided and traumatised. How would artists deal with a past that everybody wanted to forget? Journeying through the work of Otto Dix and George Grosz and the age of the Bauhaus to the post-war painters Georg Baselitz, Hilla Becher and the conceptual artist Joseph Beuys is a long and strange journey, but the signs that art has a place at the heart of the new reunited Germany are clearly visible.

What was the Wehrmacht? A group of obedient yeasayers? A murdering band of thugs? An army of millions of abused young men? This series in 5 parts provides differentiated and conclusive answers based on the latest historical and comprehensive investigative research, bringing many new facts to light – among them documents proving for the first time ever, what many among the officers actually thought. Blitzkrieg, the lightning war, in German incorporate modern weapons and vehicles as a method to help avoid the stalemate of trench warfare and linear warfare in future conflicts. The first practical implementations of these concepts coupled with modern technology were instituted by the Wehrmacht in the opening theatres of World War II. The strategy was particularly effective to Germany in the invasions of Western Europe and initial operations in the Soviet Union. These operations were dependent on surprise penetrations, general enemy unpreparedness and an inability to react swiftly enough to German offensive operations.

The final part examines political revolution and how art was at the forefront of throwing out 1,000 years of royal rule, from its earliest revolutionary days of enthusiasm and optimism when painting died, the poster was king and the machine-made triumphed over the handmade to the dead hand of Socialist Realism. Andrew roots out great portraits of Stalin now hidden in museum storerooms and never on public view, looks at the transformation of the Moscow metro into a great public art gallery and visits the most stunning creation of post-war Communist rule, the Space Monument. Finally, he comes to the confusion and chaos of Russia today and how it is producing some of the world's strangest art - from heroic sculptures of Russian leader Vladimir Putin to the insides of a giant erotic apple; from the recreation of the Imperial royal family facing the firing squad to sculpture in liquid oil; from Russia's embrace of the commercial art market to a return to Socialist Realism. Russia seems to stand on another brink of revolution.

For the animals in the polar regions, autumn means dramatic battles and epic journeys. Time is running out - the Arctic Ocean is freezing over and the sea ice is advancing at 2.5 miles per day around Antarctica. Polar bears gather in large numbers on the Arctic coast as they wait for the return of the ice. Soon, tempers fray and violent sparring contests break out. Meanwhile 2,000 beluga whales head for one special estuary, a gigantic 'whale spa' where they will thrash their snow-white bodies against the gravel and exfoliate. Inland, the tundra undergoes a dramatic transformation from green to fiery red. Here, musk ox males slam head-first into each other with the force of a 30mph car crash as they struggle to defend their harems. Frisky young caribou males play a game of 'grandma's footsteps' as they try to steal the boss's female. Down in Antarctica, Adelie penguin chicks huddle together in creches. When a parent returns from fishing, it leads its twins on a comical steeplechase - sadly there's only enough for one, so the winner gets the meal. Two months later and the chicks are fully feathered apart from downy Mohican hairdos - they're ready to take their first swim - reluctantly though, as it seems penguins are not born with a love of water! And with good reason - a leopard seal explodes from the sea and pulls one from an ice floe, a hunting manoeuvre that has never been filmed before. As winter approaches and everyone has left, the giant emperor penguin arrives and makes an epic trek inland to breed. The mothers soon return to the sea leaving the fathers to hold the eggs and endure the coldest winter on earth.

Farrands, Hutson, and Kasch first worked together on the documentary film His Name Was Jason. According to Farrands, who reunited with Hutson, they jointly decided that it was time to tell the stories behind why the various Elm Street films were created and why they decided to fund the entire project independently.

Annalisa Piras and former editor of The Economist Bill Emmott, which explores the crisis facing Europe. Through case studies of citizens in different countries, the film explores a range of factors that have led to the present crisis, economic and identity challenges across Europe. High-level experts analyse how and why things are going so wrong. The film includes fictional scenes, set in a post-EU future, which feature archaeologist Charles Granda (played by Angus Deayton) travelling on a flight through a menacing storm, explaining to a child passenger what the EU was. Sombre, thought-provoking and witty, the film frames Europe through the eyes of those who have most at stake - the Europeans themselves.