IN: Randy Randall Rudy Quaid (born October 1, 1950) is an American film and television actor and Academy Award nominee known for his roles in both serious drama and light comedy. He was nominated for a Golden Globe Award, BAFTA Award and an Academy Award for his role in The Last Detail in 1973. In 1978 he co-starred as a prisoner in Midnight Express. Quaid also won a Golden Globe and was nominated for an Emmy Award for his portrayal of U.S. President Lyndon Johnson in LBJ:

In 2004, Quaid appeared on stage undertaking the starring role of Frank in the world premiere of Sam Shepard's The God of Hell, produced by the New School University at the Actors Studio Drama School in New York. In The God of Hell, Quaid's portrayal of Frank, a Wisconsin dairy farmer whose home is infiltrated by a dangerous government operative who wants to take over his farm, was well-received and -reviewed by New York City's top theatre critics. It marked the second time that Quaid starred in a Shepard play, the first being the long running Broadway hit True West. In February 2008, a five-member hearing committee of Actors' Equity Association, the labor union representing American stage actors, banned Quaid for life and fined him more than $81,000. The charges that brought the sanctions originated in a Seattle production of Lone Star Love, a Western-themed adaptation of Shakespeare's The Merry Wives of Windsor, in which Quaid played the lead role of Falstaff. The musical was scheduled to come to Broadway, but producers cancelled it. According to the New York Post, all 26 members of the musical cast brought charges that Quaid "physically and verbally abused his fellow performers" and that the show closed rather than continuing to Broadway because of Quaid's "oddball behavior". Quaid's lawyer, Mark Block, said the charges were false, and that one of the complaining actors had said the action was driven by "the producers who did not want to give Randy his contractual rights to creative approval ... or financial participation ..." Block said that Quaid had left the union before the musical started, making the ban moot, and that Quaid only participated in the hearing because he wanted due process. Quaid's statement on the charges was "I am guilty of only one thing: giving a performance that elicited a response so deeply felt by the actors and producers with little experience of my creative process that they actually think I am Falstaff."

why was he banned?

OUT: The charges that brought the sanctions originated in a Seattle production of Lone Star Love, a Western-themed adaptation of Shakespeare's

Answer the question at the end by quoting:

Native women in Hong Kong used to be situated within the context of Chinese family and society, in which they were treated the same as Mainland women or Taiwanese women. Under the traditional Chinese patriarchy structure, the society was male-dominated, and women had a relatively subordinate familial role. However, there are cultural differences between Mainland Chinese citizens and citizens of Hong Kong. During the British colonial period the emergence of Western culture (i.e. "Westernization") created a mix of traditional Chinese culture and Western values.
Women were in the workforce as early as the 1920s, but the small population of them often had to fight vigorously for equality of work rights. With the shift of Hong Kong's economy from manufacturing industry to services industry since the 1980s, there is a growing demand for white collar workers. Abundant job opportunities are hence available for both men and women. Employment in Hong Kong can be enjoyed by women, who possess rights, such as maternity protection and sick leave. Nevertheless, women in Hong Kong are aware of the difficulties they face in being a woman in the workforce. For example, when surveyed, both men and women working in Hong Kong stated that they preferred to have a male supervisor over a woman supervisor. In 2016, there are 49.3% females and 50.8% males in the employed population. In spite of the open-minded and relatively westernised culture in Hong Kong, the seemingly equal and fair workplace still poses obstacles on the way of women's career paths. 61.8% of females and 51.6% of males agreed that women have to sacrifice more than men for career success. Interestingly, 72.1% of females agreed that an increasing number of successful women is a positive social phenomenon, while only 59.6% of males shared the same view. The data showed that men, having the invisible privilege obtained from unequal gender perceptions, are content with the current situation and are slightly reluctant to the rising status of women, which might pose a threat to their career prospects. The Hong Kong media clearly reflects the social stereotypes and norms. Performers of authority roles are mostly men, with commentaries and voice overs mainly heard in male voices as well, whereas women are chiefly depicted in domestic roles and gender-specific professions, for example, secretaries and nurses. Despite the high education level and prospective vision women possess, it is uncommon to see women working on Hong Kong corporate boards and in senior management roles. Women account for only 11% of total director pool of Hong Kong's listed issuers and 33% of senior management roles, while the number of female participating in the labor force, which is 54% of the entire female population, lags behind many developed countries (67.6% in the US and 71% in the UK). The number of women in politics is also worryingly small. In the legislative council, there are only 12 female members among the 70 elected members. Comparing to 10 female members among the 60 elected members in 1998, women are clearly under-represented in the legislative stage of the city and such inadequacy will lead to prolonged suppression in women's rights and gender inequality.

In what way are they not equal?

whereas women are chiefly depicted in domestic roles and gender-specific professions, for example, secretaries and nurses.

input: Leno had a contract for five years for the show. NBC reportedly had an option to cancel after two years, but had committed to at least one or two years regardless of ratings, although later chose to end the show after less than five months. He could have earned up to $30 million each year depending on ratings for Leno, compared to a $20 million annual salary during his last years at Tonight. NBC expected to benefit by offering an inexpensive comedic alternative to the procedurals ("100% more comedy and 98% fewer murders!") and other one-hour dramas that typically air at 10 pm, and by offering new episodes 46 weeks each year versus 22. While Leno was not necessarily expected to be competitive with the higher-rated scripted shows on ABC and CBS in its time slot, its projected cost of production was far lower and thus it was expected to be profitable to the network, and product integration intended to make the show "as DVR-proof as you can be on television in this era". Each airing of Leno cost about $350,000 to $400,000 versus up to $3 million for an hour-long drama, saving NBC $13 million each week without the network needing the show to beat its competitors. Those costs include the services of 22 writers, whom Leno called the "top 5% of the highest-paid . . . in the Guild." McDonald's became the first buying advertiser for the program, tying in their "Million Dollar Roll" nightly in October 2009 promoting that year's version of McDonald's Monopoly.

Answer this question "Was the show financially successful?"
output:
He could have earned up to $30 million each year depending on ratings for Leno, compared to a $20 million annual salary during his last years at Tonight.