Welcome back to the home of the oxymoron. Evil genius. He asked the newspaper to print his obituary early so he'd enjoy it. That's like hiding at your own funeral. Yeah, it's a big, great gig. I'm Russell Kane. Join me to weigh in on whether the biggest players in history are more evil or genius. Becoming that rich, I'd say that at some level of genius. It also helps

that it's a long time ago, right? It's like the podcast version of telling your kids the ice cream

van plays music when it's out of ice cream. Listen to evil genius on BBC sounds.

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On tonight's show, England's dreaming and nightmare, we are on the blasted Heath with Simon Russell Beale in King Lear.

What does the abuse heaped on the residents of Channel 4's Benefit Street reveal about the relationship between morality and economics.

But we start with the visionary England of the late Derek Jarman,

as the BFI prepares to host a retrospective of his films 20 years after his death.

Jarman trained at the Slade School of Art.

His painterly sensibility informed a bold and highly experimental film career

that ranged from designing the sets for Ken Russell's The Devils

to Jubilee, The Last of England, Caravaggio, Sebastian,

and acclaimed adaptations of The Tempest and Edward II.

His last film, Jarman himself described as a blank blue film for television,

probably late at night.

My retina is a distant planet, a red Mars from a boy's own comic,

with yellow infection bubbling at the corner.

I said this looks like a planet.

The doctor says, oh, I think it looks like a pizza.

Blue simultaneously broadcast on Radio 3 and Channel 4 was a remarkable soundcape of voices and music based on his own experience of the ravages of illness brought on by AIDS,

played against a stark blue screen.

After completing it, Jarman returned exclusively to painting until his death.

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