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In these two series, set on selected dates in January 1895 and December 1896, we follow the day-to-day shenanigans of Bridgford station master Joe Braddock and his staff, along with a motley crew of passengers and passers-by. Each episode is a self-contained drama, as well as telling the ongoing story of the crises and challenges tackled by the team, and their rivalries, enmities, friendships and burgeoning romances.

Gloria Burtzlaff feared for her life one day back in April of 1991 when her abusive husband, Larry, drunk and violent, slapped her, hit her, and began pelting her with glasses. After he tried to drown her in a tub, she got the family shotgun and confronted him in his underwear. “Larry, I’m going to kill you,” she declared. Defense lawyers would later claim he lifted a glass as if to say, “Have at it, sister.” Have at It, Sister is a true-crime tale about Gloria, a South Dakota woman who shot her abusive husband and was put on trial in a precedent-setting case. 

'Farewell, Great Macedon': The TARDIS materialises in the Hanging Gardens of Babylon, one of the Seven Ancient Wonders of the World, in the year 323 BC. The Doctor, Ian, Barbara and Susan meet Alexander the Great - but their excitement is tempered by the realization that these are the final days of Alexander's life. As the travellers become embroiled in the tragic events, the inevitability of history unfolds around them. But can they - and should they - change it?

Jack and Karen are an ordinary, happily married couple. They've been together for years and are convinced every problem can be worked through. Until Karen finds an odd text on Jack's phone, and her confrontation leads to a shock revelation: Jack is gay, and he wants a male lover. Seeking stability for themselves and security for their teenage children, they settle on a 'closed loop' arrangement, whereby they stay together and Jack has a boyfriend. So begins a new type of marriage, where small deceptions and unspoken fantasies are replaced with radical honesty.

It was the long hot summer of 1979 in London, and Michael Berlin is 15, a skater, wild, adrift and out of control. With school over, he lands his dream job at Skateboard Kingdom and wastes no time getting in over his head. He and his friends rush toward a summer of youthful excess played out against a soundtrack of Bowie and Blondie in the shadow of Thatcher coming to power in a country on the brink. With humour and heart, he recounts his bad-boy antics and the resilience and refuge that intense male friendships can provide.

This radio dramatization of the classic movie is introduced by its director, John Ford, and features the original stars. It aired on January 9, 1949.

We are complex and complicated beings - beings who constantly bargain with ourselves, even though we know what is good for us. Instead of doing what will give us the most satisfaction in the end, we constantly settle for things that give us temporary happiness in the present moment (the very definition of procrastination). This is why, many of us never achieve our goals and aims.

This radio dramatization of the classic movie is introduced by its director, John Ford, and features the original stars. It aired on August 5, 1949.

Dances of Life - and Death is adapted from Edgar Allan Poe’s Masque of the Red Death. Poe wrote the Masque as a sort of horror story. This play frames the story as a morality play, set in the time of the Plagues and the Renaissance. Though set in the past it is, also, about the present. The plague, here, is a metaphor for life in Syria, Iraq, Columbia, Guatemala, Nigeria, and Somalia, etc. leading desperate refugees to flee from violence and war. But the reaction of those in safer countries is to withdraw behind their walls.

How do we draw the lines between "good" and "bad" neighborhoods? How do we know “ghettos”? This book questions the widely held assumption that divisions between urban areas are reflections of varying amounts of crime, deprivation, and other social, cultural, and economic problems. Using Ogden, Utah, as a case study, Pepper Glass argues that urban reputations are “moral frontiers” that uphold and create divides between who is a good and respectable - or a bad and vilified - member of a community.