Andrew Graham-Dixon explores how Russia changed from a feudal nation of aristocratic excess to a hotbed of revolution at the beginning of the 20th century and how art moved from being a servant of the state to an agent of its destruction. From monuments that celebrate the absolutism of the tsars to the epic Russian landscape as inspiration; from the design and construction of gold and glittering palaces to the minutiae of diamond-encrusted Faberge eggs; and eventually to the stark and radical paintings of the avant-garde, the journey through Russian art history is one of extraordinary beauty and surprise.

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.

We move around in space, but we are stuck in a prison of time moving ever forwards. Einstein said, 'The distinction between past, present and future is only a stubbornly persistent illusion.' Is our experience of the ticking clock merely a trick of the mind? Could science ever make the clock move backwards? Experiments in quantum physics are showing that the future influences the present: what happens later limits the choices we think we have now. The laws of physics say visiting or talking to ourselves in the past is possible – but changing history once we get there is not.

Orbits are the dynamics that drive the universe. From the smallest asteroid to the largest super-cluster, everything in the universe is in orbit. We owe our very existence to the stability of earth's orbit — it gave us life and keeps us safe. But we are the freaks. Everywhere else we look we find orbits are chaotic, unstable, and violent. Beyond our solar system we find planets that are blow-torched, stars that eat each other, and black holes that destroy everything in their path. Yet on the very largest scale, orbits are also a creative force. clashing galaxies give birth to new stars and new worlds. on the galactic scale orbits even construct the fabric of the universe itself.

The band heads to Nashville, Tenn. Dave sits down with Dolly Parton, Tony Joe White, Steve Earle, Willie Nelson, Emmylou Harris and producer Tony Brown to discuss Nashville's musical influences and the Nashville sound. Foo Fighters prepare to record at Southern Ground studio, owned by country musician Zac Brown, who also guests on the song 'Congregation'.

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.