この番組は「東京・六本木にひっそりと佇む『ライブ&トークハウス 関ジャム』」という設定で[1]、1980年代から1990年代の時期に活躍していた、いわゆる「レジェンド世代」と若者に人気のある「若者世代」が各1組、計2名が登場し、関ジャニ∞のメンバーとのコラボレーションによって、その回のゲストの持ち歌を「オリジナルアレンジ」で送る[2]。また、関ジャニ∞から二人が「ゲストの素顔や楽曲の制作秘話」を取材して、その結果を披露するコーナーを設けており[1][2]、同時にゲストに関係する人物からの暴露も行われる。 　　なお、本番組の開始日は改編発表時点で確定していなかったため、2015年4月改編後も同年5月3日まで、同枠における前番組『初めて○○やってみた』を継続放送していた。

この番組は「東京・六本木にひっそりと佇む『ライブ&トークハウス 関ジャム』」という設定で[1]、1980年代から1990年代の時期に活躍していた、いわゆる「レジェンド世代」と若者に人気のある「若者世代」が各1組、計2名が登場し、関ジャニ∞のメンバーとのコラボレーションによって、その回のゲストの持ち歌を「オリジナルアレンジ」で送る[2]。また、関ジャニ∞から二人が「ゲストの素顔や楽曲の制作秘話」を取材して、その結果を披露するコーナーを設けており[1][2]、同時にゲストに関係する人物からの暴露も行われる。 　　なお、本番組の開始日は改編発表時点で確定していなかったため、2015年4月改編後も同年5月3日まで、同枠における前番組『初めて○○やってみた』を継続放送していた。

With Jam, the TV follow-up to his Radio 1 series Blue Jam, Chris Morris focuses more on unease more than the satire of Brass Eye. Indeed, it's a moot point whether Jam can actually be categorised as comedy at all. Each sketch is steeped in a heavy brine of dark, ambient music (including Bark Psychosis, David Sylvian and Brian Eno), grainy imagery, fast-cut editing and slo-motion. Its mirthless, Kafka-esque scenarios feel like an attempt to morph into some new species of post-comedy that is more like the stuff of nightmares. The credits, in which Morris stalks the moving camera, uttering Lear-esque words of foreboding immediately announce that this "sketch show" is a galaxy apart from The Two Ronnies. 　　The appalled look on actor Kevin Eldon's face in the opening sketch of the series, as a young couple invite him to endure being buggered by a mutual acquaintance ("I need a break"), sets the tone. Rape, chemotherapy, wanton urination--as a naked "Robert Kilroy-Silk" goes insane in a sketch full of detestation for the oleaginous TV presenter--and recurring sketches involving callously authoritarian NHS doctors, all go to make up these annals of the bizarre and perverse. 　　Ultimately, Jam doesn't quite work, not on TV anyway. The repetition of the same, small cast over and over, broken up too briefly by Morris' own appearances (as a "country gentleman" living outside his house, for instance), coupled with the gruelling treatment of the sketch material makes for a psyche-probing, jaw-dropping experience--but in parts also a nullifying and strangely predictable one. Morris's "failures" are far more interesting than most people's successes. --David Stubbs

With Jam, the TV follow-up to his Radio 1 series Blue Jam, Chris Morris focuses more on unease more than the satire of Brass Eye. Indeed, it's a moot point whether Jam can actually be categorised as comedy at all. Each sketch is steeped in a heavy brine of dark, ambient music (including Bark Psychosis, David Sylvian and Brian Eno), grainy imagery, fast-cut editing and slo-motion. Its mirthless, Kafka-esque scenarios feel like an attempt to morph into some new species of post-comedy that is more like the stuff of nightmares. The credits, in which Morris stalks the moving camera, uttering Lear-esque words of foreboding immediately announce that this "sketch show" is a galaxy apart from The Two Ronnies. 　　The appalled look on actor Kevin Eldon's face in the opening sketch of the series, as a young couple invite him to endure being buggered by a mutual acquaintance ("I need a break"), sets the tone. Rape, chemotherapy, wanton urination--as a naked "Robert Kilroy-Silk" goes insane in a sketch full of detestation for the oleaginous TV presenter--and recurring sketches involving callously authoritarian NHS doctors, all go to make up these annals of the bizarre and perverse. 　　Ultimately, Jam doesn't quite work, not on TV anyway. The repetition of the same, small cast over and over, broken up too briefly by Morris' own appearances (as a "country gentleman" living outside his house, for instance), coupled with the gruelling treatment of the sketch material makes for a psyche-probing, jaw-dropping experience--but in parts also a nullifying and strangely predictable one. Morris's "failures" are far more interesting than most people's successes. --David Stubbs

Adapted from Blue Jam, a late night radio show, Jam consists of six shows featuring dark humour and unsettling sketches unfolding over an ambient soundtrack. From the mind of Chris Morris.

An Illusion thriller.

An event held in Chichibu Muse Park in September 2011 celebrating TV anime "Anohana: The Flower We Saw That Day".

Jam Films is a 2002 suite of 7 shorts produced by Sega/Amuse.

You die. But your identity keeps on living. Crystal and James fell in love in an online virtual world but have never met. When James dies mysteriously Crystal travels to see him for the first time - dead. But some residue of James is still alive online.

You die. But your identity keeps on living. Crystal and James fell in love in an online virtual world but have never met. When James dies mysteriously Crystal travels to see him for the first time - dead. But some residue of James is still alive online.