Please answer this: Generate a question about the following movie plot: Pierre Delacroix (whose real name is Peerless Dothan), is an uptight, Harvard University-educated black man, working for the television network CNS. At work, he has to endure torment from his boss Thomas Dunwitty, a tactless, boorish white man. Not only does Dunwitty use AAVE, and use the word "nigger" repeatedly in conversations, he also proudly proclaims that he is more black than Delacroix and that he can use nigger since he is married to a black woman and has two mixed-race children. Dunwitty frequently rejects Delacroix's scripts for television series that portray black people in positive, intelligent scenarios, dismissing them as "Cosby clones". In an effort to escape his contract through being fired, Delacroix develops a minstrel show with the help of his personal assistant Sloane Hopkins. Mantan: The New Millennium Minstrel Show features black actors in blackface, extremely racist jokes and puns, and offensively stereotyped CGI-animated cartoons that caricature the leading stars of the new show. Delacroix and Hopkins recruit two impoverished street performers Manray, named after American artist Man Ray, and Womack to star in the show. While Womack is horrified when Delacroix tells him details about the show, Manray sees it as his big chance to become rich and famous for his tap-dancing skills. To Delacroix's horror, not only does Dunwitty enthusiastically endorse the show, it also becomes hugely successful. As soon as the show premieres, Manray and Womack become big stars, while Delacroix, contrary to his original stated intent, defends the show as being satirical. Delacroix quickly embraces the show, his newfound fame and awards while Hopkins becomes horrified at the racist nightmare she has helped to unleash. Meanwhile, an underground, militant rap group called the Mau Maus, led by Hopkins' older brother Julius, becomes increasingly angry at the content of the show. Though they had earlier unsuccessfully auditioned for the program's live band position, the group plans to bring the show down...
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Answer: In what century were the Hollywood films from?

Problem: Generate a question about the following movie plot: Ali (Salem), is a Moroccan Gastarbeiter (guest worker) in his late thirties, and Emmi (Mira), is a 60-year-old widowed cleaning woman. They meet when Emmi ducks inside a bar, driven by the rain and drawn by the exotic Arabic music (Al Asfouryeh by Sabah) she says she has heard so often on her walk home from work. A woman in the bar (Katharina Herberg) who is part of Ali's Arabic-speaking cohort tauntingly suggests Ali ask Emmi ("the old woman") to dance, and Emmi accepts. A strange and unlikely friendship develops, then a romance and soon they are living together in Emmi's flat. Out of a professed sense of responsibility but also hopefulness, Emmi first confides in her newfound love when she goes to visit her daughter Krista (Irm Hermann) and her tyrannical son-in-law Eugen (Fassbinder himself) and announces that she is in love with Ali; Eugen thinks she is screwy and Krista as well can only think that her mother - who has been a widow for years - is fantasizing. The first real threat to their relationship comes with a visit by the landlord's son, who has been sent on the assumption that Emmi has taken in a lodger to point out to her that sub-letting is against Emmi's tenancy agreement, and that Ali must leave within a day. Impulsively, and fearful of losing this new joy in her life, Emmi claims that she and Ali are planning to marry to alleviate this little difficulty. This changes everything for the landlord's son, the only character in the film who consistently accepts their relationship as unproblematic. After he has apologized for the misapprehension and departed, Emmi speaks to Ali with embarrassment of her having invented the idea of their marrying but, to her surprise and delight, Ali concurs that it is an excellent idea, and we next see them emerging from the civil court, married. What follows is a bitter and noxious reaction over their relationship, revealing every character in their lives, especially every German in Emmi's former life, as being mired in prejudice against foreign workers as dirty...

A: Who visits and remarks on how surprisingly clean he is?

Q: Generate a question about the following movie plot: The Women follows the lives of Manhattan women, focusing in particular on Mary Haines (Norma Shearer), the cheerful, contented wife of Stephen and mother of Little Mary (Virginia Weidler). After a bit of gossip flies around the salon these wealthy women visit, Mary's cousin Sylvia Fowler (Rosalind Russell) goes to a salon to get the newest, exclusive nail color: Jungle Red. She learns from a manicurist that Mary's husband has been having an affair with a predatory perfume counter girl named Crystal Allen (Joan Crawford). A notorious gossip, Sylvia delights in sharing the news with Mary's friends; she sets up Mary with an appointment with the same manicurist so that she hears the rumor about Stephen's infidelity. While Mary's mother (Lucile Watson) urges her to ignore the gossip, Mary begins to have her own suspicions about her husband's increasingly frequent claims that he needs to work late. She decides to travel to Bermuda with her mother to think about the situation and hope the rumors will fade. Upon her return, Mary heads to a fashion show and learns that Crystal is in attendance, trying on clothes in a dressing room. Mary, at Sylvia's insistence, confronts her about the affair, but Crystal is completely unapologetic and slyly suggests that Mary keep the status quo unless she wants to lose Stephen in a divorce. Heartbroken and humiliated, Mary leaves quickly. The gossip continues, exacerbated by Sylvia and her friend Edith (Phyllis Povah), who turns the affair into a public scandal by recounting Sylvia's version of the story to a notorious gossip columnist. Mary chooses to divorce her husband despite his efforts to convince her to stay. As she is packing to leave for Reno, Mary explains the divorce to Little Mary. On the train to Reno, where she will get her divorce, Mary meets several women with the same destination and purpose: the dramatic, extravagant Countess de Lave (Mary Boland); Miriam Aarons (Paulette Goddard), a tough-cookie chorus girl; and, to her surprise, her friend Peggy Day (Joan...
A:
Who is waiting for Mary?