input: In the 2008 animated series Star Wars: The Clone Wars, Dooku is the leader of the Separatists. In addition to sending Grievous and Ventress on missions to antagonize the Republic, he works with the terrorist group Death Watch to give the Republic a reason to send a military presence to Mandalore, which would play in his favor. The plan falls through when Duchess Satine Kryze of Mandalore urges the Galactic Senate to hold off a military force.  In the third season, Dooku is forced to eliminate Ventress to prove his loyalty to Sidious. Ventress survives, however, and works with Mother Talzin to kill Dooku by giving him Savage Opress as a replacement apprentice. During a confrontation between Dooku and Ventress, Savage turns on both. In the fourth season, after defeating Anakin in three separate lightsaber duels, Dooku gets his revenge on Ventress by having Grievous order the systematic genocide of the Nightsisters. Believing both Ventress and Talzin have been killed, Dooku knows the only threat left to him is Savage while sensing his eventual meeting with Darth Maul. In the fifth season, Dooku plays minor roles via hologram in guiding King Rash of Onderon and Grievous taking over Florrum.  In the sixth season, Dooku finds out the clone trooper Tup executed Order 66 prematurely and works behind the scenes to stop the Republic's investigation. He then manipulates the Banking Clan and its representative Rush Clovis into putting all their resources in the hands of the Sith, bringing war to the planet Scipio. The Jedi find a lightsaber belonging to deceased Jedi Master Sifo-Dyas--whom Dooku murdered years earlier--and start an investigation. Sidious forces Dooku to clean up their trail. Dooku confronts Anakin and Obi-Wan on Oba Diah, revealing his alter-ego Darth Tyranus to the Jedi, and they realize that it was he who created the clone army. Some further investigation by Yoda prompts Dooku and his master to perform a Sith ritual in an unsuccessful attempt to break the Jedi Master; Dooku appears to fight Anakin in the illusion, but is executed in a manner very similar to his eventual demise.

Answer this question "Who were the nightsisters?"
output: 

input: According to Szwed, Sun Ra's view of his relationship to black people and black cultures "changed drastically" over time. Initially, Sun Ra identified closely with broader struggles for black power, black political influence, and black identity, and saw his own music as a key element in educating and liberating blacks. But by the heyday of Black Power radicalism in the 1960s, Sun Ra was expressing disillusionment with these aims. He denied feeling closely connected to any race. In 1970 he said:  I couldn't approach black people with the truth because they like lies. They live lies... At one time I felt that white people were to blame for everything, but then I found out that they were just puppets and pawns of some greater force, which has been using them... Some force is having a good time [manipulating black and white people] and looking, enjoying itself up in a reserved seat, wondering, "I wonder when they're going to wake up."  Sun Ra is considered to be an early pioneer of the Afrofuturist movement due to his music, writings and other works.  The influence of Sun Ra can be seen throughout many aspects of black music. He grounded his practice of Afrofuturism in a musical tradition of performing blackness that remains relevant today. Sun Ra lived out his beliefs of Afrofuturism in his daily life by embodying the movement not only in his music, but also in his clothes and actions. This embodiment of the narrative allowed him to demonstrate black nationalism as a counternarrative to the present culture. It was in Chicago, as well, in the mid-fifties, that Ra began experimenting with extraterrestriality in his stage show, sometimes playing regular cocktail lounges dressed in space suits and ancient Egyptian regalia. By placing his band and performances in space and extraterrestrial environments Sun Ra built a world that was his own view of how the African diaspora connected.

Answer this question "What were Ra's views of the world?"
output: At one time I felt that white people were to blame for everything, but then I found out that they were just puppets and pawns

input: In 1953, soon after the production of Eaux d'Artifice, Anger's mother died and he temporarily returned to the United States in order to assist with the distribution of her estate. It was during this return that he began to once more immerse himself in the artistic scene of California, befriending the film maker Stan Brakhage, who had been inspired by Fireworks, and the two collaborated on producing a film, but it was confiscated at the film lab for obscenity and presumably destroyed. Around this time, two of Anger's friends, the couple Renate Druks and Paul Mathiesin held a party based upon the theme of "Come As Your Madness"; Anger himself attended dressed in drag as the ancient Greek goddess Hekate. The party and its many costumes inspired Anger, who produced a painting of it, and asked several of those who attended to appear in a new film that he was creating - Inauguration of the Pleasure Dome. Inauguration, which was created in 1954, was a 38-minute surrealist work featuring many Crowleyan and Thelemite themes, with many of the various characters personifying various pagan gods such as Isis, Osiris and Pan. One of the actresses in the film was Marjorie Cameron, the widow of Jack Parsons, the influential American Thelemite who had died a few years previously, while Anger himself played Hecate. He would subsequently exhibit the film at various European film festivals, winning the Prix du Cine-Club Belge and the Prix de l'Age d'Or, as well as screening it in the form of a projected triptych at Expo 58, the World Fair held in Brussels in 1958.  In 1955, Anger and his friend Alfred Kinsey traveled to the derelict Abbey of Thelema in Cefalu, Sicily, to film a short documentary titled Thelema Abbey. The abbey itself had been used by Aleister Crowley for his commune during the 1920s, and Anger restored many of the erotic wall-paintings that were found there, as well as performing certain Crowleyan rituals at the site. The documentary was made for the British television series Omnibus, but was later lost. The following year Kinsey died and Anger decided to return to Paris, where he was described at the time as being "extremely remote and lonely".  In desperate need of money, Anger wrote a book titled Hollywood Babylon in which he collected together gossip regarding celebrities, some of which he claims he had been told. This included claiming (with no corroboration or citing of sources) that Rudolph Valentino liked to play a sexually submissive role to dominant women, that Walt Disney was a drug user, addicted to opiates (reflected in the character of Goofy, who's perpetually stoned on cannabis), as well as describing the nature of the deaths of Peg Entwistle and Lupe Velez. The work was not published in the United States initially, and it was first released by the French publisher Jean-Jacques Pauvert. A pirated (and incomplete) version was first published in the U.S. in 1965, with the official American version not being published until 1974. Now with some financial backing from the publication of Hollywood Babylon, his next film project was The Story of O; essentially a piece of erotica featuring a heterosexual couple engaged in sadomasochistic sexual activities, although it refrained from showing any explicit sexual images.

Answer this question "What was the film about?"
output:
was a 38-minute surrealist work featuring many Crowleyan and Thelemite themes, with many of the various characters personifying various pagan gods such as Isis, Osiris and Pan.