Mark Soldinger
Discovery Channel introduces its viewers a group of ordinary people as they gear up for a zombie takeover and explores the science behind this end-of-the-world scenario in Zombie Apocalypse.
Documentary following the story of teenager Jamie Campbell, who wants to be a drag queen. Growing up in an ex-mining village in County Durham, Jamie has already faced his fair share of difficulties after coming out as gay at 14. However, with the majority of his family and friends being supportive, he has decided that he is ready to share his passion with the world. He plans to embrace who he really is by attending his end of school prom in drag, but he doesn't get the reaction he'd hoped for from both his school and his own father. Jamie has to make some difficult decisions. Jamie spends time with an established drag artist and battles his demons, performing as his alter ego, Fifi La True, for the very first time in front of a large audience. As Jamie has some frank and intimate family moments, and finds out just how strong he really is, the film explores his hopes and fears for the future. Will he get the acceptance he craves from his peers and the confidence to be who he really is?
A documentary about autistic driving students and the obstacle they face while learning to drive.
This documentary follows three people with autism at pivotal moments on the rocky road to being accepted as an adult. They are all fighting for independence and responsibility, but being frustrated by the shackles imposed on them by their disability, their families and the preconceived ideas of mainstream society.
This documentary covers the acid house, rave and club culture revolution in the UK and of course the chemical Methylenedioxymethamphetamine or ecstasy. This era inspired the film 24 Hour Party people and sheds light on the forgotten counter culture movement.
In "Diana: The Mourning After" Christopher Hitchens sets out to examine the bogusness of "a nation's grief", tries to uncover the few voices of sanity that cut against the grain of contrived hysteria. His findings suggested that the collective hordes of emotive Dianaphiles sobbing in the streets were not only encouraged but emulated by the media. In the aftermath of Diana's death a three-line whip was enforced on newspapers and on TV, selling the sainthood line wholesale. The suspicion was that journalists, like the public, greeted the death as a chance to wax emotional in print, as a change from the customary knowing cynicism, to wheel out all those portentous phrases they'd been saving up for the big occasion. Sadly, they just seemed to be showboating; the eulogies, laments and tear-soaked platitudes ringing risibly hollow.
