Wednesday 24 Sep 2014
Alfie suggests to a shocked Kat that they try IVF, as the drama continues in Walford.
Meanwhile, after being humiliated by Ronnie in the Vic, Jack decides to go into business with Michael.
Elsewhere, Darren realises that he can't cope with being a single dad and asks Heather for help, and Max is not impressed when he sees Jay and Abi kissing.
Alfie is played by Shane Richie, Kat by Jessie Wallace, Ronnie by Samantha Womack, Jack by Scott Maslen, Michael by Steve John Shepherd, Darren by Charlie G Hawkins, Heather by Cheryl Fergison, Max by Jake Wood, Jay by Jamie Borthwick and Abi by Lorna Fitzgerald.
EastEnders is simulcast in HD on BBC One HD on Freesat channel 108, Freeview channel 50, Sky channel 143 and Virgin Media channel 108.
Ric rallies the troops against Hanssen when the latter instructs that all Upper GI cases should be transferred to another hospital, as the medical drama continues. Unwell with cancer, Ric fights on to save his livelihood but, when Hanssen learns he's dying, he offers to save his life by removing his tumour.
Elliot's efforts to keep a controversial patient's case from Hanssen goes awry and he creates waves when he mistrusts Jac, thinking that she was largely to blame for a patient sawing his hand off on her watch. But it's not long before the tables are turned on him and he is stuck in the middle of a storm.
Jac's fierce ambition to bag the consultant's job gets her into trouble when she goes above Sahira's head by going into theatre with a young patient. When the patient dies on the table, Jac has a lot of explaining to do.
Ric Griffin is played by Hugh Quarshie, Henrik Hanssen by Guy Henry, Elliot Hope by Paul Bradley, Jac Naylor by Rosie Marcel and Sahira Shah by Laila Rouass.
Holby City is simulcast in HD on BBC One HD on Freesat channel 108, Freeview channel 50, Sky channel 143 and Virgin Media channel 108.
Martha is given a high-profile prosecution case against Tony Paddick, a school teacher accused of the attempted murder of a pupil, as Peter Moffat's slick, fast-paced legal drama continues. Martha complains about taking a prosecution case, but Billy persuades her it will be good for her Silk interview. Anyway, it should be an easy win as Noah Zeigler, a low-level barrister from their chambers, is defending.
After reading the brief, Martha thinks that attempted murder is the wrong charge and wants to reduce it to grievous bodily harm (GBH). However, she finds herself at loggerheads with the Crown Prosecution Service (CPS), who won't agree to the change. As the case continues, Martha is able to make Tony Paddick look guilty but she is furious as she sees Noah missing countless opportunities for a good defence. Desperate not to win without a fight, Martha gives Noah a big hint on how to defend the case, but he fails to deliver a killer blow. Subtly, Martha has to do it for him and the jury return a not guilty verdict for attempted murder. However, they do find him guilty of GBH. The CPS are furious and lodge a formal complaint.
At the same time, Martha and Clive have their Silk interviews. Martha discovers she is being interviewed by one of the country's highest-ranking female judges, while Clive finds himself in front of his pupil, Niamh's, father, a retired judge.
Martha Costello is played by Maxine Peake, Tony Paddick by Paul Ready, Billy Lamb by Neil Stuke, Noah Zeigler by Adrian Schiller, Clive Reader by Rupert Penry-Jones and Niamh Cranitch by Natalie Dormer.
Silk is simulcast in HD on BBC One HD on Freesat channel 108, Freeview channel 50, Sky channel 143 and Virgin Media channel 108.
Tim Wonnacott and Rosemary Shrager continue to follow in the footsteps of Queen Victoria, revisiting the stately homes, castles and palaces that the Queen visited throughout her record-breaking reign. Today, they visit the former home of an earlier British Monarch – Queen Elizabeth I – at the spectacular Hatfield House on the outskirts of Greater London.
Upstairs, Tim tells the story of the visit, exploring the antiques, artwork and architecture that would have impressed and intrigued the Queen. Downstairs, Rosemary takes to the kitchen alongside food historian Ivan Day, to recreate a popular 19th-century dish that was served to Victoria during her stay – a spectacular multilayered game pie.
It was October 1846 when Victoria visited Hatfield House. She was 27 years old and had been on the throne for nine years. Renowned for being a social and political centre, Hatfield had a unique connection to Royalty: some 300 years earlier, it had been the home of Queen Elizabeth I, before becoming the residence of the Earls and Marquesses of Salisbury. The programme tells the story of a tree that links the two Queens.
Downstairs, Rosemary explores the accounts book, which details the inventory of goods ordered in for the Queen's visit – including 709 bottles of wine, and a 96-stone ox which was roasted in the grounds for the estate workers.
Dr Francesca Stavrakopoulou, Biblical scholar and senior lecturer in the Hebrew Bible at the University of Exeter, examines the long-standing belief that the founding fathers of the three great religions of the West were monotheists, as she continues her assessment on how recent archaeological discoveries are changing the way people interpret stories from the Bible, and how this is leading to a rethink of the understanding of the legacy of Judaism and Christianity.
Francesca travels to Ugarit in Syria, where she inspects ancient Canaanite texts dating back to the 14th century BC, which was also the period of the Israelite patriarchs Abraham, Isaac and Jacob. The Bible says the Canaanites were polytheistic, while the patriarchs were monotheistic. But the Ugaritic tablets suggest that, in fact, the patriarchs shared the same beliefs as the Canaanites and were indeed polytheistic.
Dr Stavrakopoulou then turns her attention to the wife of Canaanite god El, the goddess Asherah, and asks whether it is possible that the patriarchs also worshipped this goddess.
In the intense environment of the hospital and with expectations high, some of the junior doctors are finding it tough to handle the demands of their job, as the series following the lives of seven newly qualified junior doctors taking up jobs at the Royal Victoria Infirmary, Newcastle, and the Newcastle General Hospital continues.
Work plays a big part in the lives of the doctors, but Jon is keen to get the balance right and not compromise his hobbies for his career. However, the results of his surgery exam are looming and, with this in mind, he begins to reassess his laid-back attitude to work.
In the Emergency Assessments Unit, a busy night shift for first year Adam offers more responsibility and the chance he's been hoping for to make some real decisions. But, with the number of patients mounting, he faces his toughest challenge yet – working fast and under pressure.
Nights are demanding for even the more experienced junior doctors, and a bad shift leaves second year Suzi with her confidence knocked. However, after returning to A&E after a few days of recuperation at home, she finds new challenges, offering her another chance to prove herself.
In the Plastics ward, a long-term patient provides a different test for Kier and Catherine, and both doctors learn that being good at their job is about more than practical skill.
There's a raw and revealing insight into English National Ballet, one of the world's premier ballet companies, at the climax of one of its most demanding years, in the final episode of the behind-the-scenes series. From injury and pain to success and elation, this series exposes the storm behind the calm of big ballet productions.
Wayne Eagling has a highly demanding job as the artistic director of English National Ballet, looking after the 64 dancers that produce eight ballets a year. He has also decided to put his neck on the line by creating his first full-length ballet for the company – The Nutcracker. As the company's crucial and lucrative Christmas production, there is no room for error and Wayne must complete the two-hour ballet on an extremely tight schedule.
This third film in the series follows the creative processes of a choreographer under pressure and a new production fighting against time. With an important audience of critics, donors and government officials expected on opening night, the show must be finished. But, with rehearsals running late and severe snow disrupting the making of the sets, it seems the dancers, costume-makers and technical staff are all fighting for stage time right up until the curtain rises.
This page is best viewed in an up-to-date web browser with style sheets (CSS) enabled. While you will be able to view the content of this page in your current browser, you will not be able to get the full visual experience. Please consider upgrading your browser software or enabling style sheets (CSS) if you are able to do so.