Centers on Obi-Wan Kenobi 10 years after the end of the Clone Wars, where he faced his greatest defeat; the downfall and corruption of his best friend and Jedi apprentice, Anakin Skywalker turned evil Sith Lord Darth Vader.
After more than thirty years of service as one of the Navy's top aviators, Pete Mitchell is where he belongs, pushing the envelope as a courageous test pilot and dodging the advancement in rank that would ground him.
When a ruptured water main creates an enormous sinkhole right in front of Bob's Burgers, it blocks the entrance indefinitely and ruins the Belchers’ plans for a successful summer. While Bob and Linda struggle to keep the business afloat, the kids try to solve a mystery that could save their family's restaurant. As the dangers mount, these underdogs help each other find hope and fight to get back behind the counter, where they belong.
A young American journalist stranded in present-day Nicaragua falls for an enigmatic Englishman who seems like her best chance of escape. She soon realizes, though, that he may be in even greater danger than she is.
Udo Kier dies his way through film history. He screams, falls, lies, is cut into pieces, shot or commits suicide. Again and again his empty gaze, again and again his rigid body. In 54 years as an actor, Udo Kier played in more than 170 feature films, 120 series episodes and 50 short films. More than 70 times Udo Kier tried to give an expression to dying and death. In Staging Death, these representations of death merge into a montage of the most diverse shots, film formats, special effects and sound designs. "Directors are now thinking increasingly strained about what new ways they can kill me. […] At some point, somebody would have to make a montage of all my film deaths." Udo Kier (Interview Subway Magazine #145, December 1999)
Margot has been waiting in her house for 40 years. Her waiting morphs into desperate attention seeking. But she does not wait alone. Marie is becoming. Malleable, she tries to fit, slipping through her body and sliding around corners, picking up cues of who and how to be. Marjorie shines effortlessly. Her dream life, her golden exterior, her pretty performance, prove impossible and impermanent. Mother Flower is everything, the beginning and the end. Hers is a body of pure bounty, longed for, nourishing, sheltering. The four women are joined by a chorus of body parts, hands and tongues, mouths and babies, across grandiose performances, staged death scenes, fledgling steps, and displays of fertility and futility, as they reveal how hard it is to be in a body, to be a body.