Chae-yeon, who has never been in a relationship, secretly has a crush on Nam-gyoo, the president of her company, and practices kissing in front of the mirror every day. One day, Chae-yeon musters up her courage and asks Nam-gyoo to kiss her, but Nam-gyoo avoids her, promising her next time. But in fact, Nam-gyoo has never kissed properly before, so he goes to take kissing lessons to fulfill Chae-yeon's request.

The journey of She and Loverboy – a dealer of the sacred flower’s seeds. Led by the invisible force of the kidnapper, she is soon caught in a delusion of their strangely automatic, lonely honeymoon

Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."

Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, "cuts" her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ("Get us out from under... Wonder Woman") reveal the sexual source of the superwoman's supposed empowerment: "Shake thy Wonder Maker." Writing about the "stutter-step progression of 'extended moments' of transformation from Wonder Woman," Birnbaum states, "The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to "do good" (be moral) in an (a) or (im)moral society."

"An Introduction to David Lynch" is a featurette originally released in the 2001 DVD release, Twin Peaks: The First Season. It features interviews with Catherine E. Coulson, Charles Ramirez-Borg, Lesli Linka Glatter, Miguel Ferrer, Michael J. Anderson, Kyle MacLachlan, Duwayne Dunham, Sheryl Lee, Peggy Lipton, and Richard Beymer, each discussing the filmmaking processes and methods of Twin Peaks co-creator David Lynch.

An Australian widower living in New Guinea starts a relationship with a woman very similar to his much-beloved wife, but their life together turns out to be far from the imagined romantic ideal.

Tom hasn't been what you'd call the most faithful husband, and now he's gotten himself mixed up with a bad girl named Lisa. After their scandalous affair, Tom kicks Lisa to the curb and she vows to get revenge.

Tom hasn't been what you'd call the most faithful husband, and now he's gotten himself mixed up with a bad girl named Lisa. After their scandalous affair, Tom kicks Lisa to the curb and she vows to get revenge.

Muhammad returns home to Detroit to bury his stepfather and is thrust into settling his accounts, but Muhammad’s struggles with depression and addiction may finish him before he finishes the task.

Muhammad returns home to Detroit to bury his stepfather and is thrust into settling his accounts, but Muhammad’s struggles with depression and addiction may finish him before he finishes the task.