Problem: Fred McFeely Rogers (March 20, 1928 - February 27, 2003) was an American television personality, musician, puppeteer, writer, producer, and Presbyterian minister. Rogers was famous for creating, hosting and composing the theme music for the educational preschool television series Mister Rogers' Neighborhood (1968-2001), which featured his kind-hearted grandfatherly personality, and direct connection to his audiences. Originally trained and ordained as a minister, Rogers was displeased with the way television addressed children at the time, and made an effort to change this when he began to write for and perform on local Pittsburgh-area shows dedicated to youth. Rogers developed his own show on WQED in 1968, and it was distributed nationwide by Eastern Educational Television Network.

During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated. When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important.

When was the court case?

Answer with quotes: When the case reached the Supreme Court in 1983,

Problem: Comet is the name of two fictional comic book characters owned by DC Comics whose adventures have been published by that same company. The first character was a sapient horse with magical powers who was once a centaur in ancient Greece. The second character is a shapeshifter with three forms (male, female, and winged centaur). Both characters are connected to the Superman family of titles.

A very different Comet was introduced in Supergirl #14 (October 1997). This version was originally introduced as a hero with flight and cold-generation powers. Comet's appearance was unclear, as when using his powers he was surrounded by an aura of cold that made him resemble an actual comet. Comet looked like a man with three fingers, horse-like legs, long white hair, and a star mark on his forehead. There was a lot of speculation about who Comet was, but it was revealed that Comet was Andrea Martinez, a gay stand-up comic, who like her friend Linda Danvers (who could turn into Supergirl), could shape-shift between her human and super-powered forms (however, Comet's change also involved changing gender, from the female Andrea to the male Comet). Soon, it was learned that Comet's male form was originally Andrew Jones, a (male) jockey, who had been trampled by horses and "rebuilt" by an organization called "The Stable" as a superhuman with equine DNA. He rebelled against the organization and began operating as a superhero. On one of his first missions he attempted to save a despairing Andrea Martinez (who had just come out to her parents, and been rejected) from an avalanche, but they both died. As with Matrix and Linda Danvers (who had merged into Supergirl, the Angel of Fire), this caused them to combine into one being: the Earth Angel of Love. Comet originally was in love with Supergirl, and since he was the Angel of Love, made her have feelings for him too, but she rejected him when she learned he was also a woman. This opened the door for the third Angel, Blithe, the Angel of Light, to use her powers to exploit Comet's heartbreak, and turn them against Supergirl. She enabled Comet to fully embrace their angel powers, transforming him/herself into a winged centaur. Blithe deceived Comet into joining forces with the Carnivore (a powerful demonic creature who despised the Earth Angels, and sought their power). The Carnivore lost control, however, when Andrea abandoned her anger, learning that her mother had died, and had left a video apology for her actions. The three Earth Angels worked together to stop the Carnivore. Comet began a relationship with Blithe, since she loved both their forms (revealing that Blithe is bisexual).

Who was Comet?

Answer with quotes: hero with flight and cold-generation powers.

Problem: Susan Keating Glaspell (July 1, 1876 - July 28, 1948) was an American playwright, novelist, journalist and actress. With her husband George Cram Cook she founded the Provincetown Players, the first modern American theatre company. During the Great Depression, she served in the Works Progress Administration as Midwest Bureau Director of the Federal Theater Project. Glaspell is known to have composed nine novels, fifteen plays, over fifty short stories, and one biography.

Glaspell was highly regarded in her time, and was well known as a Pulitzer Prize-winning playwright. Her short stories were regularly printed in the era's top periodicals, and her New York Times obituary states that she was "one of the nation's most widely-read novelists." However, Glaspell's idealistic tales of strong and independent female protagonists were less popular in the post-war era that stressed female domesticity, and her novels fell out of print after her death. In 1940 a new generation of influential Broadway-based critics began publishing derogatory reviews of her plays, having a sizable effect on her long-term standing. Exacerbating the issue was Glaspell's reluctance to seek publicity and her tendency to downplay her own accomplishments, perhaps a result of her modest Midwestern upbringing. Accordingly, in the United States her work was seriously neglected for many years. Internationally, she received some attention by scholars who were primarily interested in her more experimental work from the Provincetown years. In the late 1970s feminist critics began to reevaluate Glaspell's career, and interest in her work has grown steadily ever since. Today, Glaspell scholarship is a "burgeoning" field, with several book-length biographies and analyses of her writing being published by university presses in recent years. After a century of being out of print, a large portion of her work has been republished. With major achievements in drama, novel, and short fiction, Glaspell is often cited as a "prime example" of an overlooked female writer deserving canonization. Perhaps the originator of modern American theater, Glaspell has been called "the First Lady of American Drama" and "the Mother of American Drama." In 2003 the International Susan Glaspell Society was founded, with the aim of promoting "the recognition of Susan Glaspell as a major American dramatist and fiction writer." Her plays are frequently performed by college and university theater departments, but she has become more widely known for her often-anthologized works: the one-act play Trifles, and its short-story adaptation, "A Jury of Her Peers". Since the late 20th century, these two pieces have become staples of theatre and Women's Studies curricula across the United States and the world.

Is there anything else interesting about her?

Answer with quotes:
In the late 1970s feminist critics began to reevaluate Glaspell's career, and interest in her work has grown steadily ever since. Today, Glaspell scholarship is a "burgeoning" field,