Background: Sherman was born in Chicago, to Percy Copelon and Rose Sherman. Percy was an auto mechanic and race car driver who, like his son, suffered from obesity (he weighed over 350 pounds), and died while attempting a 100-day diet. His family was Jewish. Sherman's parents divorced when he was in grade school, and the son adopted his mother's maiden name.
Context: Sherman devised a game show he intended to call I Know a Secret. Television producer Mark Goodson used Sherman's idea and turned it into I've Got a Secret, which ran on CBS from 1952 to 1967. Rather than paying him for the concept, Mark Goodson-Bill Todman Productions made Sherman the show's producer. Sherman was reported to be warm and kindhearted to all who worked for him. However, differences occurred between Sherman and anyone who was in a position to try to restrain his creativity. As producer of I've Got a Secret, which was broadcast live, he showed a fondness for large-scale stunts that had the potential to teeter on the brink of disaster. He once released 100 rabbits onstage as an Easter surprise for the Madison Square Boys Club, whose members were seated in the studio. The boys were invited to come up onstage to collect their prize. Although the resultant melee made a good story, it did not necessarily make for good TV. The relationship between Goodson, Todman and Sherman became strained when he proposed that Tony Curtis teach the panel how to play some games he had played as a child growing up in New York City. However, Curtis had never actually played any of the games that Sherman had brought the props for. The props for Sherman's concept failed and the spot, which aired June 11, 1958, was a disaster and Sherman was removed as producer. Despite this, Goodson and Todman invited Sherman back several times as a guest on their shows in later years after he achieved celebrity status following the release of his albums. Sherman also produced a short-lived 1954 game show, What's Going On?, which was technologically ambitious, with studio guests interacting with multiple live cameras in remote locations. In 1961, he produced a daytime game show for Al Singer Productions called Your Surprise Package, which aired on CBS with host George Fenneman.
Question: Did he have fights with people over creative differences?
Answer: The relationship between Goodson, Todman and Sherman became strained when he proposed that Tony Curtis teach the panel how to play some games he had played as a child

Question:
Namath was born and raised in Beaver Falls, Pennsylvania (30 miles (50 km) northwest of Pittsburgh), and grew up in its Lower End neighborhood. He is the son of Catholic parents, Rose (nee Juhasz) and Janos "John" Andrew Namath, a steelworker. His parents were of Hungarian descent. His Hungarian-born grandfather, Andras "Andrew" Nemeth, known as "A.J." to his family and friends, came to Ellis Island on the steamer Pannonia in 1911, and worked in the coal and steel industries of the greater Pittsburgh area.
The high point of Namath's career was his performance in the Jets' 16-7 win over the Baltimore Colts in Super Bowl III in January 1969, shortly before the AFL-NFL merger. The first two interleague championship games had resulted in blowout victories for the NFL's Green Bay Packers, and sports writers from NFL cities insisted the AFL would take several more years to be truly competitive. The 1968 Colts were touted as "the greatest football team in history", and former NFL star and Atlanta Falcons head coach Norm Van Brocklin ridiculed the AFL before the game, saying "This will be Namath's first professional football game." Three days before the game, Namath was tired of addressing the issue in the press, and he responded to a heckler at a sports banquet in Miami with the line: "We're going to win the game. I guarantee it." Namath backed up his boast, which became legendary. The Colts' vaunted defense (highlighted by Bubba Smith) was unable to contain either the Jets' running or passing game, while the ineffective offense gave up four interceptions to the Jets. Namath was the Super Bowl MVP, completing eight passes to George Sauer alone for 133 yards. The win made him the first quarterback to start and win a national championship game in college, a major professional league championship, and in a Super Bowl. The Jets' win gave the AFL instant legitimacy even to skeptics. When he was asked by reporters after the game whether the Colts' defense was the "toughest he had ever faced", Namath responded, "That would be the Buffalo Bills' defense." The AFL-worst Bills had intercepted Namath five times, three for touchdowns, in their only win in 1968 in late September.
Answer this question using a quote from the text above:

Why were people skeptical about the AFL?

Answer:
When he was asked by reporters after the game whether the Colts' defense was the "toughest he had ever faced",

Problem: Background: Barton Fink is a 1991 American period film written, produced, directed and edited by the Coen brothers. Set in 1941, it stars John Turturro in the title role as a young New York City playwright who is hired to write scripts for a film studio in Hollywood, and John Goodman as Charlie, the insurance salesman who lives next door at the run-down Hotel Earle. The Coens wrote the screenplay for Barton Fink in three weeks while experiencing difficulty during the writing of Miller's Crossing. They began filming the former soon after Miller's Crossing was finished.
Context: Filming began in June 1990 and took eight weeks (a third less time than required by Miller's Crossing), and the estimated final budget for the film was US$9 million. The Coens worked well with Deakins, and they easily translated their ideas for each scene onto film. "There was only one moment we surprised him," Joel Coen recalled later. An extended scene called for a tracking shot out of the bedroom and into a sink drain "plug hole" in the adjacent bathroom as a symbol of sexual intercourse. "The shot was a lot of fun and we had a great time working out how to do it," Joel said. "After that, every time we asked Roger to do something difficult, he would raise an eyebrow and say, 'Don't be having me track down any plug-holes now.'" Three weeks of filming were spent in the Hotel Earle, a set created by art director Dennis Gassner. The film's climax required a huge spreading fire in the hotel's hallway, which the Coens originally planned to add digitally in post-production. When they decided to use real flames, however, the crew built a large alternate set in an abandoned aircraft hangar at Long Beach. A series of gas jets were installed behind the hallway, and the wallpaper was perforated for easy penetration. As Goodman ran through the hallway, a man on an overhead catwalk opened each jet, giving the impression of a fire racing ahead of Charlie. Each take required a rebuild of the apparatus, and a second hallway (sans fire) stood ready nearby for filming pick-up shots between takes. The final scene was shot near Zuma Beach, as was the image of a wave crashing against a rock. The Coens edited the film themselves, as is their custom. "We prefer a hands-on approach," Joel explained in 1996, "rather than sitting next to someone and telling them what to cut." Because of rules for membership in film production guilds, they are required to use a pseudonym; "Roderick Jaynes" is credited with editing Barton Fink. Only a few filmed scenes were removed from the final cut, including a transition scene to show Barton's movement from New York to Hollywood. (In the film, this is shown enigmatically with a wave crashing against a rock.) Several scenes representing work in Hollywood studios were also filmed, but edited out because they were "too conventional".
Question: Is that what they did?
Answer:
When they decided to use real flames, however, the crew built a large alternate set in an abandoned aircraft hangar at Long Beach.