Background: Bruno Latour (French: [latuR]; born 22 June 1947) is a French philosopher, anthropologist and sociologist. He is especially known for his work in the field of science and technology studies (STS). After teaching at the Ecole des Mines de Paris (Centre de Sociologie de l'Innovation) from 1982 to 2006, he became Professor at Sciences Po Paris (2006-2017), where he was the scientific director of the Sciences Po Medialab. He retired from several university activities in 2017.
Context: Latour's work Nous n'avons jamais ete modernes : Essais d'anthropologie symetrique was first published in French in 1991, and then in English in 1993 as We Have Never Been Modern. Latour encouraged the reader of this anthropology of science to re-think and re-evaluate our mental landscape. He evaluated the work of scientists and contemplated the contribution of the scientific method to knowledge and work, blurring the distinction across various fields and disciplines. Latour argued that society has never really been modern and promoted nonmodernism (or amodernism) over postmodernism, modernism, or antimodernism. His stance was that we have never been modern and minor divisions alone separate Westerners now from other collectives. Latour viewed modernism as an era that believed it had annulled the entire past in its wake. He presented the antimodern reaction as defending such entities as spirit, rationality, liberty, society, God, or even the past. Postmoderns, according to Latour, also accepted the modernistic abstractions as if they were real. In contrast, the nonmodern approach reestablished symmetry between science and technology on the one hand and society on the other. Latour also referred to the impossibility of returning to premodernism because it precluded the large scale experimentation which was a benefit of modernism. Latour attempted to prove through case studies the fallacy in the old object/subject and Nature/Society compacts of modernity, which can be traced back to Plato. He refused the concept of "out there" versus "in here". He rendered the object/subject distinction as simply unusable and charted a new approach towards knowledge, work, and circulating reference. Latour considered nonmoderns to be playing on a different field, one vastly different than that of post-moderns. He referred to it as much broader and much less polemical, a creation of an unknown territory, which he playfully referred to as the Middle Kingdom. In 1998, historian of science Margaret C. Jacob argued that Latour's politicized account of the development of modernism in the 17th century is "a fanciful escape from modern Western history".
Question: did he have supporters
Answer: Margaret C. Jacob

Question:
James Watt (30 January 1736 (19 January 1736 OS) - 25 August 1819) was a Scottish inventor, mechanical engineer, and chemist who improved on Thomas Newcomen's 1712 Newcomen steam engine with his Watt steam engine in 1781, which was fundamental to the changes brought by the Industrial Revolution in both his native Great Britain and the rest of the world. While working as an instrument maker at the University of Glasgow, Watt became interested in the technology of steam engines. He realised that contemporary engine designs wasted a great deal of energy by repeatedly cooling and reheating the cylinder. Watt introduced a design enhancement, the separate condenser, which avoided this waste of energy and radically improved the power, efficiency, and cost-effectiveness of steam engines.
From an early age Watt was very interested in chemistry. In late 1786, while in Paris, he witnessed an experiment by Berthollet in which he reacted hydrochloric acid with manganese dioxide to produce chlorine. He had already found that an aqueous solution of chlorine could bleach textiles, and had published his findings, which aroused great interest among many potential rivals. When Watt returned to Britain, he began experiments along these lines with hopes of finding a commercially viable process. He discovered that a mixture of salt, manganese dioxide and sulphuric acid could produce chlorine, which Watt believed might be a cheaper method. He passed the chlorine into a weak solution of alkali, and obtained a turbid solution that appeared to have good bleaching properties. He soon communicated these results to James McGrigor, his father-in-law, who was a bleacher in Glasgow. Otherwise he tried to keep his method a secret. With McGrigor and his wife Annie, he started to scale up the process, and in March 1788, McGrigor was able to bleach 1500 yards of cloth to his satisfaction. About this time Berthollet discovered the salt and sulphuric acid process, and published it so it became public knowledge. Many others began to experiment with improving the process, which still had many shortcomings, not the least of which was the problem of transporting the liquid product. Watt's rivals soon overtook him in developing the process, and he dropped out of the race. It was not until 1799, when Charles Tennant patented a process for producing solid bleaching powder (calcium hypochlorite) that it became a commercial success. By 1794 Watt had been chosen by Thomas Beddoes to manufacture apparatus to produce, clean and store gases for use in the new Pneumatic Institution at Hotwells in Bristol. Watt continued to experiment with various gases for several years, but by 1797 the medical uses for the "factitious airs" had come to a dead end.
Answer this question using a quote from the text above:

Who else did Watt colaborate with?

Answer:
He soon communicated these results to James McGrigor, his father-in-law, who was a bleacher in Glasgow.

Problem: Background: RuPaul's Drag Race is an American reality competition television series produced by World of Wonder for Logo TV and, beginning with the ninth season, VH1. The show documents RuPaul in the search for "America's next drag superstar." RuPaul plays the role of host, mentor, and head judge for this series, as contestants are given different challenges each week. RuPaul's Drag Race employs a panel of judges, including RuPaul, Michelle Visage, Ross Mathews, Carson Kressley, and a host of other guest judges, who critique contestants' progress throughout the competition.
Context: The first season of Drag Race was accompanied by a seven-episode web series, titled Under the Hood of RuPaul's Drag Race. LOGOonline published a webisode of Under the Hood after each episode of Drag Race. In this companion series, RuPaul presents a documentary of contestants' conversation in the green room, replays pertinent moments from Drag Race, and airs deleted footage. Starting with the second season of Drag Race in 2010, Logo reformatted Under the Hood, increased its production budget, moved it from the web to television, and re-titled it to RuPaul's Drag Race: Untucked. Logo broadcast an episode of Untucked after each episode of Drag Race. Untucked replaces the basic green room of Under the Hood with two decorated rooms that were until season 6 sponsored by Absolut Vodka and Interior Illusions, Inc.: the Interior Illusions Lounge and the Gold Bar. FormDecor sponsored the Lounge for season 6. These two backstage areas allow for separated group conversation. At the start of the seventh season of the Drag Race, Untucked reverted to a webseries, as part of the World of Wonder YouTube page. Instead of two decorated rooms, Untucked was moved back to the one room, an empty backstage space that connects to the main stage and work room, with couches for contestants to chat on. The newly renovated version also follows contestants following their elimination from the show, documenting them packing their belongings and leaving the set. The webseries format continued for the eighth and ninth season. For the show's tenth season, Untucked returned to television.
Question: When did it begin?
Answer:
Starting with the second season of Drag Race in 2010, Logo reformatted Under the Hood, increased its production budget, moved it from the web to television,