When LeBron and his young son Dom are trapped in a digital space by a rogue A.I., LeBron must get them home safe by leading Bugs, Lola Bunny and the whole gang of notoriously undisciplined Looney Tunes to victory over the A.I.'s digitized champions on the court. It's Tunes versus Goons in the highest-stakes challenge of his life.

With their freedom on the line, the Looney Tunes seek the help of NBA superstar Michael Jordan to win a basketball game against a team of moronic aliens.

The Teen Titans are visited by the Nerdlucks, the Space Jam villains who tried to capture Michael Jordan and the Looney Tunes. Astonished to discover his fellow Titans have never seen Space Jam, Cyborg organizes an exclusive watch party.

When Naima meets Damian after she moves to Nashville to uncover secrets about an undiscovered music group, they begin sharing their love for music and their desire to leave their respective marks on the world.

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.

A warm-hearted family drama about a three-generation family and their noodle factory that they operate in the outskirts of Seoul.

Sesame Street Jam: A Musical Celebration is a special produced forSesame Street’s 25th anniversary. Released in a slightly different form on video as Sesame Street: 25 Wonderful Years in October 1993, the special was shelved for its broadcast premiere on PBS until 1994, during pledge drive season, and in many markets, aired as part of a marathon block with three show episodes. The special was a companion to the prime-time network special, Sesame Street's All-Star 25th Birthday: Stars and Street Forever!

After their father is called into work, two young boys, Walter and Danny, are left in the care of their teenage sister, Lisa, and told they must stay inside. Walter and Danny, who anticipate a boring day, are shocked when they begin playing Zathura, a space-themed board game, which they realize has mystical powers when their house is shot into space. With the help of an astronaut, the boys attempt to return home.