What Was Life Really Like During The Blitz? | Turn Back Time

The bakers have said goodbye to the brutal working conditions of the 1870s urban bakery. It is now 1900 and Britain's middle classes are enjoying the democratisation of luxury. Bakers were quick to cash in - this time, the bakers have an elegant shop on the high street. Their new workplace boasts huge steam-belching ovens, but it is the early 20th-century electric dough mixer that takes the hard work out of baking. The technology has changed beyond recognition and so has their trade. The bakers experience first-hand the incredible diversification their forebears underwent in order to stay in business.

It is now the Georgian period and the group are on a farm where the women must milk goats and make butter and cheese, as well as bake bread. The men must tend to the livestock, sprucing up the animals for the gentleman farmer's inspection, and it is Chris, usually the loose cannon of the team, who comes in for the most praise.

In this final episode of the series, Albert Road is transformed once again for family life in the 1970s. Single mum Lisa Rhodes moves in with her two sons, joining the other parents for whom the seventies are all about nostalgia. But as daily life is turned upside down by strikes, the three-day week, power cuts, water shortages and women's liberation, the rose-tinted glasses are off and the parents realise just how tough their own parents had it. With all the mums working, the two dads on Albert Road soon take up the strain at home: Michael Taylor puts on a pinny and cooks chicken kiev, while Phil knuckles down to the housework.

In this episode, the families are thrown into the swinging sixties and the street is introduced to a new family, the Hawkes, who are walking in the shoes of their ancestors who arrived as immigrants from the Caribbean. Brother and sister Jonathan and Rachel arrive on Albert Road first, and are shocked by life in the sixties. They discover life in the sixties was a difficult time, with racism, isolation and separation from loved ones taking its toll.

In this episode, it's the end of the journey for the shopkeepers and their customers as they move into the 1970s. There are two new arrivals, the Sandher family take over the general store and David Lashmar has the challenge of selling vinyl to 21st century shoppers from his 1970s record shop. Amidst the explosion of popular culture the supermarket reminds everyone of the part the 1970s played in our quest for cheap food and convenient shopping. At the cornershop the Sandher kids find out just how hard their dad worked when his family left India to set up shop in Britain and they are shocked to hear his memories of the 1970s. The record shop treats the town to a Eurovision winning band performance and all the traders prepare for a Silver Jubilee street party. The town has experienced one hundred years of high street history, but will power cuts, the 1970s shopping experience and the Great British weather dampen the community spirit that has built up over the years?

This 2017 documentary looks at Connecticut's effort to rethink how parole works in order to reduce the state’s prison population. FRONTLINE and The New York Times offer a firsthand look at why some people stay out of jail, why some go back, and how one state is trying to break the cycle of recidivism. With unique access inside Connecticut’s corrections system, as well as camera-phone footage filmed by the parolees themselves, the film follows four former prisoners as they navigate the challenges of more than a year on parole — from finding work, to staying sober, to parenting — and doing it all while under intense supervision from the state. Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Major funding for FRONTLINE is provided by the Ford Foundation. Additional funding is provided by the Abrams Foundation; the John D. and Catherine T. MacArthur Foundation; Park Foundation; and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation, and additional