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- Season 24 Episode 6: Imagine - Who's Afraid of Machiavelli?
Alan Yentob marks the 500th anniversary of The Prince, the notorious book by 16th-century Italian statesman Niccolo Machiavelli, written after he had been dismissed from his post as Second Chancellor to the Florentine Republic in 1512. A rulebook for dictators, it is also said it became bedside reading for the likes of Napoleon, Stalin, Mussolini, Nixon and Kissinger. Yentob asks how relevant it is today - and who are the 21st-century Machiavellians? Peter Capaldi provides readings from the text, while contributors include Lt Col Tim Collins, who kept a copy of The Prince with him throughout his Iraq campaign, former Dragons' Den businesswoman Hilary Devey, who studied the book as a schoolgirl, and Game of Thrones writer George RR Martin
- Season 24 Episode 5: Imagine - Hitler, the Tiger and Me
A profile of children's author Judith Kerr, whose books include the Mog series and The Tiger Who Came to Tea. Now 90 years of age, she was born in Berlin, but forced to flee Germany at the age of nine as her father was an outspoken opponent of the Nazis - a story she told in her novel When Hitler Stole Pink Rabbit. Alan Yentob joins the writer as she revisits the city in which she was born and takes tea with her in the London kitchen to which that famous tiger came. With contributions from Lauren Child, Michael Morpurgo and Michael Rosen
- Season 24 Episode 4: Imagine - Turning the Art World Inside Out
With huge success at recent exhibitions in Venice, London and Paris, interest in outsider art has never been higher. But what is it exactly? Imagine explores this mysterious and captivating concept that began in the 1920s with the publication of works by European psychiatric patients, pieces that showed unusual quality and power despite being produced without any influence from the art world of the time. The concept was widened to include any creators who had no artistic training and in the 1970s the term 'outsider art' was coined. However, although the public enjoyed the rare exhibitions, critics hated them. Alan Yentob asks why it has taken so long for the British art establishment to embrace the form, and meets some of the unassuming artists who have become international sensations
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