The 1890s was the decade when science, entertainment, art and morality collide - and the Victorians have to make sense of it all. Actor Paul McGann discovers how the works of HG Wells, Aubrey Beardsley and Oscar Wilde were shaped by fears of moral, social and racial degeneration. Paul, seated in Wells’s Time Machine, sees how the author’s prophecies of a future in which humanity has decayed and degenerated highlighted the fears of the British Empire. Paul finds out how these anxieties were informed by new scientific theories based on Charles Darwin’s theory of evolution. Paul learns how Darwin’s cousin Francis Galton sought to improve the genetic stock of the nation, through a project he coined as ‘eugenics’. Another of the decade’s prominent scientific thinkers – Austrian physician Max Nordau – declared that it was art and culture itself, and its practitioners – the aesthetes and decadents – that were causing Britain’s moral degeneration, singling out Oscar Wilde as the chief corrupting influence. Paul explains how Wilde sought to subvert traditional Victorian values. Tucked away in one of Wilde’s haunts - the famous Cheshire Cheese Pub on Fleet Street - Paul hears from Stephen Calloway about how Aubrey Beardsley – the most decadent artist of the period – scandalised society in much the same way as Wilde through his erotic drawings. Wilde and Beardsley were not alone in being parodied by Punch Magazine. Historian Angelique Richardson shows Paul caricatures of a new figure who had begun to worry the sensibilities of Victorian Britain. Known collectively as The New Woman, this was a group of female writers, who in more than 100 novels, portrayed a radical new idea of femininity which challenged the conventions of marriage and motherhood. However, as Paul discovers through reading a short story called Eugenia by novelist Sarah Grand, some advocated the idea of eugenics through their writing. For eugenicists, if one means of keepi