Science is who we are, where we come from and what happens next. But how science established itself as the way for us to understand existence and to take control of our destiny is an integral, and often overlooked part of our nation’s story. 　　In a new three-part series for BBC Two, Professor Brian Cox introduces Britain’s science heroes, taking us to the places they made their discoveries, recreating their experiments and examining the legacy left to their scientific descendants. He will find that the British tradition of innovation and discovery owes everything to the early pioneers and how the business of discovery and innovation is a process of creative inspiration, collaboration and true grit – an endeavour in which Britain has consistently set the pace. 　　Professor Cox begins this intimate portrait of British science with a face to face encounter with Isaac Newton’s death mask. Starting with Newton, Brian investigates the personality of scientists, showing how their greatest achievement is the scientific method – removing personal bias in interest from discovery. He meets one of the few remaining people who worked on the wartime British nuclear bomb programme, whilst discovering the way in which the acquisition of knowledge can sometimes be at odds with public morality. Finally Brian meets the current president of the Royal Society, Professor Sir Paul Nurse, who reveals a new approach to the business of discovery in what he believes will be the most successful British biomedical research initiative ever – the Crick Institute, currently under construction in London’s King’s Cross.

In Victorian England, an American showman uses a wealthy Frenchman's finances to build a German explosives expert's giant cannon designed to fire a people-filled projectile to the Moon, but spies and saboteurs endanger the project.

尽管新闻报道很少，但针对女性的性骚扰和性别不平等在科学界的普遍程度不亚于在流行文化和美国企业界。

Despite the minimal news coverage, sexual harassment and gender inequality against women are no less prevalent in science than they are in pop culture and corporate America.

尽管新闻报道很少，但针对女性的性骚扰和性别不平等在科学界的普遍程度不亚于在流行文化和美国企业界。

A group of friends uncover an otherworldly object in a rural field, which they soon discover holds greater secrets than they could imagine.

Wickedly funny and observant slice of life NYC gangster pic, that's decidedly Jewish, quirky and anarchistic. The surprise cult comedy/drama hit was shot in 1969 and put on the shelf when no distributor was willing to take a chance on it when test audiences didn't laugh, but it was released in 1989 to play in the NYC Film Festival. Rave reviews gave this pic a new lease on life, and it got its long awaited theatrical release--only twenty years too late to help the splendid aging unknown cast advance their careers. 　　In this low-budget black and white shot indie, writer-director Michael Roemer ("Nothing But A Man") makes good use of location shots in the Big Apple, exhibits a winsome dead-on droll humor and gets a super performance from Max Priest--the washed-up small-time mob leader with a deadpan expression (perhaps equaling Buster Keaton's) that seemingly can absorb all kinds of bad news without letting on he's in pain. It's like a time capsule pic, as it takes us back to the 1960s when mafioso types were riding around the city in big gas-guzzling Cadillacs, stylish dames were sporting bee-hive hairstyles, Go-Go dancers were in vogue and there was liberal John Lindsay's racially changing NYC that altered forever the way urban America was to be from now on. 　　It's a scream as a cutting satire on middle-class Jewish aspirations, their showy bar mitzvah rituals and of the almost tragic downfall of a two-bit gangster who didn't have the heart for the rough business, just the will to lead a soft life. The cinéma-vérité pic looks authentic even if it's covering familiar territory, and has the balls to make such an unsympathetic low-life criminal as Harry as an almost sympathetic heroic one by the end of the day.

Nesmluvená setkání is the story of a group of astronauts and their Cyborg worker who are assigned to jump from planet to planet in search of suitable living conditions for future inhabitants. Their mission is side tracked one day when they receive a communiqué from Earth requesting that they search and recover a team that went missing 6 years earlier on that same planet. That space craft had crash landed not too far from their current location with a small crew, including a 5-year-old boy: the pilot's son. 　　They soon find their missing colleagues, dead in the rubble and report back to Earth that all information gathered by the previous crew was lost in the crash. They are given the assignment to carry on with that crew's work before heading to the next planet. One night, over dinner, a strange person wonders on to the space craft's flight deck. An 11-year-old boy (Petr Ricanek), with nothing but magical branches he uses as weapons, and a dirty, shaggy look comparable to a caveman. Through a series of flashback sequences we see that this boy is the dead pilot's son, and survived the crash with only a few cuts. A storm is brewing outside the ship, and nasty space storm at that! Worried for the boy's safety, the crew's captain (Jan Jacer) heads out to find him