The Documentary Podcast Folgen

Tunisia’s democracy is being dismantled by a president who claims he’s saving it from anarchy. Parliament has been dissolved, scores of judges sacked and opponents jailed. Once Tunisia - the north African country of just 12 million people squeezed between it’s much bigger neighbours Libya and Algeria - was a beacon of democracy. It was the first Arab country to overthrow it’s dictator Ben Ali in 2011 during what became known as the Arab Spring. Now a new authoritarian leader, Kais Saied, dominates the country. Tunisia faces numerous problems, from soaring prices and shortages of some basic foods - to thousands of migrants – many Tunisians - trying to flee across the Mediterranean to Europe.Mike Thomson meets the sister of an activist who was imprisoned, an aspiring kickboxer who wants to settle abroad, a sub-Saharan migrant who’s lost his job and his home and a rapper, whose music helped inspire that 2011 revolution. What future faces Tunisia – democracy or dictatorship?Presenter: Mike Thomson Producer: Bob Howard Mixed by Rod Farquhar Production coordinator: Helena Warwick-Cross Series Editor: Penny Murphy(Image: Tunisians with Tunisian flags protesting against the constitutional referendum. Credit: Mohamed Messara/EPA-EFE/REX/Shutterstock)

For centuries, Kew Gardens was the flash point for a lesser known British imperial project – the collection of plants from colonised nations for political and commercial gain. Author and journalist Rosie Kinchen finds out about the work Kew is doing today to examine this, and looks into how the institution is supporting botanical science and conservation around the globe. Rosie speaks to curatorial and scientific staff at Kew, as well as taking a wider view on the role of plants in colonial history.

Acclaimed and award-winning Shakespearean, Gregory Doran, has directed every play in Shakespeare’s First Folio except Cymbeline. For him it’s one of Shakespeare’s most complex creations and he will be directing it for the first time as his swansong, as the Royal Shakespeare Company’s artistic director emeritus. From the start of the production’s rehearsal period until its first performance, we follow Gregory and his team as they get to grips with a play criticised and celebrated for its genre-busting, location-hopping, multiple plotlines, topped by the appearance of the god Jupiter descending from the heavens on an eagle.