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.co.uk slash radio three.

The colour red dominates our programme tonight. Blood and healing in the extremes of surgery and

exploration in space scientist Kevin Fong's new book about the limits of the human body. We confront

a cartoon devil in Mexican director Carlos Regadas's new film

Post-Tenebras Paxe, and the red of the Union Jack is unpicked in the works of John Eagard,

who is today awarded the Queen's gold medal for poetry. But we start with the blood of race and inheritance.

Stringberg's class tragedy, Miss Julie, explores a doomed passion between a farmhand

and the daughter of his master.

It successfully been transposed in time and place before.

Patrick Marba moved it from 19th century Sweden

to Atle's Britain of 1945.

The South African-born writer and director Yael Farber

has transposed it yet again

to an

Africana farmstead, turning Christine from John's fiancé to his mother. It's set, not during

apartheid, but in the present day, nearly 20 years after its end, with a new focus on who owns

the land. I love this farm. It's all I know. What do you love? Everything. It's space. It's silence. When they send me to boarding school, I thought I was going to die. It's not yours to love.

Says you. What makes it less mine than yours, your black skin? My people are buried here, beneath this floor.

So are mine.

Beneath the willow tree out there.

Three generations back, where do I go?

That's not my problem.

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