May December

The first, and by far most memorable full-length animated feature from the Disney Studios, "Snow White and the Seven Dwarfs" may have been superseded technically by many of the films that followed it. But its simple story of a charming little princess saved from the evil deeds of her wicked step-mother, the queen, by a group of seven adorable dwarfs made history when it was first released in December, 1937 and has since become an incomparable screen classic.

Massive earthquakes. Giant tidal waves. Super volcanoes exploding. Raging firestorms. These are just a few visions of a global apocalypse that some say will happen on December 21, 2012. That's when the eerily accurate Mayan calendar will come to a sudden end. That ancient calendar is causing a modern day panic. People around the world fear that our planet faces a catastrophe never seen before in human history.

Andrew Davies isn't much of household name in the U.S., but he's the king of the BBC mini-series. His skillfully adapted scripts for Pride & Prejudice (the beloved Colin Firth version) and many, many more are peerless examples of classic novels done right–cunningly edited and shaped to let all the rich emotion and sharp intelligence spill over with zip and vigor. Bleak House is no exception; it's one of the best Dickens adaptations to date. The mini-series form allows Dickens' panoramic view, brimming with eccentric characters and complex turns of plot, to sprawl out without losing an iota of suspense or momentum. Two innocent young orphans (Patrick Kennedy and Carey Mulligan) are the potential heirs to a fortune, but their fates are snarled in a monumental legal battle known as Jarndyce and Jarndyce. But the heart of the story is another orphan, Esther Summerson (Anna Maxwell Martin), whose mysterious parentage proves to be intertwined with the fate of the Jarndyce wards and the aloof Lady Dedlock (Gillian Anderson, The X-Files). Dickens' story twines through an excoriating vision of the legal system to heartbreaking domestic drama to a murder investigation to near-Gothic horror, all broken into utterly delicious half-hour segments (after the hour-long opening episode). Martin is utterly beguiling, homely at one moment and luminous the next; Anderson's grippingly eerie and brittle performance will delight her fans. But to single out anyone seems absurd, because every character–from the vicious lawyer Tulkinghorn (Charles Dance, White Mischief) to the foppish parasite Skimpole (Nathaniel Parker, The Inspector Lynley Mysteries) to the simpering clerk Guppy (Burn Gorman)–is intricately drawn, all hitting a mesmerizing balance between caricature and stark emotional honesty. Bleak House demonstrates that humor, pathos, and social criticism can all be contained in one wonderfully entertaining package.

Andrew Davies isn't much of household name in the U.S., but he's the king of the BBC mini-series. His skillfully adapted scripts for Pride & Prejudice (the beloved Colin Firth version) and many, many more are peerless examples of classic novels done right–cunningly edited and shaped to let all the rich emotion and sharp intelligence spill over with zip and vigor. Bleak House is no exception; it's one of the best Dickens adaptations to date. The mini-series form allows Dickens' panoramic view, brimming with eccentric characters and complex turns of plot, to sprawl out without losing an iota of suspense or momentum. Two innocent young orphans (Patrick Kennedy and Carey Mulligan) are the potential heirs to a fortune, but their fates are snarled in a monumental legal battle known as Jarndyce and Jarndyce. But the heart of the story is another orphan, Esther Summerson (Anna Maxwell Martin), whose mysterious parentage proves to be intertwined with the fate of the Jarndyce wards and the aloof Lady Dedlock (Gillian Anderson, The X-Files). Dickens' story twines through an excoriating vision of the legal system to heartbreaking domestic drama to a murder investigation to near-Gothic horror, all broken into utterly delicious half-hour segments (after the hour-long opening episode). Martin is utterly beguiling, homely at one moment and luminous the next; Anderson's grippingly eerie and brittle performance will delight her fans. But to single out anyone seems absurd, because every character–from the vicious lawyer Tulkinghorn (Charles Dance, White Mischief) to the foppish parasite Skimpole (Nathaniel Parker, The Inspector Lynley Mysteries) to the simpering clerk Guppy (Burn Gorman)–is intricately drawn, all hitting a mesmerizing balance between caricature and stark emotional honesty. Bleak House demonstrates that humor, pathos, and social criticism can all be contained in one wonderfully entertaining package.

Andrew Davies isn't much of household name in the U.S., but he's the king of the BBC mini-series. His skillfully adapted scripts for Pride & Prejudice (the beloved Colin Firth version) and many, many more are peerless examples of classic novels done right–cunningly edited and shaped to let all the rich emotion and sharp intelligence spill over with zip and vigor. Bleak House is no exception; it's one of the best Dickens adaptations to date. The mini-series form allows Dickens' panoramic view, brimming with eccentric characters and complex turns of plot, to sprawl out without losing an iota of suspense or momentum. Two innocent young orphans (Patrick Kennedy and Carey Mulligan) are the potential heirs to a fortune, but their fates are snarled in a monumental legal battle known as Jarndyce and Jarndyce. But the heart of the story is another orphan, Esther Summerson (Anna Maxwell Martin), whose mysterious parentage proves to be intertwined with the fate of the Jarndyce wards and the aloof Lady Dedlock (Gillian Anderson, The X-Files). Dickens' story twines through an excoriating vision of the legal system to heartbreaking domestic drama to a murder investigation to near-Gothic horror, all broken into utterly delicious half-hour segments (after the hour-long opening episode). Martin is utterly beguiling, homely at one moment and luminous the next; Anderson's grippingly eerie and brittle performance will delight her fans. But to single out anyone seems absurd, because every character–from the vicious lawyer Tulkinghorn (Charles Dance, White Mischief) to the foppish parasite Skimpole (Nathaniel Parker, The Inspector Lynley Mysteries) to the simpering clerk Guppy (Burn Gorman)–is intricately drawn, all hitting a mesmerizing balance between caricature and stark emotional honesty. Bleak House demonstrates that humor, pathos, and social criticism can all be contained in one wonderfully entertaining package.

Albert Einstein: Physicist, Philosopher, Humanitarian examines Einstein's revolutionary innovations in physics, his philosophical reflections on the methods and foundations of science, and his public efforts championing a variety of social causes. By the end of these 24 lectures, you'll have become better acquainted with the whole Einstein—his scientific ideas, his personal philosophies, his thought processes, and his impact on both his time and ours.

Air Crash Investigation, also known as "Mayday: Air Disasters". It's a Canadian production that airs in several countries. In the USA some episodes are shown in the block "Air Emergency".

Ten women find themselves in a vacant mansion on Spektor Island in December, 1972. Each believes she's traveled to the house on business, but they all agree that something seems strange. For one thing, the entire house is full of pictures and statues of pigs. The women all come from drastically different walks of life. None of them would have chosen to spend the night together in such an eerie place, but the last ferry for the mainland has just left, and a terrible storm is rolling in. Trying to make the best of an unpleasant situation, they raid the mansion's wine cellar and throw a party. As the night creeps on, however, it becomes clear that someone–or something–has lied to get them in the house. It's not long before someone mentions that Spektor Island is supposed to be haunted. Of course, no one in the house believes in ghosts. At least, not until the first murder. What do an actress, a religious zealot, a renegade, a coed, a model, a singer, a medium, a real-estate investor, a historian, and a doctor have in common? None of them is who they seem. Yet, the fate of the entire world may rest in their hands.