The body of a young girl (Laura Palmer) is washed up on a beach near the small Washington state town of Twin Peaks. FBI Special Agent Dale Cooper is called in to investigate her strange demise only to uncover a web of mystery that ultimately leads him deep into the heart of the surrounding woodland and his very own soul.

American drama television series from 1990–1991

An alien couple known as Beldar and Prymatt with cone-shaped heads from the planet called Remulak is mistakenly ditched on earth, during a scouting mission for planet conquest. While here, they dodge the INS, have a child and discover that life on Earth is quite good. But unfortunately they are being chased by the government who knows something is not quite right with the Conehead family. After they are rescued and taken back to their planet, Beldar vows to return to earth and conquer it.

George Newman is a daydreamer whose hyperactive imagination keeps him from holding a steady job. His uncle decides George would be the perfect man to manage Channel 62, a television station which is losing money and viewers fast. When George replaces the station's reruns with bizarre programs such as "Stanley Spadowski's Clubhouse", "Wheel of Fish" and "Raul's Wild Kingdom", ratings begin to soar again. Mean-spirited and cynical mogul R.J. Fletcher becomes furious that the UHF station is getting better ratings than his network's programming. Because of gambling debts, the uncle is forced to consider selling the station to Fletcher, who would only too happily shut it down (he cannot legally own two stations in the same town). George and his friends organize a 48-hour telethon to raise the money by selling investment stock from Channel 62 to save the town's new favorite station.

Mike Brady and his wife, Carol, have just only one week to come up with $20,000 in back taxes or their house is sold and they'll have no choice but to move. And it's up to their kids to secretly raise money and save the house before they lose it to their scheming neighbor, Larry Dittmeyer.

Intrigued by history but neglected by his parents, Kevin, an eleven-year-old schoolboy, gets the chance to make his dream come true when a band of six time-travelling dwarfs appears out of thin air in his bedroom. Having stolen the Supreme Being's one-of-a-kind map of time and space, the audacious time-bandits whisk Kevin off on an exciting journey to the depths of history, skipping from one era to another. Now, to further complicate matters, the dangerous arch-rival known as the Evil Genius is hot on their trail, bent on getting his hands on the precious map. But, who would have thought that Kevin's seemingly unexceptional room was the entrance to a mysterious wormhole and the portal to a marvellous world of adventure?

Sam Lowry (Jonathan Pryce) is a harried technocrat in a futuristic society that is needlessly convoluted and inefficient. He dreams of a life where he can fly away from technology and overpowering bureaucracy, and spend eternity with the woman of his dreams. While trying to rectify the wrongful arrest of one Harry Buttle (Brian Miller), Lowry meets the woman he is always chasing in his dreams, Jill Layton (Kim Greist). Meanwhile, the bureaucracy has fingered him responsible for a rash of terrorist bombings, and Sam and Jill's lives are put in danger.

Vince Noir and Howard Moon have surreal adventures while working at a Zoo run by the deranged Bob Fossil (in series 1) and pursuing a career as musicians and living with the mystic Naboo the Enigma and his ape familiar Bollo (in series 2 and 3).

"The Prisoner" is a unique piece of television. It addresses issues such as personal identity and freedom, democracy, education, scientific progress, art and technology, while still remaining an entertaining drama series. Over seventeen episodes we witness a war of attrition between the faceless forces behind 'The Village' (a Kafkaesque community somewhere between Butlins and Alcatraz) and its most strong willed inmate, No. 6. who struggles ceaselessly to assert his individuality while plotting to escape from his captors.

The Doctor, a Time Lord from the race whose home planet is Gallifrey, travels through time and space in their ship the TARDIS (an acronym for Time and Relative Dimension In Space) with numerous companions. From time to time, the Doctor regenerates into a new form.

Inept and manic English hotel owner and manager, Basil Fawlty, isn't cut out for his job. He's intolerant, rude and paranoid. All hell frequently breaks loose as Basil tries to run the hotel, constantly under verbal attack (and sometime physical) from his unhelpful wife Sybil, and hindered by the incompetent, but easy target, Manuel, their Spanish waiter.

Based on the classic underground comic The Fabulous Furry Freak Brothers created by Gilbert Shelton, The Freak Brothers are the original Cheech and Chong. Back in 1969 when the Freaks weren't hanging out at Woodstock, they were dodging the draft, dodging the Narcs and dodging steady employment. But after smoking a magic strain of weed, laid-back Franklin, paranoid Phineas, man-child Freddy, and sardonic Kitty are Rip-Van-Winkled into the future. They wake up 50 years later in their renovated house, which Is now owned by the Switzer family ethnically diverse, certifiably woke "trippin' squares." While the tech-savvy Switzers help guides the Freaks through the rat race of a strange new world, the Freaks - who are unburdened by the baggage of modern life - help the family embrace the values of a simpler time.

In the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorship of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creators like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its argument that the medium is far more than the stereotype of juvenile trash but rather it is an art-form with a wild history and an exciting future.

Recidivist hold-up man H.I. McDonnough and police woman Edwina marry, only to discover they are unable to conceive a child. Desperate for a baby, the pair decide to kidnap one of the quintuplets of furniture tycoon Nathan Arizona. The McDonnoughs try to keep their crime secret, while friends, co-workers and a feral bounty hunter look to use Nathan Jr. for their own purposes.

Wallace Shawn and Andre Gregory, apparently playing themselves, share their lives over the course of an evening meal at a restaurant. Gregory, a theater director from New York, is the more talkative of the pair. He relates to Shawn his tales of dropping out, traveling around the world, and experiencing the variety of ways people live, such as a monk who could balance his entire weight on his fingertips. Shawn listens avidly, but questions the value of Gregory's seeming abandonment of the pragmatic aspects of life.

Harvey Pekar is file clerk at the local VA hospital. His interactions with his co-workers offer some relief from the monotony, and their discussions encompass everything from music to the decline of American culture to new flavors of jellybeans and life itself. At home, Harvey fills his days with reading, writing and listening to jazz. His apartment is filled with thousands of books and LPs, and he regularly scours Cleveland's thrift stores and garage sales for more, savoring the rare joy of a 25-cent find. It is at one of these junk sales that Harvey meets Robert Crumb, a greeting card artist and music enthusiast. When, years later, Crumb finds international success for his underground comics, the idea that comic books can be a valid art form for adults inspires Harvey to write his own brand of comic book. An admirer of naturalist writers like Theodore Dreiser, Harvey makes his American Splendor a truthful, unsentimental record of his working-class life, a warts-and-all self portrait. First published in 1976, the comic earns Harvey cult fame throughout the 1980s and eventually leads him to the sardonic Joyce Barber, a partner in a Delaware comic book store who end ups being Harvey's true soul mate as they experience the bizarre byproducts of Harvey's cult celebrity stature.

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