Background: Anthony McPartlin, OBE (born 18 November 1975) and Declan Donnelly, OBE (born 25 September 1975), known collectively as Ant & Dec, are an English comedy TV presenting, television producing, acting and former music duo from Newcastle upon Tyne, England. The duo met as actors on the children's television show Byker Grove, during which and in their subsequent pop career they were respectively known as PJ & Duncan - the names of the characters they played on the show. They have had a successful career as television presenters, presenting shows such as SMTV Live, CD:UK, Friends
Context: In 2006, a celebration of the show Spitting Image saw Ant and Dec having their own puppets made. They have also been made into cartoon characters on the comedy show 2DTV, and face masks in Avid Merrion's Bo Selecta. Waxworks of the duo could once be found in London's Madame Tussauds. In April 2008, it was reported that Ant & Dec's production company, Gallowgate Productions, had purchased the rights to Byker Grove and SMTV Live, after the production companies that made them, Zenith Entertainment and Blaze Television, had both gone bankrupt in 2007. According to reports, the duo decided to purchase the rights to stop digital channels showing repeats of the programmes. On 28 September 2008, it was reported that the pair were attacked by the Taliban whilst in Afghanistan to present a Pride of Britain Award. In December 2008, the duo starred in a seasonal advert, their first in seven years, for the supermarket chain Sainsbury's. The duo appeared alongside chef Jamie Oliver. In March 2009, the duo filmed a short film for inclusion on Comic Relief, which highlighted their story upon visiting a community centre for young carers in the North East. In September 2009, the duo released their official autobiography, entitled "Ooh! What a Lovely Pair. Our Story". In October 2010, the duo appeared in several Nintendo adverts playing both the Wii and Nintendo DS. In 2011 and 2014, they both appeared on the ITV2 comedy panel show Celebrity Juice. From February 2013 to March 2015 they appeared in adverts for supermarket Morrisons. Between February 2016 and March 2018, they had appeared in adverts for car company Suzuki. In 2015, the pair made a cameo appearance on the U.S. adaptation of Saturday Night Takeaway, NBC's Best Time Ever with Neil Patrick Harris. The duo are also executive producers on the show.
Question: Did they do any charity work?
Answer:

Background: John Wood Campbell Jr. (June 8, 1910 - July 11, 1971) was an American science fiction writer and editor. He was editor of Astounding Science Fiction (later called Analog Science Fiction and Fact) from late 1937 until his death and was part of the Golden Age of Science Fiction. Campbell wrote super-science space opera under his own name and stories under his primary pseudonym, Don A. Stuart. Campbell also used the pen names Karl Van Kampen and Arthur McCann.
Context: In the 1930s Campbell became interested in Joseph Rhine's theories about ESP (Rhine had already founded Parapsychology Laboratory at Duke University when Campbell was a student there), and over the following years his growing interest in parapsychology would be reflected in the stories he published when he encouraged the writers to include these topics in their tales, leading to the publication of numerous works about telepathy and other psionic abilities. His increasing tendencies would eventually start to isolate and alienate him from some of his own writers. He wrote favorably about such things as the "Dean drive", a device that supposedly produced thrust in violation of Newton's third law, and the "Hieronymus machine", which could supposedly amplify psi powers. In 1949, Campbell also became interested in Dianetics. He wrote of L. Ron Hubbard's initial article in Astounding that "It is, I assure you in full and absolute sincerity, one of the most important articles ever published." He also claimed to have successfully used dianetic techniques himself. Asimov wrote: "A number of writers wrote pseudoscientific stuff to ensure sales to Campbell, but the best writers retreated, I among them. ..." Elsewhere Asimov went on to further explain, "Campbell championed far-out ideas ... He pained very many of the men he had trained (including me) in doing so, but felt it was his duty to stir up the minds of his readers and force curiosity right out to the border lines. He began a series of editorials ... in which he championed a social point of view that could sometimes be described as far right (he expressed sympathy for George Wallace in the 1968 national election, for instance). There was bitter opposition to this from many (including me - I could hardly ever read a Campbell editorial and keep my temper)."
Question: What did he have to say about pseudoscience?
Answer: over the following years his growing interest in parapsychology would be reflected in the stories he published

Background: Michael Bennett (April 8, 1943 - July 2, 1987) was an American musical theatre director, writer, choreographer, and dancer. He won seven Tony Awards for his choreography and direction of Broadway shows and was nominated for an additional eleven. Bennett choreographed Promises, Promises, Follies and Company. In 1976, he won the Tony Award for Best Direction of a Musical and the Tony Award for Best Choreography for the musical A Chorus Line.
Context: Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted. In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it. The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it. Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement": The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers."
Question: what did critics have to say about his style?
Answer:
In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":