Problem: Background: Sir Pelham Grenville Wodehouse (; 15 October 1881 - 14 February 1975) was an English author and one of the most widely read humorists of the 20th century. Born in Guildford, the son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school, he was employed by a bank but disliked the work and turned to writing in his spare time.
Context: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929. The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced." Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable. Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.
Question: Was his written work popular?
Answer: Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute.

Problem: Background: Steven Frederic Seagal was born in Lansing, Michigan on April 10, 1952, the son of medical technician Patricia (1930-2003) and high school math teacher Samuel Seagal (1928-1991). His mother was of Dutch, English, and German ancestry, while his paternal grandparents were Russian Jews who immigrated to the U.S. He also has Irish and Mongolian heritage. When Seagal was five years old, his parents relocated to Fullerton, California.
Context: In 1987, Seagal began work on his first film, Above the Law (titled Nico in Europe), with director Andrew Davis and reportedly as a favor to a former aikido student, the agent Michael Ovitz. Ovitz took Seagal to Warner Brothers to put on an aikido demonstration and the executives were impressed by him and offered him several scripts; Seagal turned them down but agreed to write what would become Above the Law. Following its success, Seagal's subsequent movies were Hard to Kill, Marked for Death, and Out for Justice, all box office hits, making him an action hero. Later, he achieved wider, mainstream success in 1992 with the release of Under Siege (1992). That film reunited Seagal with director Andrew Davis, and was a blockbuster in the U.S. and abroad, grossing $156.4 million worldwide. Seagal hosted the April 20, 1991 episode of the late night variety show Saturday Night Live, which aired as the 18th episode of the 16th season. Cast member David Spade regarded Seagal as the show's worst host during Spade's time there. Spade and co-star Tim Meadows cite Seagal's humorlessness, his ill treatment of the show's cast and writers, and his refusal to do a "Hans and Franz" sketch because that skit's title characters stated that they could beat up Seagal. Seagal was never invited back to the show following that episode. Meadows commented, "He didn't realize that you can't tell somebody they're stupid on Wednesday and expect them to continue writing for you on Saturday." The cast and crew's difficulties with Seagal were later echoed on-air by producer Lorne Michaels during guest host Nicolas Cage's monologue in the September 26, 1992 Season 18 premiere. When Cage worried that he would do so poorly that the audience would regard him as "the biggest jerk who's ever been on the show", Michaels replied, "No, no. That would be Steven Seagal." Seagal directed and starred in On Deadly Ground (1994), featuring Michael Caine, R. Lee Ermey and Billy Bob Thornton in minor supporting roles. The film emphasized environmental and spiritual themes, signaling a break with his previous persona as a genre-ready inner-city cop. On Deadly Ground was poorly received by critics, especially denouncing Seagal's long environmental speech in the film. Regardless, Seagal considers it one of the most important and relevant moments in his career. Seagal filmed a sequel to one of his most successful films, Under Siege, titled Under Siege 2: Dark Territory (1995), and cop drama The Glimmer Man (1996). In 1996, he had a role in the Kurt Russell film Executive Decision, portraying a special ops soldier who only appears in the film's first 45 minutes. In another environmentally conscious and commercially unsuccessful film, Fire Down Below (1997), he was an EPA agent fighting industrialists dumping toxic waste in the Kentucky hills. This film ended his original multi-picture contract with Warner Bros.
Question: What was the next movie after Marked for Death?
Answer:
Out for Justice,