"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.

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."

A repressed philosophy professor grapples with lingering guilt over a decision from his past when the victim suddenly returns to his life.

A Serbian ballroom dancer experiences an unexpected and intense 24-hour romance with a friend's older brother.

This is a short featurette that features famed poster artist Struzan, made legendary for his beautiful Star Wars, Indiana Jones, and Stephen King adaptation posters. Thomas Jane's character became modeled after Struzan, which might be easily identifiable at the start of The Mist.

Maura Mackenzie believes the world is hers to conquer. With her career as a concert pianist gaining momentum, it seems her beauty and talent will be strong enough to mask the demons that threaten to engulf her. But with an absent husband and two young daughters at home, her precarious sanity begins to unravel until one summer day, burning with manic energy, she makes a terrible mistake — a mistake that will change her life forever. The consequences for Maura are catastrophic: her ambitious husband runs for his life, taking the children with him, leaving Maura to lapse into a full-scale breakdown. Life as she knew it is now over. With the help of her father, Ian, Maura works to reclaim her life and waits for a miracle to bring her daughters home. But when the fates align, can the past be forgiven?

The feature film Diary of an Alcoholic tells the dramatic story of a young woman struggling with alcohol addiction. The main heroine (although she often does not act like a heroine) is a young mother who decided not to give up, to start treatment and to fight her demon and her family. How hard is it to admit a drinking problem? Why is not even a small child an obstacle to addiction? Where to get the strength to heal and what comes next? These and many other questions are answered by an authentic and honest cinematic confession of an abstinent alcoholic.

A linking together of Shakespeare's history plays — Richard II, 1 Henry IV, 2 Henry IV, Henry V, 1 Henry VI, 2 Henry VI, 3 Henry VI, and Richard III — chronicling the rise and fall of monarchs over the 86 years between Richard II and Richard III.