Prospect Pictures

A 15-year-old girl incites chaos among her friends and a media frenzy when she accuses her drama teacher of sexual harassment.

Barry Munday, a libido-driven wage slave who spends all his time either ogling, fantasizing about or trying to pick up women, wakes up in hospital after a freak attack only to find that his testicles have been removed.

There's No Business... is a 1994 British partially improvised comedy film directed by Kevin Molony and produced by Claudia Lloyd for Prospect Pictures. It stars Raw Sex (Simon Brint and Rowland Rivron) as Ken Bishop and his stepson Duane, and Lee Cornes as their musical agent Dickie Valentino, in their attempt to remake a track by Ken's old band, 'The Nice Twelve' for a TV advert for 'Pinkies', a brand of kitchen gloves made by Mort Clayton (Mac McDonald). Alexander Armstrong (Tim) and Sam Graham (Fergus) work for the fictional advertising agency Sprote and Sprote. The film takes its name from the 1954 film There's No Business Like Show Business which itself borrowed the 1946 song of the same name by Irving Berlin, written for the musical Annie Get Your Gun.

This iconic American story was written in 1900 by L Frank Baum, a Chicago businessman, journalist, chicken breeder, actor, boutique owner, Hollywood movie director and lifelong fan of all things innovative and technological. His life spanned an era of remarkable invention and achievement in America and many of these developments helped to fuel this great storyteller's imagination. His ambition was to create the first genuine American fairytale and the story continues to fascinate, inspire and engage millions of fans of all ages from all over the world. This documentary explores how The Wonderful Wizard of Oz has come to symbolise the American Dream and includes previously unseen footage from the Baum family archives, still photographs and clips from the early Oz films, as well as interviews with family members, literary experts and American historians as it tells the story of one man's life in parallel to the development of modern America.

Professor Paul Mullen looks at the way in which admiration can slip into obsession and in some cases, life-threatening behavior.