input: Public opinion, initially lukewarm, grew hostile in some sectors as the cooperative movement developed, and shopkeepers, butter-buyers and sections of the press led a campaign of virulent opposition. Cooperatives and Plunkett were denounced for supposedly ruining the dairy industry but the movement caught hold, with the mass of farmers benefitting. Plunkett and his colleagues including the poet and painter George William Russell (AE) made a good working team, writing widely on economic and cultural development, and on the role of labour. As early as 1894, when his campaign reached a size too big to be directed by a few individuals, Plunkett founded the Irish Agricultural Organisation Society (IAOS), with Lord Monteagle, Thomas A. Finlay and others. Robert A Anderson acted as secretary, with AE and PJ Hannon his assistants. IAOS soon became the powerhouse of co-operation, with 33 affiliated dairy cooperative societies and cooperative banks, introducing co-operation among Irish farmers by proving the benefits obtainable through more economical and efficient management. The following year he and Russell began publishing its journal The Irish Homestead to spread information on farming. Four years later there were 243 affiliated societies. Within a decade 800 societies were in existence, with a trade turnover of three million pounds sterling (over 300 million sterling in today's money, and the turnover of the resulting companies is in excess of a billion euro). Plunkett's task was frustrating. He was a pioneer of the concept of systematic rural development, who, in spite of his role in Irish affairs being often overlooked, influenced many international reformers, and can be credited as one of the few who had a long-term vision for the development of rural Ireland. He was apt to remind audiences that, even if full peasant proprietorship was achieved and Home Rule was implemented, rural underdevelopment would still have to be faced. But class conflict between farmers and shopkeepers intervened to frustrate much of what he aimed to do.

Answer this question "what did this society do?"
output: Robert A Anderson acted as secretary, with AE and PJ Hannon his assistants. IAOS soon became the powerhouse of co-operation, with 33 affiliated dairy cooperative societies and cooperative banks,

input: Browning's feature film debut was Jim Bludso (1917), about a riverboat captain who sacrifices himself to save his passengers from a fire. It was well received. Browning moved back to New York in 1917. He directed two films for Metro Studios, Peggy, the Will O' the Wisp and The Jury of Fate. Both starred Mabel Taliaferro, the latter in a dual role achieved with double exposure techniques that were groundbreaking for the time. He moved back to California in 1918 and produced two more films for Metro, The Eyes of Mystery and Revenge. In the spring of 1918 he left Metro and joined Bluebird Productions, a subsidiary of Universal Pictures, where he met Irving Thalberg. Thalberg paired Browning with Lon Chaney for the first time for the film The Wicked Darling (1919), a melodrama in which Chaney played a thief who forces a poor girl (Priscilla Dean) from the slums into a life of crime and possibly prostitution. Browning and Chaney would ultimately make ten films together over the next decade. The death of his father sent Browning into a depression that led to alcoholism. He was laid off by Universal and his wife left him. However, he recovered, reconciled with his wife, and got a one-picture contract with Goldwyn Pictures. The film he produced for Goldwyn, The Day of Faith, was a moderate success, putting his career back on track. Thalberg reunited Browning with Lon Chaney for The Unholy Three (1925), the story of three circus performers who concoct a scheme to use disguises to con and steal jewels from rich people. Browning's circus experience shows in his sympathetic portrayal of the antiheroes. The film was a resounding success, so much so that it was later remade in 1930 as Lon Chaney's first (and only) talkie shortly before his death later that same year. Browning and Chaney embarked on a series of popular collaborations, including The Blackbird and The Road to Mandalay. The Unknown (1927), featuring Chaney as an armless knife thrower and Joan Crawford as his scantily clad carnival girl obsession, was originally titled Alonzo the Armless and could be considered a precursor to Freaks in that it concerns a love triangle involving a circus freak, a beauty, and a strongman. London After Midnight (1927) was Browning's first foray into the vampire genre and is a highly sought-after lost film which starred Chaney, Conrad Nagel, and Marceline Day. The last known print of London After Midnight was destroyed in an MGM studio fire in 1967. In 2002, a photographic reconstruction of London After Midnight was produced by Rick Schmidlin for Turner Classic Movies. Browning and Chaney's final collaboration was Where East is East (1929), of which only incomplete prints have survived. Browning's first talkie was The Thirteenth Chair (1929), which was also released as a silent and featured Bela Lugosi, who had a leading part as the uncanny inspector, Delzante, solving the mystery with the aid of the spirit medium. This film was directed shortly after Browning's vacation trip to Germany (arriving in the Port of New York, November 12, 1929).

Answer this question "What was Browning's last silent film?"
output: Thirteenth Chair (1929),

input: Heinlein's experience in the U.S. Navy exerted a strong influence on his character and writing. He graduated from the U.S. Naval Academy in Annapolis, Maryland with the class of 1929 and went on to serve as an officer in the Navy. He was assigned to the new aircraft carrier USS Lexington in 1931, where he worked in radio communications, then in its earlier phases, with the carrier's aircraft. The captain of this carrier was Ernest J. King, who later served as the Chief of Naval Operations and Commander-in-Chief, U.S. Fleet during World War II. Heinlein was frequently interviewed during his later years by military historians who asked him about Captain King and his service as the commander of the U.S. Navy's first modern aircraft carrier. Heinlein also served aboard the destroyer USS Roper in 1933 and 1934, reaching the rank of lieutenant. His brother, Lawrence Heinlein, served in the U.S. Army, the U.S. Air Force, and the Missouri National Guard, and he rose to the rank of major general in the National Guard. In 1929, Heinlein married Elinor Curry of Kansas City in Los Angeles, and their marriage lasted about a year. His second marriage in 1932 to Leslyn MacDonald (1904-1981) lasted for 15 years. MacDonald was, according to the testimony of Heinlein's Navy buddy, Rear Admiral Cal Laning, "astonishingly intelligent, widely read, and extremely liberal, though a registered Republican," while Isaac Asimov later recalled that Heinlein was, at the time, "a flaming liberal". (See section: Politics of Robert Heinlein.)

Answer this question "When did he go to the navy"
output:
He was assigned to the new aircraft carrier USS Lexington in 1931,