gaussalgo/Canard_Wiki-augmented huggingface dataset:
Jumbo

Context: Jumbo was born at about Christmas 1860 in the Sudan and, after his mother was killed by hunters, the infant Jumbo was captured by Sudanese elephant hunter, Taher Sheriff. The calf was sold to Lorenzo Casanova, an Italian animal dealer and explorer. Casanova transported the animals that he had bought north from Sudan to Suez, and then across the Mediterranean to Trieste.  This collection was sold to Gottlieb Christian Kreutzberg's "Menagerie Kreutzberg" in Germany. Soon after, the elephant was imported to France and kept in the Paris zoo, Jardin des Plantes. In 1865 he was transferred to London Zoo, arriving on 26 June, and becoming famous for giving rides to visitors, especially children. The London zookeeper association leader Anoshan Anathajeyasri gave Jumbo his name; it is likely a variation of one of two Swahili words: jambo, which means "hello"; or jumbe, meaning "chief". If Anoshan Anathajeyasri was from India, it is possible that he named Jumbo after a gigantic rose-apple tree, called jambu (which at that time would be transliterated as 'jumboo')which grows on the mythical Mount Meru and whose fruits were said to be as large as elephants.  While at London, Jumbo broke both tusks, and when they regrew, ground them down against the stonework of his enclosure. His keeper at London was Matthew Scott, whose 1885 autobiography details his life with Jumbo.  Jumbo was sold in February 1882 to the Barnum & Bailey Circus for PS2,000. There was popular objection when Barnum's proposal became known; 100,000 school children wrote to Queen Victoria begging her not to sell the elephant. Despite a lawsuit against the Zoological Gardens alleging the sale was in violation of multiple zoo bylaws, and the zoo's attempt to renege on the sale, the court upheld the sale and Barnum refused to sell Jumbo back. Matthew Scott elected to go with Jumbo to the USA.  In New York, Barnum exhibited the elephant at Madison Square Garden, earning enough in three weeks from the enormous crowds to recoup the money he spent to buy the animal. In the 31-week season, the circus earned $1.75M, largely due to its star attraction. On 30 May 1884, Jumbo was one of Barnum's 21 elephants that crossed the Brooklyn Bridge to prove that it was safe after 12 people died during a stampede caused by mass panic over collapse fears a year earlier. CANNOTANSWER

Question: did Jumbo get the money back?
Answer: In the 31-week season, the circus earned $1.75M, largely due to its star attraction.
Jumbo

Context: Jumbo was born at about Christmas 1860 in the Sudan and, after his mother was killed by hunters, the infant Jumbo was captured by Sudanese elephant hunter, Taher Sheriff. The calf was sold to Lorenzo Casanova, an Italian animal dealer and explorer. Casanova transported the animals that he had bought north from Sudan to Suez, and then across the Mediterranean to Trieste.  This collection was sold to Gottlieb Christian Kreutzberg's "Menagerie Kreutzberg" in Germany. Soon after, the elephant was imported to France and kept in the Paris zoo, Jardin des Plantes. In 1865 he was transferred to London Zoo, arriving on 26 June, and becoming famous for giving rides to visitors, especially children. The London zookeeper association leader Anoshan Anathajeyasri gave Jumbo his name; it is likely a variation of one of two Swahili words: jambo, which means "hello"; or jumbe, meaning "chief". If Anoshan Anathajeyasri was from India, it is possible that he named Jumbo after a gigantic rose-apple tree, called jambu (which at that time would be transliterated as 'jumboo')which grows on the mythical Mount Meru and whose fruits were said to be as large as elephants.  While at London, Jumbo broke both tusks, and when they regrew, ground them down against the stonework of his enclosure. His keeper at London was Matthew Scott, whose 1885 autobiography details his life with Jumbo.  Jumbo was sold in February 1882 to the Barnum & Bailey Circus for PS2,000. There was popular objection when Barnum's proposal became known; 100,000 school children wrote to Queen Victoria begging her not to sell the elephant. Despite a lawsuit against the Zoological Gardens alleging the sale was in violation of multiple zoo bylaws, and the zoo's attempt to renege on the sale, the court upheld the sale and Barnum refused to sell Jumbo back. Matthew Scott elected to go with Jumbo to the USA.  In New York, Barnum exhibited the elephant at Madison Square Garden, earning enough in three weeks from the enormous crowds to recoup the money he spent to buy the animal. In the 31-week season, the circus earned $1.75M, largely due to its star attraction. On 30 May 1884, Jumbo was one of Barnum's 21 elephants that crossed the Brooklyn Bridge to prove that it was safe after 12 people died during a stampede caused by mass panic over collapse fears a year earlier. CANNOTANSWER

Question: Did Jumbo along with others get another elephant?
Answer: CANNOTANSWER
Jumbo

Context: Jumbo was born at about Christmas 1860 in the Sudan and, after his mother was killed by hunters, the infant Jumbo was captured by Sudanese elephant hunter, Taher Sheriff. The calf was sold to Lorenzo Casanova, an Italian animal dealer and explorer. Casanova transported the animals that he had bought north from Sudan to Suez, and then across the Mediterranean to Trieste.  This collection was sold to Gottlieb Christian Kreutzberg's "Menagerie Kreutzberg" in Germany. Soon after, the elephant was imported to France and kept in the Paris zoo, Jardin des Plantes. In 1865 he was transferred to London Zoo, arriving on 26 June, and becoming famous for giving rides to visitors, especially children. The London zookeeper association leader Anoshan Anathajeyasri gave Jumbo his name; it is likely a variation of one of two Swahili words: jambo, which means "hello"; or jumbe, meaning "chief". If Anoshan Anathajeyasri was from India, it is possible that he named Jumbo after a gigantic rose-apple tree, called jambu (which at that time would be transliterated as 'jumboo')which grows on the mythical Mount Meru and whose fruits were said to be as large as elephants.  While at London, Jumbo broke both tusks, and when they regrew, ground them down against the stonework of his enclosure. His keeper at London was Matthew Scott, whose 1885 autobiography details his life with Jumbo.  Jumbo was sold in February 1882 to the Barnum & Bailey Circus for PS2,000. There was popular objection when Barnum's proposal became known; 100,000 school children wrote to Queen Victoria begging her not to sell the elephant. Despite a lawsuit against the Zoological Gardens alleging the sale was in violation of multiple zoo bylaws, and the zoo's attempt to renege on the sale, the court upheld the sale and Barnum refused to sell Jumbo back. Matthew Scott elected to go with Jumbo to the USA.  In New York, Barnum exhibited the elephant at Madison Square Garden, earning enough in three weeks from the enormous crowds to recoup the money he spent to buy the animal. In the 31-week season, the circus earned $1.75M, largely due to its star attraction. On 30 May 1884, Jumbo was one of Barnum's 21 elephants that crossed the Brooklyn Bridge to prove that it was safe after 12 people died during a stampede caused by mass panic over collapse fears a year earlier. CANNOTANSWER

Question: What did Jumbo do with the money?
Answer: CANNOTANSWER
Lisa Simpson

Context: In The Tracey Ullman Show shorts, Lisa was something of a "female Bart": equally mischievous but lacking unique traits. As the series progressed, Lisa began to develop into a more intelligent and more emotional character. She demonstrates her intellect in the 1990 episode "Krusty Gets Busted" (season one), by helping Bart reveal Sideshow Bob's plot to frame Krusty the Clown for armed robbery. Many episodes focusing on Lisa have an emotional nature, such as "Moaning Lisa" (season one, 1990). The idea for the episode was pitched by James L. Brooks, who wanted to do an emotional episode involving Lisa's sadness, to complement the many "jokey episodes" in the first season.  In the seventh-season episode "Lisa the Vegetarian" (1995), Lisa permanently becomes a vegetarian, distinguishing her as one of the first primetime television characters to make such a choice. The episode was written by David S. Cohen (in his first solo writing credit) who jotted down the idea one day while eating lunch. Then-executive producer David Mirkin, who had recently become a vegetarian, quickly approved the idea. Several of Lisa's experiences in the episode are based on Mirkin's own experiences. The episode guest stars musician Paul McCartney, a committed vegetarian and animal rights activist. McCartney's condition for appearing was that Lisa would remain a vegetarian for the rest of the series and would not revert the next week (as is common on situation comedies). The trait stayed and is one of the few permanent character changes made in the show. In the season 13 episode "She of Little Faith" (2001), Lisa underwent another permanent character change when she converted to Buddhism.  Lisa plays the baritone saxophone, and some episodes use that as a plot device. According to Matt Groening, the baritone saxophone was chosen because he found the thought of an eight-year-old girl playing it amusing. He added, "But she doesn't always play a baritone sax because the animators don't know what it looks like, so it changes shape and color from show to show." One of the hallmarks of the show's opening sequence is a brief solo Lisa plays on her saxophone after being thrown out of music class. The Simpsons composer Alf Clausen said that the session musicians who perform her solos do not try to play at the second grade level and instead "think of Lisa as a really good player." CANNOTANSWER

Question: how was Lisa Simpson developing?
Answer: As the series progressed, Lisa began to develop into a more intelligent and more emotional character.
Lisa Simpson

Context: In The Tracey Ullman Show shorts, Lisa was something of a "female Bart": equally mischievous but lacking unique traits. As the series progressed, Lisa began to develop into a more intelligent and more emotional character. She demonstrates her intellect in the 1990 episode "Krusty Gets Busted" (season one), by helping Bart reveal Sideshow Bob's plot to frame Krusty the Clown for armed robbery. Many episodes focusing on Lisa have an emotional nature, such as "Moaning Lisa" (season one, 1990). The idea for the episode was pitched by James L. Brooks, who wanted to do an emotional episode involving Lisa's sadness, to complement the many "jokey episodes" in the first season.  In the seventh-season episode "Lisa the Vegetarian" (1995), Lisa permanently becomes a vegetarian, distinguishing her as one of the first primetime television characters to make such a choice. The episode was written by David S. Cohen (in his first solo writing credit) who jotted down the idea one day while eating lunch. Then-executive producer David Mirkin, who had recently become a vegetarian, quickly approved the idea. Several of Lisa's experiences in the episode are based on Mirkin's own experiences. The episode guest stars musician Paul McCartney, a committed vegetarian and animal rights activist. McCartney's condition for appearing was that Lisa would remain a vegetarian for the rest of the series and would not revert the next week (as is common on situation comedies). The trait stayed and is one of the few permanent character changes made in the show. In the season 13 episode "She of Little Faith" (2001), Lisa underwent another permanent character change when she converted to Buddhism.  Lisa plays the baritone saxophone, and some episodes use that as a plot device. According to Matt Groening, the baritone saxophone was chosen because he found the thought of an eight-year-old girl playing it amusing. He added, "But she doesn't always play a baritone sax because the animators don't know what it looks like, so it changes shape and color from show to show." One of the hallmarks of the show's opening sequence is a brief solo Lisa plays on her saxophone after being thrown out of music class. The Simpsons composer Alf Clausen said that the session musicians who perform her solos do not try to play at the second grade level and instead "think of Lisa as a really good player." CANNOTANSWER

Question: what is Lisa Simpson's IQ?
Answer: CANNOTANSWER
Lisa Simpson

Context: In The Tracey Ullman Show shorts, Lisa was something of a "female Bart": equally mischievous but lacking unique traits. As the series progressed, Lisa began to develop into a more intelligent and more emotional character. She demonstrates her intellect in the 1990 episode "Krusty Gets Busted" (season one), by helping Bart reveal Sideshow Bob's plot to frame Krusty the Clown for armed robbery. Many episodes focusing on Lisa have an emotional nature, such as "Moaning Lisa" (season one, 1990). The idea for the episode was pitched by James L. Brooks, who wanted to do an emotional episode involving Lisa's sadness, to complement the many "jokey episodes" in the first season.  In the seventh-season episode "Lisa the Vegetarian" (1995), Lisa permanently becomes a vegetarian, distinguishing her as one of the first primetime television characters to make such a choice. The episode was written by David S. Cohen (in his first solo writing credit) who jotted down the idea one day while eating lunch. Then-executive producer David Mirkin, who had recently become a vegetarian, quickly approved the idea. Several of Lisa's experiences in the episode are based on Mirkin's own experiences. The episode guest stars musician Paul McCartney, a committed vegetarian and animal rights activist. McCartney's condition for appearing was that Lisa would remain a vegetarian for the rest of the series and would not revert the next week (as is common on situation comedies). The trait stayed and is one of the few permanent character changes made in the show. In the season 13 episode "She of Little Faith" (2001), Lisa underwent another permanent character change when she converted to Buddhism.  Lisa plays the baritone saxophone, and some episodes use that as a plot device. According to Matt Groening, the baritone saxophone was chosen because he found the thought of an eight-year-old girl playing it amusing. He added, "But she doesn't always play a baritone sax because the animators don't know what it looks like, so it changes shape and color from show to show." One of the hallmarks of the show's opening sequence is a brief solo Lisa plays on her saxophone after being thrown out of music class. The Simpsons composer Alf Clausen said that the session musicians who perform her solos do not try to play at the second grade level and instead "think of Lisa as a really good player." CANNOTANSWER

Question: who is Lisa Simpson?
Answer: In The Tracey Ullman Show shorts, Lisa was something of a "female Bart":
Lisa Simpson

Context: In The Tracey Ullman Show shorts, Lisa was something of a "female Bart": equally mischievous but lacking unique traits. As the series progressed, Lisa began to develop into a more intelligent and more emotional character. She demonstrates her intellect in the 1990 episode "Krusty Gets Busted" (season one), by helping Bart reveal Sideshow Bob's plot to frame Krusty the Clown for armed robbery. Many episodes focusing on Lisa have an emotional nature, such as "Moaning Lisa" (season one, 1990). The idea for the episode was pitched by James L. Brooks, who wanted to do an emotional episode involving Lisa's sadness, to complement the many "jokey episodes" in the first season.  In the seventh-season episode "Lisa the Vegetarian" (1995), Lisa permanently becomes a vegetarian, distinguishing her as one of the first primetime television characters to make such a choice. The episode was written by David S. Cohen (in his first solo writing credit) who jotted down the idea one day while eating lunch. Then-executive producer David Mirkin, who had recently become a vegetarian, quickly approved the idea. Several of Lisa's experiences in the episode are based on Mirkin's own experiences. The episode guest stars musician Paul McCartney, a committed vegetarian and animal rights activist. McCartney's condition for appearing was that Lisa would remain a vegetarian for the rest of the series and would not revert the next week (as is common on situation comedies). The trait stayed and is one of the few permanent character changes made in the show. In the season 13 episode "She of Little Faith" (2001), Lisa underwent another permanent character change when she converted to Buddhism.  Lisa plays the baritone saxophone, and some episodes use that as a plot device. According to Matt Groening, the baritone saxophone was chosen because he found the thought of an eight-year-old girl playing it amusing. He added, "But she doesn't always play a baritone sax because the animators don't know what it looks like, so it changes shape and color from show to show." One of the hallmarks of the show's opening sequence is a brief solo Lisa plays on her saxophone after being thrown out of music class. The Simpsons composer Alf Clausen said that the session musicians who perform her solos do not try to play at the second grade level and instead "think of Lisa as a really good player." CANNOTANSWER

Question: who created Lisa Simpson?
Answer: Matt Groening,
Lisa Simpson

Context: In The Tracey Ullman Show shorts, Lisa was something of a "female Bart": equally mischievous but lacking unique traits. As the series progressed, Lisa began to develop into a more intelligent and more emotional character. She demonstrates her intellect in the 1990 episode "Krusty Gets Busted" (season one), by helping Bart reveal Sideshow Bob's plot to frame Krusty the Clown for armed robbery. Many episodes focusing on Lisa have an emotional nature, such as "Moaning Lisa" (season one, 1990). The idea for the episode was pitched by James L. Brooks, who wanted to do an emotional episode involving Lisa's sadness, to complement the many "jokey episodes" in the first season.  In the seventh-season episode "Lisa the Vegetarian" (1995), Lisa permanently becomes a vegetarian, distinguishing her as one of the first primetime television characters to make such a choice. The episode was written by David S. Cohen (in his first solo writing credit) who jotted down the idea one day while eating lunch. Then-executive producer David Mirkin, who had recently become a vegetarian, quickly approved the idea. Several of Lisa's experiences in the episode are based on Mirkin's own experiences. The episode guest stars musician Paul McCartney, a committed vegetarian and animal rights activist. McCartney's condition for appearing was that Lisa would remain a vegetarian for the rest of the series and would not revert the next week (as is common on situation comedies). The trait stayed and is one of the few permanent character changes made in the show. In the season 13 episode "She of Little Faith" (2001), Lisa underwent another permanent character change when she converted to Buddhism.  Lisa plays the baritone saxophone, and some episodes use that as a plot device. According to Matt Groening, the baritone saxophone was chosen because he found the thought of an eight-year-old girl playing it amusing. He added, "But she doesn't always play a baritone sax because the animators don't know what it looks like, so it changes shape and color from show to show." One of the hallmarks of the show's opening sequence is a brief solo Lisa plays on her saxophone after being thrown out of music class. The Simpsons composer Alf Clausen said that the session musicians who perform her solos do not try to play at the second grade level and instead "think of Lisa as a really good player." CANNOTANSWER

Question: whos Lisa Simpson's dad?
Answer: CANNOTANSWER
Good Night, and Good Luck

Context: In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival: "I thought it was a good time to raise the idea of using fear to stifle political debate." Having majored in journalism in college, Clooney was well-versed in the subject matter. His father, Nick Clooney, was a television journalist for many years, appearing as an anchorman in Cincinnati, Ohio, Salt Lake City, Utah, Los Angeles, California, and Buffalo, New York. The elder Clooney also ran for Congress in 2004.  George Clooney was paid $1 each for writing, directing, and acting in Good Night, and Good Luck., which cost $7.5 million to make. Due to an injury he received on the set of Syriana a few months earlier, Clooney could not pass the tests to be insured. He then mortgaged his own house in Los Angeles in order to make the film. Dallas Mavericks owner Mark Cuban and former eBay president Jeff Skoll invested money in the project as executive producers. The film ultimately grossed more than $54 million worldwide.  The CBS offices and studios seen in the movie were all sets on a soundstage. To accomplish a pair of scenes showing characters going up an elevator, different "floors" of the building were laid out on the same level. The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license--the CBS executive offices at the time were located at 485 Madison Avenue. CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the Met Life Building); and the See It Now studio was located in Grand Central Terminal itself, above the waiting room. For dramatic effect, all three areas were depicted as being in the same building.  Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction. As all of that footage was black-and-white, that determined the color scheme of the film. A young Robert Kennedy is also shown in the movie during McCarthy's hearing sessions. He was then a staff member on the Senate subcommittee chaired by McCarthy. CANNOTANSWER

Question: When was Good night produced?
Answer: In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival:
Good Night, and Good Luck

Context: In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival: "I thought it was a good time to raise the idea of using fear to stifle political debate." Having majored in journalism in college, Clooney was well-versed in the subject matter. His father, Nick Clooney, was a television journalist for many years, appearing as an anchorman in Cincinnati, Ohio, Salt Lake City, Utah, Los Angeles, California, and Buffalo, New York. The elder Clooney also ran for Congress in 2004.  George Clooney was paid $1 each for writing, directing, and acting in Good Night, and Good Luck., which cost $7.5 million to make. Due to an injury he received on the set of Syriana a few months earlier, Clooney could not pass the tests to be insured. He then mortgaged his own house in Los Angeles in order to make the film. Dallas Mavericks owner Mark Cuban and former eBay president Jeff Skoll invested money in the project as executive producers. The film ultimately grossed more than $54 million worldwide.  The CBS offices and studios seen in the movie were all sets on a soundstage. To accomplish a pair of scenes showing characters going up an elevator, different "floors" of the building were laid out on the same level. The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license--the CBS executive offices at the time were located at 485 Madison Avenue. CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the Met Life Building); and the See It Now studio was located in Grand Central Terminal itself, above the waiting room. For dramatic effect, all three areas were depicted as being in the same building.  Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction. As all of that footage was black-and-white, that determined the color scheme of the film. A young Robert Kennedy is also shown in the movie during McCarthy's hearing sessions. He was then a staff member on the Senate subcommittee chaired by McCarthy. CANNOTANSWER

Question: Who did clooney work with for Good Night?
Answer: Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction.
Good Night, and Good Luck

Context: In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival: "I thought it was a good time to raise the idea of using fear to stifle political debate." Having majored in journalism in college, Clooney was well-versed in the subject matter. His father, Nick Clooney, was a television journalist for many years, appearing as an anchorman in Cincinnati, Ohio, Salt Lake City, Utah, Los Angeles, California, and Buffalo, New York. The elder Clooney also ran for Congress in 2004.  George Clooney was paid $1 each for writing, directing, and acting in Good Night, and Good Luck., which cost $7.5 million to make. Due to an injury he received on the set of Syriana a few months earlier, Clooney could not pass the tests to be insured. He then mortgaged his own house in Los Angeles in order to make the film. Dallas Mavericks owner Mark Cuban and former eBay president Jeff Skoll invested money in the project as executive producers. The film ultimately grossed more than $54 million worldwide.  The CBS offices and studios seen in the movie were all sets on a soundstage. To accomplish a pair of scenes showing characters going up an elevator, different "floors" of the building were laid out on the same level. The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license--the CBS executive offices at the time were located at 485 Madison Avenue. CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the Met Life Building); and the See It Now studio was located in Grand Central Terminal itself, above the waiting room. For dramatic effect, all three areas were depicted as being in the same building.  Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction. As all of that footage was black-and-white, that determined the color scheme of the film. A young Robert Kennedy is also shown in the movie during McCarthy's hearing sessions. He was then a staff member on the Senate subcommittee chaired by McCarthy. CANNOTANSWER

Question: Where is the location of the movie Good Night?
Answer: the CBS executive offices at the time were located at 485 Madison Avenue.
Good Night, and Good Luck

Context: In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival: "I thought it was a good time to raise the idea of using fear to stifle political debate." Having majored in journalism in college, Clooney was well-versed in the subject matter. His father, Nick Clooney, was a television journalist for many years, appearing as an anchorman in Cincinnati, Ohio, Salt Lake City, Utah, Los Angeles, California, and Buffalo, New York. The elder Clooney also ran for Congress in 2004.  George Clooney was paid $1 each for writing, directing, and acting in Good Night, and Good Luck., which cost $7.5 million to make. Due to an injury he received on the set of Syriana a few months earlier, Clooney could not pass the tests to be insured. He then mortgaged his own house in Los Angeles in order to make the film. Dallas Mavericks owner Mark Cuban and former eBay president Jeff Skoll invested money in the project as executive producers. The film ultimately grossed more than $54 million worldwide.  The CBS offices and studios seen in the movie were all sets on a soundstage. To accomplish a pair of scenes showing characters going up an elevator, different "floors" of the building were laid out on the same level. The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license--the CBS executive offices at the time were located at 485 Madison Avenue. CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the Met Life Building); and the See It Now studio was located in Grand Central Terminal itself, above the waiting room. For dramatic effect, all three areas were depicted as being in the same building.  Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction. As all of that footage was black-and-white, that determined the color scheme of the film. A young Robert Kennedy is also shown in the movie during McCarthy's hearing sessions. He was then a staff member on the Senate subcommittee chaired by McCarthy. CANNOTANSWER

Question: How many copies of  Good Night are sold?
Answer: The film ultimately grossed more than $54 million worldwide.
Good Night, and Good Luck

Context: In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival: "I thought it was a good time to raise the idea of using fear to stifle political debate." Having majored in journalism in college, Clooney was well-versed in the subject matter. His father, Nick Clooney, was a television journalist for many years, appearing as an anchorman in Cincinnati, Ohio, Salt Lake City, Utah, Los Angeles, California, and Buffalo, New York. The elder Clooney also ran for Congress in 2004.  George Clooney was paid $1 each for writing, directing, and acting in Good Night, and Good Luck., which cost $7.5 million to make. Due to an injury he received on the set of Syriana a few months earlier, Clooney could not pass the tests to be insured. He then mortgaged his own house in Los Angeles in order to make the film. Dallas Mavericks owner Mark Cuban and former eBay president Jeff Skoll invested money in the project as executive producers. The film ultimately grossed more than $54 million worldwide.  The CBS offices and studios seen in the movie were all sets on a soundstage. To accomplish a pair of scenes showing characters going up an elevator, different "floors" of the building were laid out on the same level. The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license--the CBS executive offices at the time were located at 485 Madison Avenue. CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the Met Life Building); and the See It Now studio was located in Grand Central Terminal itself, above the waiting room. For dramatic effect, all three areas were depicted as being in the same building.  Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction. As all of that footage was black-and-white, that determined the color scheme of the film. A young Robert Kennedy is also shown in the movie during McCarthy's hearing sessions. He was then a staff member on the Senate subcommittee chaired by McCarthy. CANNOTANSWER

Question: Is there anything interesting about the movie Good Night?
Answer: George Clooney was paid $1 each for writing, directing, and acting in Good Night,
Good Night, and Good Luck

Context: In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival: "I thought it was a good time to raise the idea of using fear to stifle political debate." Having majored in journalism in college, Clooney was well-versed in the subject matter. His father, Nick Clooney, was a television journalist for many years, appearing as an anchorman in Cincinnati, Ohio, Salt Lake City, Utah, Los Angeles, California, and Buffalo, New York. The elder Clooney also ran for Congress in 2004.  George Clooney was paid $1 each for writing, directing, and acting in Good Night, and Good Luck., which cost $7.5 million to make. Due to an injury he received on the set of Syriana a few months earlier, Clooney could not pass the tests to be insured. He then mortgaged his own house in Los Angeles in order to make the film. Dallas Mavericks owner Mark Cuban and former eBay president Jeff Skoll invested money in the project as executive producers. The film ultimately grossed more than $54 million worldwide.  The CBS offices and studios seen in the movie were all sets on a soundstage. To accomplish a pair of scenes showing characters going up an elevator, different "floors" of the building were laid out on the same level. The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license--the CBS executive offices at the time were located at 485 Madison Avenue. CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the Met Life Building); and the See It Now studio was located in Grand Central Terminal itself, above the waiting room. For dramatic effect, all three areas were depicted as being in the same building.  Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction. As all of that footage was black-and-white, that determined the color scheme of the film. A young Robert Kennedy is also shown in the movie during McCarthy's hearing sessions. He was then a staff member on the Senate subcommittee chaired by McCarthy. CANNOTANSWER

Question: Name one actor in the film Good Night?
Answer: CANNOTANSWER
Y. A. Tittle

Context: A photo of a dazed Tittle in the end zone taken by Morris Berman of the Pittsburgh Post-Gazette on September 20, 1964, is regarded among the most iconic images in the history of American sports and journalism. Tittle, in his 17th and final season, was photographed helmet-less, bloodied and kneeling immediately after having been knocked to the ground by John Baker of the Pittsburgh Steelers and throwing an interception that was returned for a touchdown at the old Pitt Stadium. He suffered a concussion and cracked sternum on the play, but went on to play the rest of the season.  Post-Gazette editors declined to publish the photo, looking for "action shots" instead, but Berman entered the image into contests where it took on a life of its own, winning a National Headliner Award. The photo was published in the October 2, 1964, issue of Life magazine. It is regarded as having changed the way that photographers look at sports, having shown the power of capturing a moment of reaction. It became one of three photos to hang in the lobby of the National Press Photographers Association headquarters, alongside Raising the Flag on Iwo Jima and the Hindenburg disaster. A copy now hangs in the Pro Football Hall of Fame.  After at first having failed to see the appeal of the image, Tittle eventually grew to embrace it, putting it on the back cover of his 2009 autobiography. "That was the end of the road," he told the Los Angeles Times in 2008. "It was the end of my dream. It was over." Pittsburgh player John Baker, who hit Tittle right before the picture was taken, ran for sheriff in his native Wake County, North Carolina in 1978, and used the photo as a campaign tool. He was elected and went on to serve for 24 years. Tittle also held a fundraiser to assist Baker in his bid for a fourth term in 1989. CANNOTANSWER

Question: Did Y. A. Tittle have a famous photo as a student?
Answer: A photo of a dazed Tittle in the end zone taken by Morris Berman of the Pittsburgh Post-Gazette on September 20, 1964, is regarded among the most iconic images
Y. A. Tittle

Context: A photo of a dazed Tittle in the end zone taken by Morris Berman of the Pittsburgh Post-Gazette on September 20, 1964, is regarded among the most iconic images in the history of American sports and journalism. Tittle, in his 17th and final season, was photographed helmet-less, bloodied and kneeling immediately after having been knocked to the ground by John Baker of the Pittsburgh Steelers and throwing an interception that was returned for a touchdown at the old Pitt Stadium. He suffered a concussion and cracked sternum on the play, but went on to play the rest of the season.  Post-Gazette editors declined to publish the photo, looking for "action shots" instead, but Berman entered the image into contests where it took on a life of its own, winning a National Headliner Award. The photo was published in the October 2, 1964, issue of Life magazine. It is regarded as having changed the way that photographers look at sports, having shown the power of capturing a moment of reaction. It became one of three photos to hang in the lobby of the National Press Photographers Association headquarters, alongside Raising the Flag on Iwo Jima and the Hindenburg disaster. A copy now hangs in the Pro Football Hall of Fame.  After at first having failed to see the appeal of the image, Tittle eventually grew to embrace it, putting it on the back cover of his 2009 autobiography. "That was the end of the road," he told the Los Angeles Times in 2008. "It was the end of my dream. It was over." Pittsburgh player John Baker, who hit Tittle right before the picture was taken, ran for sheriff in his native Wake County, North Carolina in 1978, and used the photo as a campaign tool. He was elected and went on to serve for 24 years. Tittle also held a fundraiser to assist Baker in his bid for a fourth term in 1989. CANNOTANSWER

Question: Was Y. A. Tittle dazed in the Morris Bergman photo because he was hurt or awed?
Answer: was photographed helmet-less, bloodied and kneeling immediately after having been knocked to the ground by John Baker of the Pittsburgh Steelers
Y. A. Tittle

Context: A photo of a dazed Tittle in the end zone taken by Morris Berman of the Pittsburgh Post-Gazette on September 20, 1964, is regarded among the most iconic images in the history of American sports and journalism. Tittle, in his 17th and final season, was photographed helmet-less, bloodied and kneeling immediately after having been knocked to the ground by John Baker of the Pittsburgh Steelers and throwing an interception that was returned for a touchdown at the old Pitt Stadium. He suffered a concussion and cracked sternum on the play, but went on to play the rest of the season.  Post-Gazette editors declined to publish the photo, looking for "action shots" instead, but Berman entered the image into contests where it took on a life of its own, winning a National Headliner Award. The photo was published in the October 2, 1964, issue of Life magazine. It is regarded as having changed the way that photographers look at sports, having shown the power of capturing a moment of reaction. It became one of three photos to hang in the lobby of the National Press Photographers Association headquarters, alongside Raising the Flag on Iwo Jima and the Hindenburg disaster. A copy now hangs in the Pro Football Hall of Fame.  After at first having failed to see the appeal of the image, Tittle eventually grew to embrace it, putting it on the back cover of his 2009 autobiography. "That was the end of the road," he told the Los Angeles Times in 2008. "It was the end of my dream. It was over." Pittsburgh player John Baker, who hit Tittle right before the picture was taken, ran for sheriff in his native Wake County, North Carolina in 1978, and used the photo as a campaign tool. He was elected and went on to serve for 24 years. Tittle also held a fundraiser to assist Baker in his bid for a fourth term in 1989. CANNOTANSWER

Question: Did Y. A. Tittle win the game on Septembor 20, 1964?
Answer: CANNOTANSWER
Y. A. Tittle

Context: A photo of a dazed Tittle in the end zone taken by Morris Berman of the Pittsburgh Post-Gazette on September 20, 1964, is regarded among the most iconic images in the history of American sports and journalism. Tittle, in his 17th and final season, was photographed helmet-less, bloodied and kneeling immediately after having been knocked to the ground by John Baker of the Pittsburgh Steelers and throwing an interception that was returned for a touchdown at the old Pitt Stadium. He suffered a concussion and cracked sternum on the play, but went on to play the rest of the season.  Post-Gazette editors declined to publish the photo, looking for "action shots" instead, but Berman entered the image into contests where it took on a life of its own, winning a National Headliner Award. The photo was published in the October 2, 1964, issue of Life magazine. It is regarded as having changed the way that photographers look at sports, having shown the power of capturing a moment of reaction. It became one of three photos to hang in the lobby of the National Press Photographers Association headquarters, alongside Raising the Flag on Iwo Jima and the Hindenburg disaster. A copy now hangs in the Pro Football Hall of Fame.  After at first having failed to see the appeal of the image, Tittle eventually grew to embrace it, putting it on the back cover of his 2009 autobiography. "That was the end of the road," he told the Los Angeles Times in 2008. "It was the end of my dream. It was over." Pittsburgh player John Baker, who hit Tittle right before the picture was taken, ran for sheriff in his native Wake County, North Carolina in 1978, and used the photo as a campaign tool. He was elected and went on to serve for 24 years. Tittle also held a fundraiser to assist Baker in his bid for a fourth term in 1989. CANNOTANSWER

Question: Together with the famous photo by Morris Berman, were there any other memorable moments  of Y. A. Tittle from the September 20, 1964 game?
Answer: throwing an interception that was returned for a touchdown at the old Pitt Stadium.
Y. A. Tittle

Context: A photo of a dazed Tittle in the end zone taken by Morris Berman of the Pittsburgh Post-Gazette on September 20, 1964, is regarded among the most iconic images in the history of American sports and journalism. Tittle, in his 17th and final season, was photographed helmet-less, bloodied and kneeling immediately after having been knocked to the ground by John Baker of the Pittsburgh Steelers and throwing an interception that was returned for a touchdown at the old Pitt Stadium. He suffered a concussion and cracked sternum on the play, but went on to play the rest of the season.  Post-Gazette editors declined to publish the photo, looking for "action shots" instead, but Berman entered the image into contests where it took on a life of its own, winning a National Headliner Award. The photo was published in the October 2, 1964, issue of Life magazine. It is regarded as having changed the way that photographers look at sports, having shown the power of capturing a moment of reaction. It became one of three photos to hang in the lobby of the National Press Photographers Association headquarters, alongside Raising the Flag on Iwo Jima and the Hindenburg disaster. A copy now hangs in the Pro Football Hall of Fame.  After at first having failed to see the appeal of the image, Tittle eventually grew to embrace it, putting it on the back cover of his 2009 autobiography. "That was the end of the road," he told the Los Angeles Times in 2008. "It was the end of my dream. It was over." Pittsburgh player John Baker, who hit Tittle right before the picture was taken, ran for sheriff in his native Wake County, North Carolina in 1978, and used the photo as a campaign tool. He was elected and went on to serve for 24 years. Tittle also held a fundraiser to assist Baker in his bid for a fourth term in 1989. CANNOTANSWER

Question: How many yards was the touchdown by Y. A. Tittle on September 20, 1964?
Answer: CANNOTANSWER
Y. A. Tittle

Context: A photo of a dazed Tittle in the end zone taken by Morris Berman of the Pittsburgh Post-Gazette on September 20, 1964, is regarded among the most iconic images in the history of American sports and journalism. Tittle, in his 17th and final season, was photographed helmet-less, bloodied and kneeling immediately after having been knocked to the ground by John Baker of the Pittsburgh Steelers and throwing an interception that was returned for a touchdown at the old Pitt Stadium. He suffered a concussion and cracked sternum on the play, but went on to play the rest of the season.  Post-Gazette editors declined to publish the photo, looking for "action shots" instead, but Berman entered the image into contests where it took on a life of its own, winning a National Headliner Award. The photo was published in the October 2, 1964, issue of Life magazine. It is regarded as having changed the way that photographers look at sports, having shown the power of capturing a moment of reaction. It became one of three photos to hang in the lobby of the National Press Photographers Association headquarters, alongside Raising the Flag on Iwo Jima and the Hindenburg disaster. A copy now hangs in the Pro Football Hall of Fame.  After at first having failed to see the appeal of the image, Tittle eventually grew to embrace it, putting it on the back cover of his 2009 autobiography. "That was the end of the road," he told the Los Angeles Times in 2008. "It was the end of my dream. It was over." Pittsburgh player John Baker, who hit Tittle right before the picture was taken, ran for sheriff in his native Wake County, North Carolina in 1978, and used the photo as a campaign tool. He was elected and went on to serve for 24 years. Tittle also held a fundraiser to assist Baker in his bid for a fourth term in 1989. CANNOTANSWER

Question: Did Y. A. Tittle's interception touchdown win the game on September 20, 1964?
Answer: CANNOTANSWER