Two impish clowns construct a magic lantern. They prop it up at an angle, and use it to project pictures onto a wall. When the picture show ends, they open up the lantern to reveal a group of dancing girls inside - and this is only the first of the indications that this lantern really is magical.

When Bugs calls a cab, he doesn't know it's the getaway car for a couple of bankrobbers (however, he does know the capital of Nevada).

Set in the candy-colored world of 1950s suburbia, a reluctant young housewife suspects that the friendly neighborhood dentist is hiding a horrible secret, but is it just the anesthesia at work or is there something more sinister hiding below the surface? Open up and say AHHHHHHHH!

A combination of the story of Goldlocks and the Three Bears with the true story of how Teddy Roosevelt spared a bear cub after killing its mother while hunting, an event which led to the popularization of the teddy bear. Goldilocks goes to sleep in the bears' home after watching six teddy bears dance and do acrobatics, viewing them through a knothole in the wall. When she is awoken by the returning bear family, they give chase through the woods, but she runs to the aid of the Old Rough Rider, who saves her.

Koko is recruiting customers for a 50 cent sightseeing tour of the museum. Betty is Koko's only passenger. Betty gets locked inside by accident. The skeletons from the displays come to life and chase Betty, until she is finally rescued by Bimbo.

A six-year-old boy in pre-hippie 1960s United States endures ridicule from his schoolmates and worry from his father over his fixation with a TV star named Dottie.

Betty, while reading a book of Mother Goose stories, wishes she could visit such a wonderful place. Betty's wish is granted when Mother Goose appears, and gives her a tour of Mother Goose Land. Betty has a wonderful time until Little Miss Muffet's spider chases her, with lecherous ends in mind. All of the characters come to Betty's rescue. Betty wakes up in bed with all the fairy tale characters surrounding her.

A vaudeville routine: two denizens of the Bowery dance while under the influence. She's wearing a light dress with a full skirt. He wears a white sport coat and tie. Both have hats. On a small stage, she approaches him gingerly, leaning forward. He grabs her close, she leans into him, and he waltzes her around.

A female centaur enters a clearing in the woods and picks flowers. She is met by a male centaur and the two romance each other. They then seek parental consent for their union. Surviving footage of a now lost film.

Our presidential hunter runs across the landscape and falls down in the snow, gets up with his rifle, and gazes upward at a treed animal which isn't in the camera's view. He fires a shot into the tree, then leaps on the ground to grab the fallen prey, a domestic cat, finishing it off with wild blows of his hunting knife while his companions, a photographer and a press agent, record the event that will be reported far and wide as a manly moment. Teddy then rides out of the forest followed by two companions afoot, never mind that they all originally arrived afoot. Perhaps it was funnier in its day than it is now, but apparently shooting cats was regarded as funny in those days. The larger point was to use a minor whimsy as a political criticism, in this case of Teddy Roosevelt's easy manipulations of the press. It was based on two frames of a political cartoon that had appeared in the paper a mere week before the film was made.

Max sends Ko-Ko on a rocket toward the moon, but Ko-Ko crash lands on Mars, where he encounters bizarre creatures and contraptions. Meanwhile, Max himself is blasted into outer space.

The adventures of an inattentive man who can't look away from his book.