Two men on a local council fight the system when forced with massive spending cuts.

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When a stockbroker loses his job, he decides to throw a party.

A young man and an old woman try to fit in when their neighborhood goes West Indian

About a strike in a textile factory, based on a true story

A story exploring the Birmingham underworld

A man claiming to be an angel enters the household of a bored housewife and teaches the family a few lessons.

Edna, the Inebriate Woman is a British television drama written by Jeremy Sandford which was transmitted by the BBC as part of the Play for Today series on 21 October 1971. Directed by Ted Kotcheff, Irene Shubik produced it. The play deals with an elderly woman, Edna, who wanders through life in an alcoholic haze without a home, a job or any money. A rambling, pathetic yet defiant woman, Edna sleeps rough and begs for food and shelter and the drama follows her progress as she moves from hostel to hostel, going to a psychiatric ward and then prison along the way. Jeremy Sandford, who had previously written Cathy Come Home, researched the play by living rough himself for two weeks. A great deal of the dialogue and the incidents in the play come from the book, 'Down and Out in Britain' published by Jeremy Sandford in 1971; although the majority of the speakers in the book are male, Jeremy Sandford puts much of their speech into the mouth of the female character. The film features the only notable acting role of British actor Vivian MacKerrell, the real-life inspiration for the character Withnail in Withnail and I. At the 1972 British Academy Television Awards, the play won the Best Drama Production category, with Patricia Hayes receiving the award for Best Actress.

The adventures of three Derbyshire miners going to Stratford-upon-Avon on a barge

A young wife tries to cope with her abusive husband.

A family in Belfast deals with life after the death of the mother from cancer

An old couple refuse to move when they find out that they can't take their piano with them

A story about four elderly "loonies" living in a rest home

David Adler is an operator. He strips assets, other men's wives, and his oldest friend's soul - anything for a cool million.

A young man participating in the Orange Parade in Glasgow becomes disillusioned with the pageant when he discovers its unpleasant and violent history and witnesses the participants' attacks on Catholics.

Willie and his friends notice the passage of time around them, and how society is changing as their marriages stagnate. Can Willie prove to himself that he still has it, by being able to cheat on his wife just once?

When an injured baby arrives at the hospital, a social worker looks for the parents

"All I said was the gramophone's too loud." Tony and Zoe Lyle 's silly row starts like any other, but Tony finds that Zoe means it this time. She's walking out and he's got a week to save a marriage that he hasn't looked at in 18 years, and with it all the trappings of a good life in Maida Vale.

A British aristocrat turned Russian spy is visited in Moscow by Western journalists

An elderly general woos a shy school teacher.

As a playwright dictates notes about his newest play to his secretary, scenes from the play are acted out.

A elderly couple become disillusioned when they retire to their favorite holiday resort.

Two women, looking for amusement on their afternoons off, visit a drinking club.

The play activities of seven children living in the countryside during the summer of 1943 end in tragedy; the children were played by adults in childrens clothing. The title is taken from A.E. Housman's 1896 poem: "Into my heart an air that kills; From yon far country blows; What are those blue remembered hills..." It's 1943 on a summer's afternoon and 7 children play in the fields & woods of old England. The children's roles are all played by adults to act as "A magnifying glass to show what it's like to be a child." "When we dream of childhood," said Dennis Potter, "we take our present selves with us. It is not the adult world writ small; childhood is the adult world writ large." Since Potter viewed childhood as "adult society without all the conventions and the polite forms which overlay it," he repeated the device he had introduced 14 years earlier (in "Stand Up, Nigel Barton"); children's roles were cast with adult actors in this naturalistic memory drama of a "golden day" that turns to tragedy. On a sunny, summer afternoon in bucolic England of 1943, seven West Country children (two girls, five boys) play in the Forest of Dean. Their games and spontaneous actions (continuous and in real time) reflect their awareness of WWII, but no adults are present to intrude. As the group moves through the woods and back to the grassy hills, their words and actions illustrate how "childhood is not transparent with innocence." When the two girls push a pram into a barn to play house, the casting concept is heightened, doubling back on itself in a remarkable moment: adults are suddenly seen to be acting as children who are pretending to be adults, and lines from Housman echo across the years: "That is the land of lost content/I see it shining plain/The happy highways where I went/And cannot come again."

A closeted homosexual writer is content to lead a double life