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The spring of 2020 was a terrifying, confusing period, during which changes to everything from movie releases to retail operations to theme parks were happening on what felt like an hourly basis. The summer of 2021 is less scary, but with COVID-19 cases continuing to decrease to, at the very least, manageable levels, we’re now getting the reverse situation. Pillow Case

The bounty hunter they hired to capture Omega in this episode is none other than Cad Bane, voiced by Corey Burton. Bane is one of the most notorious bounty hunters in the galaxy and is highly capable. During the Clone Wars, he was hired to break Ziro the Hutt out of Republic prison and Darth Sidious himself hired Bane to steal a holocron right out of the Jedi temple. He succeeded. 

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Roy Conli: I don’t think it was too mature. I do find it at times slightly provocative, but not in a judgmental or negative way. I stand by the film 100 percent in sending a message of hope.

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Yeah, yeah. I mean, I think we do that all the time. We do that more than we’re aware of in life. You laugh until you cry. I mean, it’s possible to have three or four emotions surging within you at the same time. And anybody who’s had kids knows that. They make you crazy at the same time that you love them, you’d give your life for them. So it’s all of the above.

In Gunpowder Milkshake, “Sam (Karen Gillan) was only 12 years old when her mother Scarlet (Lena Headey), an elite assassin, was forced to abandon her. Sam was raised by The Firm, the ruthless crime syndicate her mother worked for. Now, 15 years later, Sam has followed in her mother’s footsteps and grown into a fierce hitwoman. She uses her ‘talents’ to clean up The Firm’s most dangerous messes. She’s as efficient as she is loyal. But when a high-risk job goes wrong, Sam must choose between serving The Firm and protecting the life of an innocent 8-year-old girl, Emily (Chloe Coleman). With a target on her back, Sam has only one chance to survive: reunite with her mother and her lethal associates, The Librarians (Carla Gugino, Michelle Yeoh, and Angela Bassett). These three generations of women must now learn to trust each other, stand up to The Firm and their army of henchmen, and raise hell against those who could take everything from them.”

“I’ll cheat on the last one because I think the last two Sparks albums are as good as anything they’ve ever done,” Wright says. “After FFS, I think they fell in love with the idea of making pop songs again. Something I find extraordinary about Sparks is that they never think that writing three-minute pop songs is beneath them. It’s still like a pursuit that they consider high art. And I’m always really in awe that two men in their 70s would actually be able to write pop songs and get away with them. That’s what’s amazing: they’re not embarrassing, they don’t make songs thinking, ‘Oh God, I can’t believe these guys are singing this.’ They manage to take subject matter and make it into just perfect pop.

“In the decades since the Foundation series first saw print, Asimov’s prophetic science-fiction work has never been more relevant than it is now,” said Goyer, continuing:

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