In the first half of the twentieth century Britishness was an integral part of the culture that pervaded life in the colonial Caribbean. Caribbean peoples were encouraged to identify with social structures and cultural values touted as intrinsically British. Many middle-class West Indians of colour duly adopted Britishness as part of their own identity. Yet, as Anne Spry Rush explains in Bonds of Empire, even as they re-fashioned themselves, West Indians recast Britishness in their own image, basing it on hierarchical ideas of respectability that were traditionally British, but also on more modern expectations of racial and geographical inclusiveness. Britain became the focus of an imperial British identity, an identity which stood separate from, and yet intimately related to, their strong feelings for their tropical homelands.

A middle class white guy comes to grips with Peak Oil, Climate
Change, Mass Extinction, Population Overshoot and the demise of the
American Lifestyle

In this special edition of Not Forgotten, journalist and broadcaster Ian Hislop explores the compelling and poignant stories of soldiers from across the British Empire during the First World War.

The Age of Kings spans 1,000 years, from the fall of Rome through the Middle Ages, in which players control the destiny of one of thirteen civilizations. Age of Empires II: The Conquerors Expansion will challenge veterans and novices to wage war on an epic scale with all-new civilizations, unique units and technologies, and campaigns based on infamous conquerors such as Attila the Hun, El Cid and Montezuma.

Part 6: Empire
The story of the British Empire from 1750 to 1900, revealed through its art and treasures. David Dimbleby travels through Britain, America and India, tracing the descent from adventure and inspiration into moral bankruptcy as the Empire became a self-serving bureaucratic machine. In Britain, David looks at William Hodges' paintings of Captain Cook's famous voyages, Sir Hiram Maxim's original machine gun, the relics of General Gordon brought back from the Sudan, and some of the priceless trophies plundered in foreign campaigns: Tipu's mechanical Tiger and the Benin Bronzes. In Philadelphia, he explores William Penn's utopian Old Town, the Liberty Bell, and painter Benjamin West's pictorial white-washing of history in Penn's Treaty with the Indians. In India, David looks at the colonial architecture of Calcutta, and some fabulous frescoes in a Rajasthan village mocking British customs and personalities. The programme ends at the Victoria Memorial in front of Buckingham Palace, not so much a monument to the British Empire as its mausoleum

This is a different sort of "Peak Oil movie." Rather than just focusing on the approaching decline in oil production and its likely effects on our petroleum-powered modern lifestyles, What a Way To Go: Life at the End of Empire, presents that issue merely as a symptom of a larger problem modern society as empire. For those who thought the 20th century finally saw an end to empires, think again. The emperors only changed clothes, got new job titles, and swapped in "predatory economics" for slavery and overt domination. It's a Matrix-like nightmare that seems normal to us, even with all its chaos.

Adapted from the bestselling grassroots history of the United States, the story of America in the world, told in comics form
Since its landmark publication in 1980, A People’s History of the United States has had six new editions, sold more than 1.7 million copies, become required classroom reading throughout the country, and been turned into an acclaimed play. More than a successful book, A People’s History triggered a revolution in the way history is told, displacing the official versions with their emphasis on great men in high places to chronicle events as they were lived, from the bottom up.

A sweeping, bold assault on the tyranny of corporate globalization, full of drama and adventure, with devastating stories of greed run wild. But Perkins is undaunted, and offers imaginative ideas for a different world.