input: The original Iron Man title explored Cold War themes, as did other Stan Lee projects in the early years of Marvel Comics. Where The Fantastic Four and The Incredible Hulk respectively focused on American domestic and government responses to the Communist threat, Iron Man explored industry's role in the struggle. Tony Stark's real-life model, Howard Hughes, was a significant defense contractor who developed new weapons technologies. Hughes was an icon both of American individualism and of the burdens of fame. Historian Robert Genter, in The Journal of Popular Culture, writes that Tony Stark specifically presents an idealized portrait of the American inventor. Where earlier decades had seen important technological innovations come from famous individuals (e.g., Nikola Tesla, Thomas Edison, Alexander Graham Bell, the Wright brothers), the 1960s saw new technologies (including weapons) being developed mainly by the research teams of corporations. As a result, little room remained for the inventor who wanted credit for, and creative and economic control over, his/her own creations. Issues of entrepreneurial autonomy, government supervision of research, and ultimate loyalty figured prominently in early Iron Man stories -- the same issues affecting American scientists and engineers of that era. Tony Stark, writes Genter, is an inventor who finds motive in his emasculation as an autonomous creative individual. This blow is symbolized by his chest wound, inflicted at the moment he is forced to invent things for the purposes of others, instead of just himself. To Genter, Stark's transformation into Iron Man represents Stark's effort to reclaim his autonomy, and thus his manhood. The character's pursuit of women in bed or in battle, writes Genter, represents another aspect of this effort. The pattern finds parallels in other works of 1960s popular fiction by authors such as "Ian Fleming (creator of James Bond), Mickey Spillane (Mike Hammer), and Norman Mailer, who made unregulated sexuality a form of authenticity."

Answer this question "Were there more themes in addition to the ones you stated?"
output: Issues of entrepreneurial autonomy, government supervision of research, and ultimate loyalty figured prominently in early Iron Man stories

Question: Simon Phillip Cowell was born on 7 October 1959 in Lambeth, London, and raised in Elstree, Hertfordshire. His mother, Julie Brett (nee Josie Dalglish; 1925-2015), was a ballet dancer and socialite, and his father, Eric Selig Phillip Cowell (1918-1999), was an estate agent, property developer, and music industry executive. Cowell's paternal grandmother was a Polish immigrant. His father was from a mostly Jewish family, though he did not discuss his background with his children, and his mother was from a Christian background.

In 2001, Cowell was given the role of judge on the first series of Pop Idol, a show that he and the show creator Simon Fuller successfully pitched to ITV Controller of Entertainment Claudia Rosencrantz. Cowell's S Records signed the top two finishers of the first season of Pop Idol, Will Young and Gareth Gates, both of whom went on to have No 1 UK hits, which were the top 2 best-selling singles of 2002, as well as that of top 2 of the decade of 2000s. He also became a judge on the first season of American Idol in 2002. With his notoriously critical reputation, Cowell has been likened to TV personalities such as Judith Sheindlin, and Anne Robinson of her show. Cowell's prominence grew, fed by his signature phrase, "I don't mean to be rude, but ...", inevitably followed by an unsparingly blunt appraisal of the contestant's talents, personality, or even physical appearance. A lot of these one-liners were the product of coaching that Cowell received from noted publicist Max Clifford (who was sacked by Cowell after being convicted of sex offences as of May 2014). Cowell also appeared on the one-off World Idol programme in 2003, where it became clear that each country's version of the Idol had attempted to come up with its own "Simon Cowell" type personality. In 2003, Cowell placed No 33 on Channel 4's list of the all-time 100 Worst Britons. Cowell formed a new company Syco, which is divided into three units - Syco Music, Syco TV and Syco Film. Cowell returned to music with his latest brainchild signed to Syco, the internationally successful operatic pop group Il Divo, consisting of three opera singers and one pop singer of four different nationalities. Inspired by the success of Il Divo, Simon created a child version, Angelis, beating competition from similar groups emerging at Christmas 2006. On 11 January 2010, Cowell's exit from American Idol was made official. By the time Cowell left American Idol, the show was on its seventh consecutive season in its leadership among all primetime programmes in the United States, even lasting up to 2011 in the longest winning streak in the US overall viewership and demographics in the Nielsen ratings. The 2010 season was Cowell's last on the show. He was replaced by Steven Tyler. It was also announced that FOX had acquired the rights to The X Factor USA, an American version of Cowell's British show, The X Factor, which began in September 2011.

Using a quote from the above article, answer the following question: did this franchise do good
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Answer:
longest winning streak in the US overall viewership and demographics in the Nielsen ratings.