Ben Robinson retraces the dramatic last days of King John, England's most disastrous monarch, and uncovers the legend of his lost treasure. Ten days took King John from ruler of an empire to sudden death, and left the kingdom in ruins. John is famous for the creation of Magna Carta, which inspired our modern democracy. Ben follows in the footsteps of the King's epic last journey, from the treacherous marshes of East Anglia, through Lincolnshire and Nottinghamshire, to his final resting place in Worcester. He is joined by medieval historian professor Stephen Church. Together they examine the truth behind the legend that has lived on for 800 years. Did the crown jewels really end up in the mud of the Wash Was the King poisoned Does he deserve his reputation as our most disastrous monarch Thanks to unique documents, we can tell this epic tale in the King's own words. Not only can we get into the mind of the Magna Carta King, we can reveal in fantastic detail how and where he travelled. Ben reveals what happened when treasure seekers attempted to find the King's lost jewels with the help of a diviner. And using the latest technology reveals how we can actually see back in time to reveal the landscape as it would have looked when King John made his last journey 800 years ago.
Harry Moseby (Gene Hackman), a worn-out private detective, is hired to look for a 16-year-old girl who has run away from the luxury home of her mother, formerly a small-time actress in Los Angeles. The more the weary cynic tries to get under the surface of the seemingly simple case, the harder it is for him to find his bearings among the lies and deceptions that surround him. Eight years after the key New Hollywood film Bonnie and Clyde, Arthur Penn and Gene Hackman reunited to collaborate on what was to become one of the most undervalued films of the decade. Like Polanski in Chinatown or Altman in The Long Goodbye, in his revisionist film noir, Penn also allows the 1940s classic genre to pervade the complex reality of the 1970s. The feelings of bitterness and emptiness in the modern Chandleresque protagonist originate not only in the “public” sphere of the strange, increasingly convoluted case, but in his private life as well (boyhood trauma, a broken marriage). As Moseby remarks of a sporting event, “nobody’s winning … one side is just losing slower than the other.”