In this task, you are given news articles and you need to generate a highlight, i.e., a short summary, with a maximum length of 10 lines.

Input: Consider Input: BOSTON, Massachusetts (CNN)  -- The operator of a trolley that rear-ended another trolley should have been able to see the other vehicle was stopped 480 feet ahead, a federal investigator said Monday. Passengers walk past firefighters at a Green Line station in Boston after the trolley collision Friday evening. The trolley driver has told investigators he was text messaging during Friday night's collision, which injured 20 people. The Massachusetts Bay Transportation Authority, which previously had banned operators from using cell phones and other portable devices, now has told employees to leave the devices at home while on duty, National Transportation Safety Board member Debbie Hersman said Monday. Hersman also noted investigators have determined that the operator may have missed some crucial indications of a stopped trolley ahead on the tracks.  Watch new transit rule on cell phones » . "There were several signals -- two green signals, a yellow signal and a red signal -- coming out of the station, and the point of collision occurred 80 feet past that red signal," Hersman said. "We did a site-distance test, and we know that the operator had the ability to see the trolley stopped in front of him 480 feet in advance of the collision." Boston officials said over the weekend that the trolley operator was using his cell phone. Numerous media outlets, including CNN's Boston affiliates, have identified the driver as 24-year-old Aiden Quinn. "The operator of the striking train was interviewed at the hospital by two detectives," said MBTA general manager Daniel Grabauskas. "He admitted that he was texting at the time of the accident." The operator told detectives that, when he looked up, "it was too late as he applied the brake and the train struck the other trolley," Grabauskas said. He described himself as "outraged." "We have reinforced for a number of years that the use of cell phones or any other kinds of electronic devices while operating a train or a bus is absolutely prohibited," Grabauskas said. Though the investigation is ongoing, he said, the two-year employee will be fired if his version of events is confirmed. None of the injuries was considered life-threatening, the MBTA said. The collision happened at 7:18 p.m. ET Friday as the Green Line trains were traveling between the Park Street and Government Center stations in downtown Boston. Both trains were traveling westbound when one train rear-ended the second, an MBTA official said. A train operator also was text messaging last year in a California train crash that killed 25 people. CNN's Rob Frehse and Gary Bender contributed to this report.

Output: Federal investigator says Boston trolley crashed 80 feet past a red light .
Trolley driver told investigators he was texting during wreck that injured 20 people .
Drivers already banned from using phones; authority now says keep them at home .


Input: Consider Input: (CNN)On what would have been the Rev. Martin Luther King Jr.'s 86th birthday, the Academy Awards decided to snub a beautiful film made about a seminal moment in his life. "Selma" did pick up two nominations, including one for best picture. But when the Hollywood gods consider a film to be truly great, its actors and/or actresses, screenplay and particularly its director are also recognized. "Selma" is a good film that told a great story, at least according to Academy of Motion Picture Arts and Sciences voters. Those voters are 93% white, 76% male and the average age is 63, according to a 2012 analysis by the Los Angeles Times. But did those demographics play a role in how "Selma" was received? True, the historical drama has been besieged by criticism over accuracy, particularly its portrayal of President Lyndon Johnson. In the film, King and Johnson are depicted as a lot more adversarial than the actual tapes of their conversation suggests. But it's hard to see that being the reason for its snub: "Gravity" was nominated for 10 Oscars, won seven, and yet you won't find an astronaut who would describe the film as accurate. And "Dallas Buyer's Club" was also a 2014 Oscar darling that sprinkled creative liberties all over a true story. Race could be invoked as a factor when you remember the email exchange between two top-level Sony executives that became public courtesy of  "The Interview" hack. In it they joked about the kind of movie President Obama prefers and then began listing only those starring black people. But the two were also unkind to Jeffrey Katzenberg in that same exchange. There were backstabbing remarks revealed in emails about Angelina Jolie and Adam Sandler as well. My point is -- and I'm sure I'm at risk of losing my black card for writing this -- when those same old, white men made "12 Years A Slave" a favorite of the Oscars just a year ago, it is hard to say the snubbing of "Selma" is all about the demographics of the voters. Some, sure. But all? Remember, these people live in a land of make believe, where it's normal for the inhabitants to be injected with silicone. Oscar snubbings could come from a thousand superficial reasons, like someone sleeping with or not sleeping with the right person at the right time. In a town full of gay men, the heart wrenching "Brokeback Mountain" somehow lost out to the woefully mediocre "Crash." Leonardo DiCaprio's trophy case continues to sit empty. And I will never understand how "Shakespeare in Love" beat "Saving Private Ryan" for best picture. Truth be told. my favorite film of 2014 was "The Drop" and I don't think that was nominated for anything by anyone. It would have been wonderful to see "Selma" director Ava DuVernay become the first black female director nominated for an Oscar. She is incredibly talented and it is always nice to be recognized by peers. But I do not need her to win an Oscar to tell me how I should feel about "Selma." I do not need the Academy to tell me how I should spend my money at the movies. I do not need old, white men to validate a story so deeply personal and relevant to me today. That's not to suggest Hollywood's racism should not be called out. Only that the true story of Selma is much more than calling out racism. To paraphrase the acceptance speech Common gave at the Golden Globes on Sunday, "Selma" the movie and Selma the historic marches are about the awakening of our humanity. The old guard at the Oscars has the power to snub "Selma" for whatever reason it sees fit. But as a summer full of marches for the fight for equality reminded us, Hollywood has neither the power to snub nor the authority to validate Selma.

Output: LZ: "Selma's" 2 Oscar nominations seen as a snub by some; Academy voters mostly white .
He says calling out Hollywood racism fine, but it may not be the reasons for only 2 nods .
LZ: I don't need Academy to tell me how I feel about Selma, which is about awakening humanity .


Input: Consider Input: (CNN) -- Films have altered the course of human history before. The rise of Nazism would not have been as rapid and absolute had it not been for the Reich's potent command of propaganda, including Leni Riefenstahl's monumental glorification of the fascist regime, "Triumph of the Will." And D.W. Griffith's celebration of white supremacy, "The Birth of a Nation," helped to resurrect the Ku Klux Klan. Both these films are repellent, yet are judged to be masterpieces of world cinema, and their directors among the greatest of all time. So it's hard to imagine that a movie as slight and crude as "The Interview" could serve as a similar kind of historical watershed. And yet, future generations may well look to it as marking the emergence of a new chapter in geopolitics, dominated by a fresh set of actors and wildly different forms of conflict. If the attacks of September 11 taught us to fear insurgent groups using improvised weapons against civilians -- al Qaeda, the Taliban, ISIS -- what we've learned from the "Interview" fiasco is that even nation states and "traditional" terror organizations can now find themselves to be nothing more than blindsided bystanders in strange battles between entities with hidden (or purposely misleading) agendas. Corporations. Mysterious ad hoc hacker networks. Even motivated individuals. And these struggles will play out in the dark, with far-reaching and unpredictable consequences. Was the hacker attack that crippled media titan Sony insider sabotage, an attempt at extortion, a terrorist strike or, as more hawkish types have suggested, the overture to formal war? Were its perpetrators disgruntled employees, Internet pranksters, black hat mercenaries or the shadowy digital armies of rival nations? Perhaps the most frightening thing is that, months after the assaults, we still don't know exactly when they began, what their true objective was and, of course, who was actually behind them. Sony was quick to assign blame to North Korea, based on the conclusions of federal investigators. President Barack Obama issued a condemnation of the hermit kingdom's "cybervandalism" and promised to "respond proportionately." And, in a gesture of profound corporate cowardice, Sony yanked "The Interview" after a number of movie theater chains said they would not screen the movie. Since then, other researchers have raised serious questions about North Korea's real role in the hacks, pointing to the fact that while North Korea might have had a clear motive -- suppressing the release of a work that might embarrass its supreme leader -- early messages to Sony reportedly did not focus on "The Interview," and instead sought vague "monetary compensation." Meanwhile, publicly released evidence of North Korean involvement seems flimsy, the country itself has hotly denied it is behind the hacks, and more recent theories have pointed instead to a possible inside job, or to hackers from other countries with greater resources and more ambiguous aims. The results of independent linguistic analyses performed on the messages sent by hackers make their North Korean origin questionable, and even suggest they were translated from Russian. (It's also worth noting that Russia's Foreign Ministry this week held a press conference slamming "The Interview" as "aggressively scandalous," while also denouncing the U.S. accusations against North Korea as being without "direct evidence." As these theories and allegations have circulated, the playing field has continued to shift. A group claiming to be members of the enigmatic hacker coalition Anonymous vowed vague reprisal against North Korea. A few days later, North Korea's Internet access was shut down by a denial of service attack. As all this occurred, Sony changed its mind about releasing "The Interview," allowing 300 theaters to screen the film despite warnings of physical attacks on moviegoers, while putting it on Google's Play store and YouTube. But the fact that it instantly leapt to the top of the popularity charts on both platforms has led some conspiracy minded people to wonder whether the entire episode wasn't a PR stunt (albeit one that got out of hand -- the revelations from the email leaks were far too damaging to have been released intentionally). And this is where things get oddly meta. I mentioned that "The Interview" comes off as a trivial work of frat-boy comedy, full of the toilet humor, misogyny, gay-panic japery and racial stereotypes that have marked other Franco/Rogen collaborations. (However, unlike others who've criticized it, I don't think it is any worse than, say, "Pineapple Express.") But the movie's last scene (spoiler alert!), consciously or not, turns it into something with a darker kind of self-awareness. Franco's character, celebrity talk show host Dave Skylark, is shown reading the last page of his best-selling book about their madcap assassination adventure in North Korea to a huge and rapt crowd. He begins as follows: "It was the beginning of a revolution. A revolution Aaron [Rappaport, Skylark's producer, played by Rogen] and I started." They continue by noting that this "revolution" was not one waged with ordinary weapons, but with the power of the media -- and with what can only be defined as trollery. "This was a revolution," he continues, "ignited with nothing more than a camera and some questions. Questions that led a man once revered as a god among mortals to cry and sh*t his pants. The end." It's a concise summary of the new era in which we live, where the ability to manipulate media and technology has increasingly become a critical strategic resource, where combat is conducted not just on battlefields but on servers and screens and social networks, and where it's increasingly impossible to tell the difference between pranks, crimes and acts of war. Welcome to the Troll Age. Buckle your seat belts -- and change your passwords.


Output: Jeff Yang: Films have often helped shape course of history .
Uncertainty still surrounds Sony hack, Yang says .
But it may mark the emergence of a new chapter in geopolitics, he says .