A crisp guide to Dada as wartime protest, artistic chance, and a modern argument about images.
Dadaism comes through as a wartime break with a practical question at its center: what could art do when sense itself seemed discredited by World War I?

A host and three academics dissect one topic weekly, from archaea to the Tudors.
In Our Time turns a single subject into a disciplined roundtable: Dadaism in wartime Zurich, archaea and the origins of complex life, Margaret Beaufort’s strategy, civility, copyright. The pace is brisk, the tone serious, and the reward is a clearer view of why old arguments still matter.
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In Our Time runs as a structured panel format: one host leads a roughly 50-minute conversation with three academic guests, each contributing a distinct angle on a single weekly subject. Recurring subject areas include medieval and Tudor English history, evolutionary biology and microbiology, art history and early-20th-century avant-garde movements, and philosophy. Guests are typically university professors or research scientists — examples from the sample include a Cambridge molecular biologist discussing archaea and cell evolution, and professors of art history and French visual culture discussing Dadaism — each appearing for a single topic-specific episode rather than as recurring personalities. The host's role is to represent the listener, asking clarifying questions of the specialists rather than offering their own expertise, a format the show has kept through its January 2026 presenter change from Melvyn Bragg to Misha Glenny. A handful of shorter, non-panel episodes function as behind-the-scenes interviews or announcements, such as the introduction of the new host and a Today programme exchange about the show's appeal. The tone throughout is educational and unhurried, aimed at synthesizing academic consensus and open questions on a topic for a general audience. Episodes assume no prior specialist knowledge but do not simplify the subject matter. Listeners who benefit most are those wanting survey-level depth on a rotating cast of humanities and science topics rather than narrative storytelling or debate-style disagreement. Production values follow standard BBC Radio 4 studio broadcast, distributed via BBC Sounds.
Made for: Lifelong learners who want structured, expert-led surveys of history, science, and cultural topics.
What sets it apart: Convenes three subject-matter academics per episode in panel, rather than a single guest or narrator.
Spanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Misha Glenny and expert guests explore the characters, events and discoveries that have shaped our world. History fans can learn about pivotal wars and societal upheavals, such as the rise and fall of Napoleon, the Sack of Rome in 1527, and the political intrigue of the Russian Revolution. Those fascinated by the lives of kings and queens can journey to Versailles to meet Marie Antoinette and Louis XIV the Sun King, or to Ancient Egypt to meet...
Margaret Beaufort and archaea share an archive; Misha Glenny makes you eager to keep up.
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Short reviews from the PlayNext desk, based on the episodes we processed.
A crisp guide to Dada as wartime protest, artistic chance, and a modern argument about images.
Dadaism comes through as a wartime break with a practical question at its center: what could art do when sense itself seemed discredited by World War I?
A lucid history of how archaea redrew the tree of life and sharpened the search for the origins of complex cells.
This is history of science at the moment the map changes. Carl Woese's work in the 1970s recast archaea as neither bacteria nor a biological curiosity, but a separate branch of life with suggestive links to the cells of plants, animals and ourselves.
A sharp Tudor prehistory that treats Margaret Beaufort as a survivor of dynastic danger and political confinement.
Margaret Beaufort comes through as a hard-used survivor of the Wars of the Roses, but not simply as a passive figure waiting for Tudor triumph.
A warm, careful handover about curiosity, subject-first broadcasting, and the challenge of succeeding Melvyn Bragg.
Melvyn Bragg's conversation with Misha Glenny is less a farewell than a clear statement of what has kept In Our Time alive: curiosity, subject by subject, without a prescribed moral at the end.

Philosophy argued aloud, with dry edges.


Scholarly conversations across Muslim worlds.

New scholarship, patiently brought into focus.

CMU, recorded before it gets polished.

Seminar-room depth on Russia and Eurasia.
BBC Radio 4's In Our Time host Misha and three academics — Dawn Addis of the University of Essex, Ruth Hemus of Royal Holloway, and Stephen Forcer of the University of Glasgow — discuss the origins, techniques, and legacy of Dadaism, the cultural movement that began in a Zurich bar in 1916.
BBC Radio 4's In Our Time explores archaea — the third domain of life discovered by Carl Woese in the 1970s — with Krista Schlepper (University of Vienna), Torsten Ahlers (University of Nottingham), and Buzz Baum (MRC Laboratory of Molecular Biology, Cambridge).
Misha Glenny and three historians trace Margaret Beaufort's life from rich heiress baby to grandmother of Henry VIII.
Simon Wilson welcomes Misha Glenny to the In Our Time studio as the new presenter, taking over from Melvyn Bragg.
Melvyn Bragg tells Justin Webb that the appeal of the BBC’s “incredible” cultural event comes from “curiosity” and from people who had a “very patchy education.” He says science draws attention for him because “they didn’t teach it at my school,” and he mentions people “talking about what they know” in pubs.
In Our Time examines civility as both a conversational virtue for fundamental disagreement and a boundary that can deny rights, equality, and humanity.
In Our Time: Dragons compares Chinese, Greek, Roman, Christian, Welsh, and Germanic dragon traditions through Kelsey Granger, Daniel Ogden, and Juliet Wood.
This episode explores the origins of copyright law beginning with the 1710 Statute of Anne and examines how it has balanced the interests of creators, publishers, and the public throughout history.