Zack Snyder’s Justice League (Warner Bros., 4K Ultra HD + Blu-ray, 4 discs, R, 242 min.). This is the long-rumored, long-awaited expanded version of “Justice League,” the third film in director Snyder’s DC superhero trilogy that also includes “Man of Steel” (2013) and “Batman v Superman: Dawn of Justice” (2016). The film is doubled from the 120-minute 2017 version to four hours, with some 2,000 new visual effects, improving it dramatically. There is one completely new scene and many extended scenes.

Snyder, and his wife, executive producer Deborah Snyder, left the project in May 2017 after the death of their daughter Autumn. Then the studio, which had disliked his work on the film, hired Josh Whedon to reshoot portions and recut the film to its liking over a two-month period. The resulting film had a lighter tone, but only about 20 percent of it was Snyder’s work, leading to fan backlash and a demand for a complete Snyder version.

The film is divided into seven parts: “Don’t Count on it, Batman”; “The Age of Heroes”; “Beloved Mother, Beloved Son”; “Change Machine”; “All the King’s Horses”; “Something Darker”; and an epilogue, “A Father Twice Over.” There is much more depth to the characters, but the overall plot remains the same, with Batman (Ben Affleck), teaming with Wonder Woman (Gal Gadot) to hunt for other metahumans to form the Justice League, so Superman’s death (sort of a spoiler if you have not seen the previous film, but not to worry as he gets brought back to life here, albeit initially crankier) would not have been in vain. Henry Cavill plays Superman.

Those recruits turn out to be Barry Allen, aka The Flash (a fun Ezra Miller), Aquaman (the always impressive physically Jason Momoa) and Cyborg (Ray Fisher), with the latter’s story being the most more fleshed out. Their goal is to stop alien Steppenwolf (Ciaran Hinds) from gathering and then using three powerful hidden alien artifacts to conquer the Earth.

Among the many changes are a different opening, reverting back to Tom “Junkie XL” Holkenborg’s original (and now expanded) score instead of Danny Elfman’s score used in the Whedon version, adding a dark fate for Cyborg’s dad Silas (Joe Morton) and an extended final battle. Two characters make surprise appearances: Darkseid (Ray Porter) and, in a vision of the future, Joker (again played by Jared Leto, as in “Suicide Squad”).

Beyond the action set pieces, the film is mainly about the characters reconciling mixed feelings about their childhoods and accepting their parents’ or parental figures’ limitations, particularly Cyborg. Batman has a surrogate father in his butler Alfred (Jeremy Irons) and the memories of his murdered parents; Wonder Woman had to leave her mother, island and culture; Aquaman is resentful of being a product of two species and being truly accepted by neither; The Flash’s father (Billy Crudup) is an incarcerated convict; and Superman has his adopted mother Martha (Diane Lane), deceased adopted father Jonathan (Kevin Costner), plus the computerized image of his birth father Jor-El (Russell Crowe) to deal with.

The film is presented in a new aspect ratio (1.33:1 open-matte framing). The only extra is Snyder talking about his work in all three films. Called “Road to Justice League” (24:40), it shows how Snyder draws the movies first, and includes comments by actors Cavill (who shows off a very muscled body while rehearsing), Fisher, Miller and others. Snyder also points out some of his Easter eggs, including a “Star Trek” reference used as a prisoner’s uniform ID and the Wayne Industries logo on a satellite. One wished for a more detailed look at making the expanded version, however. The film is available as a 2-disc Blu-ray as well. Grade: film 3.5 stars; extra 1.75 stars

Rating guide: 5 stars = classic; 4 stars = excellent; 3 stars = good; 2 stars = fair; dog = skip it

Dune (1984, Arrow Video, 4K Ultra HD or 2 Blu-rays, PG-13, 136 min.). It probably had been two decades or so since I last watched David Lynch’s film of “Dune,” especially since I much preferred the 2000 miniseries “Frank Herbert’s Dune,” written and directed by John Harrison, and its 2003 sequel, “Frank Herbert’s Children of Dune,” based on the second and third books in the series, a series of books that is one of my all-time favorites.

My impressions of Lynch’s “Dune” this time is that the first half is more effective than I recalled, but the second half is much too condensed, with Paul Atreides’ time among the Fremen really shortened as two years are skipped. The film also loses the religious aspects of the novel and basically becomes a war film at the end. I also still dislike his over-the-top portrayal of villainous Baron Vladimir Harkonnen (Kenneth McMillan).

What Lynch has going for him here is his great sense of visual style, with some wonderful sets that bring to life the world of Arrakis, aka Dune, a desert world where it never rains and giant worms “guard” its spice deposits, with the spice mélange, found only on Arrakis, the key ingredient that allows space navigators to mutate into the ability to fold space, thus creating almost instantaneous space travel. Arrakis and its spice production have been overseen by the Harkonnens; however, Padishah Emperor Shaddam IV (Jose Ferrer), fearing the rise in popularity of Duke Leto Atreides (Jurgen Prochnow) might threaten his rule, replaces the Harkonnens with Atreides, knowing full well that the Harkonnens will strike at Atreides to try and wrest control of the spice back.

When Duke Atreides goes to Arrakis, intending to be a more benign overseer, he brings with him his bound concubine Lady Jessica (Francesca Annis) and their son Paul (a then-24 Kyle MacLachlan in his first film, but he would go on to star in Lynch’s “Blue Velvet” and “Twin Peaks” TV series). Lady Jessica is a member of the Bene Gesserit, women of mental powers who have been manipulating bloodlines for centuries to produce the Kwisatz Haderach, the superior being “who can be many places at once.” Lady Jessica was specifically told to only give Duke Atreides daughters, never a son.

On Arrakis, the Fremen have a prophecy that one will come from off world to transform Arrakis into a paradise and lead the Fremen. When Paul and his mother escape the Harkonnens’ attack and a betrayal within their own ranks, they live with the Fremen and Paul is given the name Usul and takes the name Muad‘Dib. Also cast in the film are such familiar faces as Patrick Stewart, singer Sting, Virginia Madsen, Brad Dourif, Linda Hunt and Richard Jordan.

A new version of “Dune,” directed and co-written by Denis Villeneuve and starring Timothee Chalamet as Paul, will be released in October and is the first of two films planned by Villeneuve to cover the first novel. Previously, there has been a 176-minute version of Lynch’s “Dune” released on home video, but obviously without Lynch’s approval, as it is listed as an Alan Smithee film. Alan Smithee is the name often used when directors do not want their names associated with a film, as it often means the studio has taken over editing of the film.

This new release on “Dune,” also available as an Ultra 4K release, is a brand new 4K restoration from the original camera negative. Extras here include two new audio commentaries, one by film historian Paul M. Sammon and the other by Mike White of The Projection Booth podcast. “Impressions of Dune” is a 2003 documentary (39:39) with interviews with MacLachlan, producer Raffaella de Larentiis, cinematographer Freddie Francis, editor Antony Gibbs, science fiction author/critic Harlan Ellison and others. The latter is informative, as is the 2005 featurette “Designing Dune” (8:55), looking at the work of production designer Anthony Masters. Other 2005 featurettes look at the special effects with crew members (6:01), the models and miniatures used (7:03) and the costumes (4:50). There is an introduction to some deleted scenes (2:52), then the 12 deleted scenes (14:21), the last two of which are rather key. From 1983 comes Sammon’s promotional film on “Dune” as an upcoming film (6:16), and there are five image galleries.

Disc two of the limited edition includes a look at the merchandising of “Dune,” with toys aimed at children (22:37); the film score by Toto, with audio interviews with Steve Lukather and Steve Porcaro (24:52; Brian Eno wrote “The Prophecy Theme”); and additional interviews with make-up artist Gianneto di Rossi (17:20; new, in Italian), production coordinator Golda Offenheim (26:16), Paul Smith who played Rabban (8:50), and Christopher Tucker who did mostly unused special make-up for the film (3:02). There also is an 80-page perfect bound book with essays, a foldout double-sided poster featuring original and newly commissioned artwork by Daniel Taylor, six double-sided postcard-sized lobby card reproductions, and limited-edition packaging, with a reversible sleeve featuring original and newly commissioned artwork by Taylor. Grade: film 2.5 stars; extras 5 stars

Occupation: Rainfall (Lionsgate, Blu-ray or DVD, R, 128 min.). The film, whose action fight sequences often seem like a video game, is overlong and a bit of a slog to get through. Worse, after sticking with it, the title credit only comes at the end and reads “Occupation Rainfall Part One.” Yes, the 128-minute film does not even have a proper ending. Wish I had known that at the start; I probably would have stopped watching 15 minutes in.

The film apparently is a sequel to “Occupation” (2018), which I thankfully missed. Several characters are carried over, including soccer-loving Matt (Dan Ewing). Our Australian heroes are now two years into an intergalactic invasion of earth and losing badly. The aliens have established a base in Western Sydney and Sydney itself, which holds one of the country’s last remaining human sanctuaries, is about to fall. Not only are the aliens deadly on the ground, but they have superior air power as well.

The alien invaders hell-bent on making Earth their new home, but some feel the means is not right and these “Grays” are helping the human resistance. Matt is helped by humans Amelia (Jet Tranter) and her brother Marcus (Trystan Go). However, Wing Commander Hayes (Daniel Gillies of TV’s “The Originals”) is looking at exterminate the Grays with a biological weapon.

Learning about “rainfall,” a secret alien code, Matt volunteers to travel overland to try and find out what it is, reluctantly accepting a partner in Gary (Lawrence Makoare), one of the aliens who has joined the fight against the invaders. Marcus sneaks aboard their vehicle to provide protection, while Amelia remains behind to take care of survivors and protect the friendly Grays, whom, she discovers to her horror, Hayes is using to experiment on.

The film is quite dour. Laughingly, when Matt, Gary and Matt arrive at a village where Matt has friends, the villagers actually attempt to attack Gary, carrying torches and pitchforks (anyone seen “Frankenstein”?). Then, ludicrously, when they reach an abandoned U.S. military base where Rainfall is housed, the film introduces some bad humor and slapstick comedy with Bud (Ken Jeong of “The Hangover” films) and alien Steve (voiced by Jason Issacs). It tonally changes the film, and not for the better.

Bonus features include an audio commentary by writer-director Luke Sparke; a second audio commentary by Sparke, producers Carly Imrie and Carmel Imrie, actor Zachary Garred and visual effects supervisor Alex Becconsall; eight deleted scenes, some with unfinished special effects and all with optional commentary by Sparke; and a look at the masked-up orchestra recording the score (3:51). Grade: film 2 stars; extras 2.5 stars

In the Heights (Warner Bros., Blu-ray or DVD, PG-13, 143 min.). This ebullient movie is a very big-screen adaptation of Lin-Manuel Miranda (music and lyrics) and Quiara Alegria Hudes’ (book on Broadway and expanded screenplay here) successful Broadway musical that Miranda started writing when he was 19, long before his even more successful “Hamilton.” Miranda initially envisioned this as a small, independent film, but director Jon M. Chu (“Crazy Rich Asians”) wanted to go big all the way. The resulting film contains several really upbeat, really fun musical numbers, including one in a pool, and one extraordinary one that takes place on the side of a building.

The musical concerns the mostly immigrant, diverse Latinx people of the Washington Heights section of New York City. The time is one typically humid and sweaty summer, with a blackout looming ahead. The narrative anchor, which is a bit misleading, has Usnavi de la Vega (Anthony Ramos of “Monsters and Men,” “A Star is Born” taking over Miranda’s Broadway role) sitting on a picturesque tropical beach and telling his tale to a group of adorable children, a scene that is returned to often – perhaps a bit too often (my only questioning of the film). “The streets were made of music,” Usnavi says. Miranda plays a street vendor who sells icy, fruity piraguas.

The setting and Miranda’s music offer complex and colorful rhythms that fuse rap, hip-hop and various Latin sounds, such as salsa and merengue, as well as traditional musical theater moments. The action often takes place on the streets, but also in tight apartments, sunbaked alleys, scenic overlooks, fire-escapes and that gigantic public pool.

In the opening, Usnavi, an immigrant orphan from the Dominican Republic who dreams of returning to the island he considers a paradise, spins a manhole cover like a turntable, snaps a gate latch into place in a tempo matched by a splashy hose and watches from inside his bodega as his entire neighborhood sings and dances, greeting a brand-new day. Among those greeters is uber-smart college student Nina Rosario (Leslie Grace), who plans to drop out of college after an unhappy first year at white-dominant Stanford, but worries about letting her old neighborhood down – she was the one who escaped – and knows she will upset her father (Jimmy Smits as Kevin), who is even willing to sell his limo business in order to fund her education. The charming Corey Hawkins plays Benny, her father’s employee and her love interest.

Usnavi’s affection goes toward the intimidating Vanessa (Melissa Barrera), an aspiring fashion designer whose dream of an office in an upscale part of the city is her dream way out, leaving behind her dead-end beauty salon job. Usnavi, however, is afraid to even ask her out.

The film boosts the role of Usnavi’s young cousin Sonny (Gregory Diaz IV), who is an undocumented Dreamer. Another central character is community matriarch Abuela Claudia (Olga Merediz, reprising her stage role), whose journey is heartrending at times. There is a flashback to her hard-working past that involves vintage subway cars.

The main extra is a six-part making-of feature (43:59) with Miranda and Hudes discussing how the theme of the film is home, finding home and community, as well as people bringing their cultures to their struggles. The film was shot mostly in the Washington Heights neighborhood, with only 10 days on sets. Parts of the feature cover the casting, choreography (2 weeks to develop, then 10 weeks to rehearse), recording the ensemble vocals and the music. There is only a very brief glimpse of how the wondrous, exhilarating “When the Sun Goes down,” the duet dance on the side of a building, was accomplished. There also are sing-alongs for the “In the Heights” opening number and “$96,000,” the pool number. One can also play each of the seventeen musical numbers individually or all together without the rest of the film. Grade: film 3.75 stars; extras 3 stars

Original Cast Album: Company (1970, Criterion Collection, Blu-ray or DVD, NR, 53 min.). Stephen Sondheim’s musical “Company” opened on Broadway in April 1970 and, as was the tradition back then, the cast reassembled on the premiere weekend at a Manhattan recording studio to record the original cast album, the definitive version of the show’s music. The session, filmed by renowned documentarian D.A. Pennebaker (“Bob Dylan: Don’t Look Back,” “Monterey Pop,” “Ziggy Stardust and the Spiders from Mars”), lasted until 5:30 a.m. Monday, with Sondheim’s exacting perfectionism taking its toll on stars Dean Jones and, especially, Elaine Stritch, although some have claimed that Stritch’s “breakdown” while trying to record “The Ladies Who Lunch” was somewhat played up for the camera. In the extras, it is pointed out the Stritch took occasional alcoholic nips during the recording session, thus weakening her voice.

In addition to some wonderful performances of songs from the musical, Pennebaker also captures the work of the large pit orchestra that also moved to the recording studio, as well as record producer Thomas Z. Shepard’s work to capture the session, while making slight suggestions along the way. One interesting bit shows Sondheim approaching one singer because something had not sounded right for weeks. It turned out she had been singing one note differently than written. In another scene, Sondheim tells a singer who to correctly pronounce “bubi.”

The groundbreaking musical itself is about Bobby (Jones), aka Robby, Robbo and Robert darling, an emotionally stalled single man who wanders through some one-night stands, as well as weaving in and out of the orbits of his married friends, while wondering if he ever will be able to find a lasting connection with another human being, what he calls the proof of being alive. “Company” was nominated for a then-record 14 Tony Awards and won five, including best musical, best score and best lyrics.

The film is presented in a restored 4K digital transfer. There is a new audio commentary by Sondheim and a 2001 audio commentary by the late Pennebaker, Stritch and show producer and director Harold “Hal” Prince. Fascinating is a new conversation between host Frank Rich, Sondheim (he says he only composes on piano) and orchestrator Jonathan Tunick (29:27). “Company” was the first time Sondheim and Tunick worked together, but they regularly worked together thereafter. Another new interview with Tunick and author Ted Chaplin covers the art of orchestrating (18:39). Here, we learn the microphone for the guitar was never plugged in during the original cast album session and thus the instrument’s impact was lost. There also are previously-unheard audio excerpts of 2001 interviews with Stritch and Prince, conducted by Pennebaker and Chris Hegedus.

The remaining two bonus features deal with the 2019 “Documentary Now!” very funny, parody episode of “Original Cast Album: Company” concerning the recording of the cast album for “Co-Op,” a show, the cast learns during the recording session, that was closed due to bad reviews (24:37). The lyrics, written by John Mulaney, with Seth Meyers writing the book, are hilarious and the music numbers spot on. The other extras is a new Zoom-style roundtable with seven “Co-Op” creators and performers, recalling the project and the experience of making it (33:13). They include director Alexander Buono, writer-actor Mulaney, composer Eli Bolin, and actors Renee Elise Goldsberry, Ricard Kind, Alec Brightman and Paula Pell. Grade: film and extras 5 stars

Finding You (Lionsgate, Blu-ray + DVD or DVD, PG, 119 min.). This romantic fable, aimed at young adults, is set in a very picturesque portion of coastal Ireland, where it rains a lot, but one of the leads nonetheless drives a convertible. The film is based on the novel “There You Will Find Me” by Jenny B. Jones.

After failing her audition for the conservatory, aspiring violinist Finley Sinclair (Rose Reid of “A Welcome Home Christmas”) decides to spend a semester abroad in Ireland, following in the footsteps of her late brother. On her flight, she is bumped up to first class and seated next to movie star Beckett Rush (Jedidiah Goodacre of TV’s “Chilling Adventures of Sabrina,” Disney’s “Descendants” movies). In one of the film’s lucky coincidences – the luck of the Irish, perhaps? – Beckett, trying to hide from his zealous fans, also happens to stay at the bed and breakfast operated by her host family, the Callahans, who also had hosted her brother, and whose daughter Emma is obsessed with Beckett.

After initially playing hard to get, Finley eventually surrenders to Beckett’s charms, although his longtime costar Taylor (Katherine McNamara of TV’s “Shadowhunters”) and meddling stage dad Montgomery (Tom Everett Scott) try to prevent their relationship from deepening. Beckett is in the process of filming his fourth “Dawn of the Dragons” film as character Steele Markov, but Beckett is tired of playing the same character and balks at the contract to make five spinoff films as Markov over seven years that his father wants him to sign. Turns out, he would rather go to college as a regular joe. There is a fun filming a movie scene, with dragons flying overhead.

In another piece of Irish luck, the town’s basically homeless busker (Patrick Bergin of “Patriot Games,” “Robin Hood” as Seamus) happens to be a terrific fiddler, who helps teach Finley to add emotion to her playing. Finley learns other lessons when forced to spend time with a nursing home patient as a class project. The patient is the irascible Cathleen Sweeney, who has generally been shunned by the community for decades because she married the man her sister was supposed to wed. Cathleen is played by the great Vanessa Redgrave, then 83.

The two leads are convincing and heartfelt. The film is very emotional on a couple of fronts during the last half hour or so. Extras include a brief look at the film with writer-director Brian Bough and producer Ken Carpenter (4:14) and an image gallery (44 secs.). Grade: film 3.25 stars; extras ¼ star

Feed the Gods (2014, MVD Visual, Blu-ray, NR, 84 min.). From teen romance, we move to horror and a town in thrall to what apparently is a family of Sasquatch, aka Bigfoots or Bigfeet, I guess, in this case. The film opens with a desperate mother trying to escape that town, Tendale, with her two young children. However, she only has two of the three required passes, so another woman offers to take the two boys and raise them.

We then meet the boys grown up. Will (Shawn Roberts of the “Resident Evil” films) is a muscled lunkhead who likes weed and naked women, while younger Kris (Tyler Johnston) is uptight and driven. Kris is the one with a girlfriend (Emily Tennant of TV’s “Project Blue Book” as Brit) and they are planning to move to New York, apparently just so Kris can get away from “supporting” Will. When their foster mother dies, Will comes across a videotape of their parents in Tendale and decides to go there to look for them. Kris reluctantly agrees.

There the trio meets Emma (Britt Ervin), who runs a B&B they stay at. The B&B is surrounded by an electric fence, but that apparently sets off no alarms in our travelers. Rumors of Bigfoot fill the sparsely-populated town, as do statues of a strange god-like creature. When the trio goes on an overnight hiking trip into the woods, danger intrudes and, basically, all hell breaks loose. Some of the deaths of the bad people are quite amusing, which is a strange tonal shift.

Some of the film shows Will filming their adventures. According to the extras, the film originally was going to be all found footage, but writer-director Braden Croft changed his mind after he learned of other found-footage films being made. Croft, by the way, does audio commentary with Travis Shewchuk, who handled the special effects and made some of the props. Both men are featured in the behind-the-scenes featurette (13:02), which is new, even though they shot the film in 2012. Croft says the idea was to make a film about a community like that in the “Wicker Man.” Croft, by the way, wears a Boston Bruins cap. Grade: film 2.5 stars; extras 2 stars

Also in release:

Star Trek: The Original 4-Movie Collection (1979-86, CBS/Paramount, 4 4K Ultra HDs + 4 Blu-rays, NR/PG, 585 min., 5 films). To celebrate the 55th anniversary of the airing of the first “Star Trek” TV episode on Sept. 8, 1966 – when I just started my freshman year of college – Paramount Home Entertainment debuts the four original cast films in 4K Ultra HSD for the first time, with the only new features being isolated scores for the first two films. All the other extras are carried over from previous Blu-ray releases.

The films are: “Star Trek: The Motion Picture” (1979, NR, 131 min.) with Capt. James Kirk (William Shatner) and crew trying to discover what alien force destroyed three Klingon cruisers; “Star Trek: The Wrath of Khan” (1982, director’s cut, PG, 116 min. and theatrical cut, PG, 112 min.) with TV episode genetic superman Khan (Ricardo Montalban) returning and stealing super-secret Project Genesis; “Star Trek III: The Search for Spock” (1984, PG, 105 min.) with the supposedly dead Spock’s (Leonard Nimoy) living essence stored in Bones McCoy’s (DeForest Kelley) body and driving him insane, so Kirk tries to steal the Enterprise and defy Starfleet’s Genesis planet quarantine; and “Star Trek IV: The Voyage Home” (1986, PG, 118 min.) with the crew traveling back to 1986 San Francisco to save mankind from an alien power that is threatening Earth’s atmosphere.

Three of the films come with two audio commentaries – the first has only one – plus there are production featurettes, storyboards and galleries. There are deleted scenes with the first film and extensive interviews with the fourth. All four films are highly recommended.

NCIS: The Eighteenth Season (CBS/Paramount, 4 DVDs, NR, 11 hours 25 min.). The season answers the question of where Head Agent Leroy Jethro Gibbs (Mark Harmon) disappeared to last season and lets the viewer follow him on his secret mission. The season contains the series’ 400th episode, which is a look at Gibbs’ first day at NCIS with future colleague Ducky (David McCallum as Donald Mallard). Harmon’s real-life son Sean plays him, while young Ducky is played by Adam Campbell. Due to Covid-19 restrictions, there are only 16 episodes instead of the usual 24, but the season still contains two long story arcs.

Two episodes, “Everything Starts Somewhere” and “Winter Chill,” come with commentaries, with the first being video commentary by showrunner Steve Binder and the two young actors. In featurettes, the cast and crew comment on episode 400 (7:28); there is a farewell to Mario Bello (6:36); a look at shooting during the pandemic and losing series regulars (23:13); and a behind-the-scenes look at the Covid-19 protocols that were in place (3:42). Grade: Season and extras 3.25

NCIS: Los Angeles: Season 12 (CBS/Paramount, 5 DVDs, NR, 12 hours 45 min.). Again, there are 18 episodes as we follow the adventures of Agents G. Callen (Chris O’Donnell) and Sam Hanna (L.L. Cool J). Callen’s past continues to catch up with him and Sam faces risks that put his family in jeopardy. Cases involve staving off a nuclear attack and staying ahead of a psychopathic stalker. Kensi (Daniela Ruah) is threatened by a pardoned criminal, Deeks (Eric Christian Olsen) earns his NCIS badge, Eric (Barrett Foa) becomes a billionaire, and Nell Renee Felice Smith) contemplates a promotion. Extras look at the season’s storylines, Ruah’s first directing (episode “Russia, Russia, Russia”) with her also providing audio commentary, and deleted and extended scenes.

NCIS: New Orleans: The Final Season (CBS/Paramount, 4 DVDs, NR, 11 hours 22 min.) and NCIS: New Orleans: The Complete Series (2014-21, CBS/Paramount, 39 DVDs, NR, 108 hours 48 min.). The final season again stars Scott Bakula as Special Agent-in-Charge Dwayne Cassius Pride and three of the 16 episodes, including the two-parter “Operation Drano,” were directed by “Star Trek: The Next Generation” star LeVar Burton, bringing to 10 the number of episodes he has directed for the show since 2017. Episodes include a Covid-infested ship to dirty city cops. Special features include the cast and executive producers talking about making the show; a music video featuring the cast and crew; and an interview with offscreen married couple Bakula and new cast member Chelsea Field, who plays U.S. Attorney Rita Devereaux.

The complete series set includes 137 episodes, with the bonuses including the two spinoff episodes from “NCIS” that formed the foundation of the series. All the previous released bonus features are included, including select audio commentaries.