gem_id stringlengths 20 25 | id stringlengths 24 24 | title stringlengths 3 59 | context stringlengths 151 3.71k | question stringlengths 1 270 | target stringlengths 1 270 | references list | answers dict |
|---|---|---|---|---|---|---|---|
gem-squad_v2-train-11900 | 56e146bde3433e1400422d34 | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to avoid paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | In what city and state was the Independent Moving Pictures Company based? | In what city and state was the Independent Moving Pictures Company based? | [
"In what city and state was the Independent Moving Pictures Company based?"
] | {
"text": [
"Fort Lee, New Jersey"
],
"answer_start": [
312
]
} |
gem-squad_v2-train-11901 | 56e146bde3433e1400422d35 | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to avoid paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | What was a nickname of Florence Lawrence? | What was a nickname of Florence Lawrence? | [
"What was a nickname of Florence Lawrence?"
] | {
"text": [
"The Biograph Girl"
],
"answer_start": [
727
]
} |
gem-squad_v2-train-11902 | 56e146bde3433e1400422d36 | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to avoid paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | What actor did Laemmle promote? | What actor did Laemmle promote? | [
"What actor did Laemmle promote?"
] | {
"text": [
"King Baggot"
],
"answer_start": [
757
]
} |
gem-squad_v2-train-11903 | 5ad12b14645df0001a2d106c | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to avoid paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | What did Laemmle and Edison decide to do? | What did Laemmle and Edison decide to do? | [
"What did Laemmle and Edison decide to do?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11904 | 5ad12b14645df0001a2d106d | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to avoid paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | Who started the Yankee Film Company in 1910? | Who started the Yankee Film Company in 1910? | [
"Who started the Yankee Film Company in 1910?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11905 | 5ad12b14645df0001a2d106e | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to avoid paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | What was started in June 1910? | What was started in June 1910? | [
"What was started in June 1910?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11906 | 5ad12b14645df0001a2d106f | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to avoid paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | What was Lawrence Florence known as? | What was Lawrence Florence known as? | [
"What was Lawrence Florence known as?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11907 | 5ad12b14645df0001a2d1070 | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to avoid paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | What does IPM stand for? | What does IPM stand for? | [
"What does IPM stand for?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11908 | 56e147e6cd28a01900c67727 | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would be bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | On what date was the incorporation of the Universal Film Manufacturing Company? | On what date was the incorporation of the Universal Film Manufacturing Company? | [
"On what date was the incorporation of the Universal Film Manufacturing Company?"
] | {
"text": [
"April 30, 1912"
],
"answer_start": [
73
]
} |
gem-squad_v2-train-11909 | 56e147e6cd28a01900c67728 | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would be bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | In what state was the Universal Film Manufacturing Company incorporated? | In what state was the Universal Film Manufacturing Company incorporated? | [
"In what state was the Universal Film Manufacturing Company incorporated?"
] | {
"text": [
"New York"
],
"answer_start": [
61
]
} |
gem-squad_v2-train-11910 | 56e147e6cd28a01900c67729 | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would be bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | Who was the president of the Universal Film Manufacturing Company circa July 1912? | Who was the president of the Universal Film Manufacturing Company circa July 1912? | [
"Who was the president of the Universal Film Manufacturing Company circa July 1912?"
] | {
"text": [
"Laemmle"
],
"answer_start": [
89
]
} |
gem-squad_v2-train-11911 | 56e147e6cd28a01900c6772a | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would be bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | What was the fate of the other partners of the Universal Film Manufacturing Company? | What was the fate of the other partners of the Universal Film Manufacturing Company? | [
"What was the fate of the other partners of the Universal Film Manufacturing Company?"
] | {
"text": [
"bought out by Laemmle"
],
"answer_start": [
278
]
} |
gem-squad_v2-train-11912 | 56e147e6cd28a01900c6772b | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would be bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | Along with exhibition and distribution, what business did the Universal Film Manufacturing Company engage in? | Along with exhibition and distribution, what business did the Universal Film Manufacturing Company engage in? | [
"Along with exhibition and distribution, what business did the Universal Film Manufacturing Company engage in?"
] | {
"text": [
"movie production"
],
"answer_start": [
368
]
} |
gem-squad_v2-train-11913 | 5ad12c1a645df0001a2d108a | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would be bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | What was incorporated in New York on April 30, 1921? | What was incorporated in New York on April 30, 1921? | [
"What was incorporated in New York on April 30, 1921?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11914 | 5ad12c1a645df0001a2d108b | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would be bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | Who emerged as president in April 1912? | Who emerged as president in April 1912? | [
"Who emerged as president in April 1912?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11915 | 5ad12c1a645df0001a2d108c | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would be bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | Where was the Universal Manufacturing Film Company incorporated? | Where was the Universal Manufacturing Film Company incorporated? | [
"Where was the Universal Manufacturing Film Company incorporated? "
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11916 | 56e1483acd28a01900c67731 | Universal_Studios | On March 15, 1915,:8 Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in small towns, producing mostly inexpensive melodramas, westerns and serials. | On what date did Universal City Studios open? | On what date did Universal City Studios open? | [
"On what date did Universal City Studios open?"
] | {
"text": [
"March 15, 1915"
],
"answer_start": [
3
]
} |
gem-squad_v2-train-11917 | 56e1483acd28a01900c67732 | Universal_Studios | On March 15, 1915,:8 Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in small towns, producing mostly inexpensive melodramas, westerns and serials. | In square kilometers, what was the size of Universal City Studios? | In square kilometers, what was the size of Universal City Studios? | [
"In square kilometers, what was the size of Universal City Studios?"
] | {
"text": [
"0.9"
],
"answer_start": [
131
]
} |
gem-squad_v2-train-11918 | 56e1483acd28a01900c67733 | Universal_Studios | On March 15, 1915,:8 Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in small towns, producing mostly inexpensive melodramas, westerns and serials. | What geographical feature separated Universal City Studios from Hollywood? | What geographical feature separated Universal City Studios from Hollywood? | [
"What geographical feature separated Universal City Studios from Hollywood?"
] | {
"text": [
"Cahuenga Pass"
],
"answer_start": [
169
]
} |
gem-squad_v2-train-11919 | 56e1483acd28a01900c67734 | Universal_Studios | On March 15, 1915,:8 Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in small towns, producing mostly inexpensive melodramas, westerns and serials. | What was the biggest Hollywood studio during this period? | What was the biggest Hollywood studio during this period? | [
"What was the biggest Hollywood studio during this period?"
] | {
"text": [
"Universal"
],
"answer_start": [
92
]
} |
gem-squad_v2-train-11920 | 5ad12d31645df0001a2d109a | Universal_Studios | On March 15, 1915,:8 Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in small towns, producing mostly inexpensive melodramas, westerns and serials. | What opened on March 19, 1915? | What opened on March 19, 1915? | [
"What opened on March 19, 1915?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11921 | 5ad12d31645df0001a2d109b | Universal_Studios | On March 15, 1915,:8 Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in small towns, producing mostly inexpensive melodramas, westerns and serials. | Who opened Universal City Studios on March 19, 1915? | Who opened Universal City Studios on March 19, 1915? | [
"Who opened Universal City Studios on March 19, 1915?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11922 | 5ad12d31645df0001a2d109c | Universal_Studios | On March 15, 1915,:8 Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in small towns, producing mostly inexpensive melodramas, westerns and serials. | What studio was built on a 230-km² converted farm? | What studio was built on a 230-km² converted farm? | [
"What studio was built on a 230-km² converted farm?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11923 | 5ad12d31645df0001a2d109d | Universal_Studios | On March 15, 1915,:8 Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in small towns, producing mostly inexpensive melodramas, westerns and serials. | Who opened his studio to tourists like other movie moguls? | Who opened his studio to tourists like other movie moguls? | [
"Who opened his studio to tourists like other movie moguls?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11924 | 56e14887e3433e1400422d4e | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | What sort of films were produced by Red Feather? | What sort of films were produced by Red Feather? | [
"What sort of films were produced by Red Feather?"
] | {
"text": [
"low-budget programmers"
],
"answer_start": [
83
]
} |
gem-squad_v2-train-11925 | 56e14887e3433e1400422d4f | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | What type of movies came out of Bluebird? | What type of movies came out of Bluebird? | [
"What type of movies came out of Bluebird?"
] | {
"text": [
"more ambitious productions"
],
"answer_start": [
117
]
} |
gem-squad_v2-train-11926 | 56e14887e3433e1400422d50 | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | What motion pictures were made by Jewel? | What motion pictures were made by Jewel? | [
"What motion pictures were made by Jewel?"
] | {
"text": [
"prestige motion pictures"
],
"answer_start": [
162
]
} |
gem-squad_v2-train-11927 | 56e14887e3433e1400422d51 | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | What was the profession of George Marshall? | What was the profession of George Marshall? | [
"What was the profession of George Marshall?"
] | {
"text": [
"Directors"
],
"answer_start": [
188
]
} |
gem-squad_v2-train-11928 | 56e14887e3433e1400422d52 | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | Who was one of the few female Hollywood directors in this era? | Who was one of the few female Hollywood directors in this era? | [
"Who was one of the few female Hollywood directors in this era?"
] | {
"text": [
"Lois Weber"
],
"answer_start": [
282
]
} |
gem-squad_v2-train-11929 | 5ad12e9a645df0001a2d10c6 | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | Who was Red Bluebird a brand for? | Who was Red Bluebird a brand for? | [
"Who was Red Bluebird a brand for?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11930 | 5ad12e9a645df0001a2d10c7 | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | What was Blue Feather a brand for? | What was Blue Feather a brand for? | [
"What was Blue Feather a brand for?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11931 | 5ad12e9a645df0001a2d10c8 | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | What was Jewel Bird a brand for? | What was Jewel Bird a brand for? | [
"What was Jewel Bird a brand for?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11932 | 5ad12e9a645df0001a2d10c9 | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | Who was the one woman directing films in Hollywood? | Who was the one woman directing films in Hollywood? | [
"Who was the one woman directing films in Hollywood?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11933 | 56e14927e3433e1400422d58 | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to develop a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | Who directed Blind Husbands? | Who directed Blind Husbands? | [
"Who directed Blind Husbands?"
] | {
"text": [
"Erich von Stroheim"
],
"answer_start": [
313
]
} |
gem-squad_v2-train-11934 | 56e14927e3433e1400422d59 | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to develop a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | In what year was Foolish Wives produced? | In what year was Foolish Wives produced? | [
"In what year was Foolish Wives produced?"
] | {
"text": [
"1922"
],
"answer_start": [
436
]
} |
gem-squad_v2-train-11935 | 56e14927e3433e1400422d5a | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to develop a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | Who starred in The Phantom of the Opera? | Who starred in The Phantom of the Opera? | [
"Who starred in The Phantom of the Opera?"
] | {
"text": [
"Lon Chaney"
],
"answer_start": [
591
]
} |
gem-squad_v2-train-11936 | 56e14927e3433e1400422d5b | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to develop a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | What year saw a film version of The Hunchback of Notre Dame? | What year saw a film version of The Hunchback of Notre Dame? | [
"What year saw a film version of The Hunchback of Notre Dame?"
] | {
"text": [
"1923"
],
"answer_start": [
751
]
} |
gem-squad_v2-train-11937 | 56e14927e3433e1400422d5c | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to develop a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | Who was at one time Laemmle's personal secretary? | Who was at one time Laemmle's personal secretary? | [
"Who was at one time Laemmle's personal secretary?"
] | {
"text": [
"Irving Thalberg"
],
"answer_start": [
874
]
} |
gem-squad_v2-train-11938 | 5ad1301e645df0001a2d10ec | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to develop a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | Who else decided not to develop a theater chain with Laemmle? | Who else decided not to develop a theater chain with Laemmle? | [
"Who else decided not to develop a theater chain with Laemmle?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11939 | 5ad1301e645df0001a2d10ed | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to develop a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | What year did Foolish Husbands come out? | What year did Foolish Husbands come out? | [
"What year did Foolish Husbands come out?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11940 | 5ad1301e645df0001a2d10ee | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to develop a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | What year did Blind Wives come out? | What year did Blind Wives come out? | [
"What year did Blind Wives come out?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11941 | 5ad1301e645df0001a2d10ef | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to develop a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | Who starred in the 1925 film The Hunchback of Notre Dame? | Who starred in the 1925 film The Hunchback of Notre Dame? | [
"Who starred in the 1925 film The Hunchback of Notre Dame?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11942 | 5ad1301e645df0001a2d10f0 | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to develop a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | Who starred in the 1923 film The Phantom of the Opera? | Who starred in the 1923 film The Phantom of the Opera? | [
"Who starred in the 1923 film The Phantom of the Opera?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11943 | 56e14a14e3433e1400422d62 | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Hungarian or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | What was the name of Universal's German production unit? | What was the name of Universal's German production unit? | [
"What was the name of Universal's German production unit?"
] | {
"text": [
"Deutsche Universal-Film AG"
],
"answer_start": [
56
]
} |
gem-squad_v2-train-11944 | 56e14a14e3433e1400422d63 | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Hungarian or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | Who ran Universal's German production unit? | Who ran Universal's German production unit? | [
"Who ran Universal's German production unit?"
] | {
"text": [
"Joe Pasternak"
],
"answer_start": [
107
]
} |
gem-squad_v2-train-11945 | 56e14a14e3433e1400422d64 | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Hungarian or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | In what year did Deutsche Universal-Film AG open? | In what year did Deutsche Universal-Film AG open? | [
"In what year did Deutsche Universal-Film AG open?"
] | {
"text": [
"1926"
],
"answer_start": [
3
]
} |
gem-squad_v2-train-11946 | 56e14a14e3433e1400422d65 | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Hungarian or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | How many films did Universal's German subsidiary make yearly? | How many films did Universal's German subsidiary make yearly? | [
"How many films did Universal's German subsidiary make yearly?"
] | {
"text": [
"three to four"
],
"answer_start": [
141
]
} |
gem-squad_v2-train-11947 | 56e14a14e3433e1400422d66 | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Hungarian or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | Along with Germany and Austria, where was Deutsche Universal-Film AG at one time based? | Along with Germany and Austria, where was Deutsche Universal-Film AG at one time based? | [
"Along with Germany and Austria, where was Deutsche Universal-Film AG at one time based?"
] | {
"text": [
"Hungary"
],
"answer_start": [
195
]
} |
gem-squad_v2-train-11948 | 5ad137f8645df0001a2d11fc | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Hungarian or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | What opened in 1962? | What opened in 1962? | [
"What opened in 1962?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11949 | 5ad137f8645df0001a2d11fd | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Hungarian or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | Who directed Deutsche AG Universal-Film? | Who directed Deutsche AG Universal-Film? | [
"Who directed Deutsche AG Universal-Film?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11950 | 5ad137f8645df0001a2d11fe | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Hungarian or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | How many films did Deutsche Universal-Film AG produce in 1936? | How many films did Deutsche Universal-Film AG produce in 1936? | [
"How many films did Deutsche Universal-Film AG produce in 1936?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11951 | 5ad137f8645df0001a2d11ff | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Hungarian or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | Where did Universal Pictures distribute the subsidiary's films? | Where did Universal Pictures distribute the subsidiary's films? | [
"Where did Universal Pictures distribute the subsidiary's films?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11952 | 56e14acbcd28a01900c6774b | Universal_Studios | In the early years, Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more profit while Universal was losing money. | what was the policy that Universal followed in its early years? | what was the policy that Universal followed in its early years? | [
"what was the policy that Universal followed in its early years?"
] | {
"text": [
"\"clean picture\""
],
"answer_start": [
36
]
} |
gem-squad_v2-train-11953 | 56e14acbcd28a01900c6774c | Universal_Studios | In the early years, Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more profit while Universal was losing money. | By what month and year did Laemmle change his opinion on "unclean pictures"? | By what month and year did Laemmle change his opinion on "unclean pictures"? | [
"By what month and year did Laemmle change his opinion on \"unclean pictures\"?"
] | {
"text": [
"April 1927"
],
"answer_start": [
72
]
} |
gem-squad_v2-train-11954 | 56e14acbcd28a01900c6774d | Universal_Studios | In the early years, Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more profit while Universal was losing money. | Why did Laemmle change his position on "unclean pictures"? | Why did Laemmle change his position on "unclean pictures"? | [
"Why did Laemmle change his position on \"unclean pictures\"?"
] | {
"text": [
"Universal was losing money"
],
"answer_start": [
204
]
} |
gem-squad_v2-train-11955 | 5ad13864645df0001a2d122c | Universal_Studios | In the early years, Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more profit while Universal was losing money. | What policy was established in April 1927? | What policy was established in April 1927? | [
"What policy was established in April 1927?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11956 | 5ad13864645df0001a2d122d | Universal_Studios | In the early years, Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more profit while Universal was losing money. | When did Carl Laemmle decide to establish a clean picture policy? | When did Carl Laemmle decide to establish a clean picture policy? | [
"When did Carl Laemmle decide to establish a clean picture policy?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11957 | 5ad13864645df0001a2d122e | Universal_Studios | In the early years, Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more profit while Universal was losing money. | What did Carl Laemmle consider a mistake in 1972? | What did Carl Laemmle consider a mistake in 1972? | [
"What did Carl Laemmle consider a mistake in 1972?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11958 | 56e14b3bcd28a01900c6775b | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | Along with Walt Disney, who created Oswald the Lucky Rabbit? | Along with Walt Disney, who created Oswald the Lucky Rabbit? | [
"Along with Walt Disney, who created Oswald the Lucky Rabbit?"
] | {
"text": [
"Ub Iwerks"
],
"answer_start": [
96
]
} |
gem-squad_v2-train-11959 | 56e14b3bcd28a01900c6775c | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | Who owned the rights to Oswald? | Who owned the rights to Oswald? | [
"Who owned the rights to Oswald?"
] | {
"text": [
"Universal"
],
"answer_start": [
0
]
} |
gem-squad_v2-train-11960 | 56e14b3bcd28a01900c6775d | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | Who produced an Oswald the Lucky Rabbit motion picture? | Who produced an Oswald the Lucky Rabbit motion picture? | [
"Who produced an Oswald the Lucky Rabbit motion picture?"
] | {
"text": [
"Charles Mintz"
],
"answer_start": [
189
]
} |
gem-squad_v2-train-11961 | 56e14b3bcd28a01900c6775e | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | What character did Walt Disney create in 1928? | What character did Walt Disney create in 1928? | [
"What character did Walt Disney create in 1928?"
] | {
"text": [
"Mickey Mouse"
],
"answer_start": [
383
]
} |
gem-squad_v2-train-11962 | 56e14b3bcd28a01900c6775f | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | What was the first animated short with synchronized sound? | What was the first animated short with synchronized sound? | [
"What was the first animated short with synchronized sound?"
] | {
"text": [
"Steamboat Willie"
],
"answer_start": [
457
]
} |
gem-squad_v2-train-11963 | 5ad139b1645df0001a2d1288 | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | Who owned the rights to Oswald the Rabbit? | Who owned the rights to Oswald the Rabbit? | [
"Who owned the rights to Oswald the Rabbit?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11964 | 5ad139b1645df0001a2d1289 | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | Who created Oswald with Ib Uwerks? | Who created Oswald with Ib Uwerks? | [
"Who created Oswald with Ib Uwerks?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11965 | 5ad139b1645df0001a2d128a | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | Who was created in 1829 by Disney and Iwerks? | Who was created in 1829 by Disney and Iwerks? | [
"Who was created in 1829 by Disney and Iwerks?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11966 | 5ad139b1645df0001a2d128b | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | What was the first 1982 animated short? | What was the first 1982 animated short? | [
"What was the first 1982 animated short?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11967 | 5ad139b1645df0001a2d128c | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | What was Walt Disney a minor player in? | What was Walt Disney a minor player in? | [
"What was Walt Disney a minor player in?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11968 | 56e14bdacd28a01900c67765 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | Who bought the Oswald the Lucky Rabbit cartoons in 2006? | Who bought the Oswald the Lucky Rabbit cartoons in 2006? | [
"Who bought the Oswald the Lucky Rabbit cartoons in 2006?"
] | {
"text": [
"Disney"
],
"answer_start": [
60
]
} |
gem-squad_v2-train-11969 | 56e14bdacd28a01900c67766 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | Who was 2006 seller of the Oswald cartoons? | Who was 2006 seller of the Oswald cartoons? | [
"Who was 2006 seller of the Oswald cartoons?"
] | {
"text": [
"NBC Universal"
],
"answer_start": [
32
]
} |
gem-squad_v2-train-11970 | 56e14bdacd28a01900c67767 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | What notable figure worked as a sportscaster for ABC? | What notable figure worked as a sportscaster for ABC? | [
"What notable figure worked as a sportscaster for ABC?"
] | {
"text": [
"Al Michaels"
],
"answer_start": [
201
]
} |
gem-squad_v2-train-11971 | 56e14bdacd28a01900c67768 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | Who began producing Oswald cartoons for Universal in 1929? | Who began producing Oswald cartoons for Universal in 1929? | [
"Who began producing Oswald cartoons for Universal in 1929?"
] | {
"text": [
"Walter Lantz"
],
"answer_start": [
370
]
} |
gem-squad_v2-train-11972 | 56e14bdacd28a01900c67769 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | In what year did Walter Lantz cease producing Oswald cartoons for Universal? | In what year did Walter Lantz cease producing Oswald cartoons for Universal? | [
"In what year did Walter Lantz cease producing Oswald cartoons for Universal?"
] | {
"text": [
"1943"
],
"answer_start": [
396
]
} |
gem-squad_v2-train-11973 | 5ad13ae0645df0001a2d12e6 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | What did NBC Universal sell in 2008? | What did NBC Universal sell in 2008? | [
"What did NBC Universal sell in 2008?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11974 | 5ad13ae0645df0001a2d12e7 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | What did NBC Universal do after 60 years? | What did NBC Universal do after 60 years? | [
"What did NBC Universal do after 60 years?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11975 | 5ad13ae0645df0001a2d12e8 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | What NBC sportscaster did Disney release from contract? | What NBC sportscaster did Disney release from contract? | [
"What NBC sportscaster did Disney release from contract?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11976 | 5ad13ae0645df0001a2d12e9 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | What did Universal retain ownership of from 1923 to 1949? | What did Universal retain ownership of from 1923 to 1949? | [
"What did Universal retain ownership of from 1923 to 1949?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11977 | 56e14c5fcd28a01900c6776f | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | How many of Carl Laemmle, Sr.'s relatives were working for Universal as of 1928? | How many of Carl Laemmle, Sr.'s relatives were working for Universal as of 1928? | [
"How many of Carl Laemmle, Sr.'s relatives were working for Universal as of 1928?"
] | {
"text": [
"70"
],
"answer_start": [
162
]
} |
gem-squad_v2-train-11978 | 56e14c5fcd28a01900c67770 | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | What was Carl Laemmle, Sr.'s nickname at Universal? | What was Carl Laemmle, Sr.'s nickname at Universal? | [
"What was Carl Laemmle, Sr.'s nickname at Universal?"
] | {
"text": [
"Uncle Carl"
],
"answer_start": [
307
]
} |
gem-squad_v2-train-11979 | 56e14c5fcd28a01900c67771 | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | What poet wrote a notable rhyme about Laemmle? | What poet wrote a notable rhyme about Laemmle? | [
"What poet wrote a notable rhyme about Laemmle?"
] | {
"text": [
"Ogden Nash"
],
"answer_start": [
320
]
} |
gem-squad_v2-train-11980 | 56e14c5fcd28a01900c67772 | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | At what age did Carl Laemmle, Jr. become president of Universal? | At what age did Carl Laemmle, Jr. become president of Universal? | [
"At what age did Carl Laemmle, Jr. become president of Universal?"
] | {
"text": [
"21"
],
"answer_start": [
78
]
} |
gem-squad_v2-train-11981 | 56e14c5fcd28a01900c67773 | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | What Academy Award-winning director was a relative of Carl Laemmle's? | What Academy Award-winning director was a relative of Carl Laemmle's? | [
"What Academy Award-winning director was a relative of Carl Laemmle's?"
] | {
"text": [
"William Wyler"
],
"answer_start": [
478
]
} |
gem-squad_v2-train-11982 | 5ad13bc6645df0001a2d130a | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | Who become head of Universal Pictures in 1921? | Who become head of Universal Pictures in 1921? | [
"Who become head of Universal Pictures in 1921?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11983 | 5ad13bc6645df0001a2d130b | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | How many relatives of Laemmle Sr. were on the payroll in 1928? | How many relatives of Laemmle Sr. were on the payroll in 1928? | [
"How many relatives of Laemmle Sr. were on the payroll in 1928?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11984 | 5ad13bc6645df0001a2d130c | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | What did Nash Ogden say about Uncle Carl? | What did Nash Ogden say about Uncle Carl? | [
"What did Nash Ogden say about Uncle Carl?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11985 | 5ad13bc6645df0001a2d130d | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | Who was Wyler William related to? | Who was Wyler William related to? | [
"Who was Wyler William related to?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11986 | 56e14e56cd28a01900c67783 | Universal_Studios | "Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | What was Carl Laemmle Jr.'s nickname? | What was Carl Laemmle Jr.'s nickname? | [
"What was Carl Laemmle Jr.'s nickname?"
] | {
"text": [
"Junior"
],
"answer_start": [
1
]
} |
gem-squad_v2-train-11987 | 56e14e56cd28a01900c67784 | Universal_Studios | "Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | What movie was based on an Edna Ferber novel? | What movie was based on an Edna Ferber novel? | [
"What movie was based on an Edna Ferber novel?"
] | {
"text": [
"Show Boat"
],
"answer_start": [
287
]
} |
gem-squad_v2-train-11988 | 56e14e56cd28a01900c67785 | Universal_Studios | "Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | In what year was the musical Broadway produced? | In what year was the musical Broadway produced? | [
"In what year was the musical Broadway produced?"
] | {
"text": [
"1929"
],
"answer_start": [
298
]
} |
gem-squad_v2-train-11989 | 56e14e56cd28a01900c67786 | Universal_Studios | "Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | What movie won the 1930 Academy Award for Best Picture? | What movie won the 1930 Academy Award for Best Picture? | [
"What movie won the 1930 Academy Award for Best Picture?"
] | {
"text": [
"All Quiet on the Western Front"
],
"answer_start": [
473
]
} |
gem-squad_v2-train-11990 | 56e14e56cd28a01900c67787 | Universal_Studios | "Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | What all-color musical did Universal make in 1930? | What all-color musical did Universal make in 1930? | [
"What all-color musical did Universal make in 1930?"
] | {
"text": [
"King of Jazz"
],
"answer_start": [
435
]
} |
gem-squad_v2-train-11991 | 5ad13d69645df0001a2d1350 | Universal_Studios | "Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | What 1930 film based on Edna Farber's novel did Universal produce? | What 1930 film based on Edna Farber's novel did Universal produce? | [
"What 1930 film based on Edna Farber's novel did Universal produce?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11992 | 5ad13d69645df0001a2d1351 | Universal_Studios | "Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | What 1930 musical did Universal produce? | What 1930 musical did Universal produce? | [
"What 1930 musical did Universal produce?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11993 | 5ad13d69645df0001a2d1352 | Universal_Studios | "Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | What 1929 all-color musical feature did Universal produce? | What 1929 all-color musical feature did Universal produce? | [
"What 1929 all-color musical feature did Universal produce?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11994 | 5ad13d69645df0001a2d1353 | Universal_Studios | "Junior" Laemmle persuaded his father to bring Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | What 1929 film won its year's Best Piture Oscar? | What 1929 film won its year's Best Piture Oscar? | [
"What 1929 film won its year's Best Piture Oscar?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-11995 | 56e14edfe3433e1400422d88 | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | In what year did Universal make a film version of Dracula? | In what year did Universal make a film version of Dracula? | [
"In what year did Universal make a film version of Dracula?"
] | {
"text": [
"1931"
],
"answer_start": [
180
]
} |
gem-squad_v2-train-11996 | 56e14edfe3433e1400422d89 | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | In what year was The Invisible Man made? | In what year was The Invisible Man made? | [
"In what year was The Invisible Man made?"
] | {
"text": [
"1933"
],
"answer_start": [
252
]
} |
gem-squad_v2-train-11997 | 56e14edfe3433e1400422d8a | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | What film was produced by Laemmle in 1934? | What film was produced by Laemmle in 1934? | [
"What film was produced by Laemmle in 1934?"
] | {
"text": [
"Imitation of Life"
],
"answer_start": [
308
]
} |
gem-squad_v2-train-11998 | 56e14edfe3433e1400422d8b | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | In what year did My Man Godfrey premiere? | In what year did My Man Godfrey premiere? | [
"In what year did My Man Godfrey premiere?"
] | {
"text": [
"1936"
],
"answer_start": [
353
]
} |
gem-squad_v2-train-11999 | 56e14edfe3433e1400422d8c | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | When was Universal's version of Frankenstein made? | When was Universal's version of Frankenstein made? | [
"When was Universal's version of Frankenstein made?"
] | {
"text": [
"1931"
],
"answer_start": [
180
]
} |
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