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.

This is a download from the BBC.

For more information and our terms of use, go to BBC.com.uk slash radio three.

Up the junction.

Up the Junction based on Nell Dunn's 1963 novel about working class women in South London.

Girls risking pregnancy for a giggle and hollow-cheeked men battling the system.

Kitchen Sink realism was a uniquely British phenomenon which shaped films, books, plays and painting and defined an era,

but also became easy to parody.

Tonight, half a century on from its high point, we're going to examine Kitchen Sink's origins and achievements,

and will also be looking at

the legacy in modern britain of films like lindsay anderson's this sporting life you can open a shop

soon with all the stuff i've bought you've given us nothing you haven't had to you don't seem to

understand the reason i've done these things for you.

Of course I do.

You do it because it makes you feel good. It makes you feel big. You know how you like to feel big. You don't appreciate one bloody thing I've done for you. I've given you a life. A life better than any other woman in this street, but you will not admit it. Admitted, you must be mad. I can't lift my head up in the street without somebody pointing at me and saying I'm your slut.

Richard Harris as a rugby Admit it. Admitted, you must be mad. I can't lift my head up in the street without somebody pointing at me and saying I'm your slut.

Richard Harris as a rugby player battling for the affections of his landlady, Rachel Roberts.

The new realist films that began its thought with Room at the Top in 1959 brought out a new generation of talented writers, actors and directors, like Harris and Roberts, Tom Courtney, Albert Finney, John Schlesinger, Lindsay Anderson and Ken Loach, whose early career featured the landmark TV Wednesday plays Up the Junction and Kathy Come Home and the film Poor Cow.

He joins me now, as does the theatre critic Michael Billington, the film historian Melanie Williams,

and the composer Neil Brand, who you heard on the piano a little earlier. We'll be hearing more

...