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-12100 | 5ad14d7a645df0001a2d16a7 | Universal_Studios | Goetz set out an ambitious schedule. Universal-International became responsible for the American distribution of Rank's British productions, including such classics as David Lean's Great Expectations (1946) and Laurence Olivier's Hamlet (1948). Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in home-movie dealer Castle Films in 1947, and taking the company over entirely in 1951. For three decades, Castle would offer "highlights" reels from the Universal film library to home-movie enthusiasts and collectors. Goetz licensed Universal's pre–Universal-International film library to Jack Broeder's Realart Pictures for cinema re-release but Realart was not allowed to show the films on television. | Who took over Castle Films in 1947? | Who took over Castle Films in 1947? | [
"Who took over Castle Films in 1947?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12101 | 56e162d3cd28a01900c6784f | Universal_Studios | The production arm of the studio still struggled. While there were to be a few hits like The Killers (1946) and The Naked City (1948), Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out, and the studio returned to low-budget films. The inexpensive Francis (1950), the first film of a series about a talking mule and Ma and Pa Kettle (1949), part of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio's top-grossing productions. But at this point Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films. | In what year was The Killers produced? | In what year was The Killers produced? | [
"In what year was The Killers produced?"
] | {
"text": [
"1946"
],
"answer_start": [
102
]
} |
gem-squad_v2-train-12102 | 56e162d3cd28a01900c67850 | Universal_Studios | The production arm of the studio still struggled. While there were to be a few hits like The Killers (1946) and The Naked City (1948), Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out, and the studio returned to low-budget films. The inexpensive Francis (1950), the first film of a series about a talking mule and Ma and Pa Kettle (1949), part of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio's top-grossing productions. But at this point Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films. | What Universal-International film was about a talking mule? | What Universal-International film was about a talking mule? | [
"What Universal-International film was about a talking mule?"
] | {
"text": [
"Francis"
],
"answer_start": [
334
]
} |
gem-squad_v2-train-12103 | 56e162d3cd28a01900c67851 | Universal_Studios | The production arm of the studio still struggled. While there were to be a few hits like The Killers (1946) and The Naked City (1948), Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out, and the studio returned to low-budget films. The inexpensive Francis (1950), the first film of a series about a talking mule and Ma and Pa Kettle (1949), part of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio's top-grossing productions. But at this point Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films. | In what year was Ma and Pa Kettle made? | In what year was Ma and Pa Kettle made? | [
"In what year was Ma and Pa Kettle made?"
] | {
"text": [
"1949"
],
"answer_start": [
420
]
} |
gem-squad_v2-train-12104 | 56e162d3cd28a01900c67852 | Universal_Studios | The production arm of the studio still struggled. While there were to be a few hits like The Killers (1946) and The Naked City (1948), Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out, and the studio returned to low-budget films. The inexpensive Francis (1950), the first film of a series about a talking mule and Ma and Pa Kettle (1949), part of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio's top-grossing productions. But at this point Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films. | What Abbott and Costello film was released in 1948? | What Abbott and Costello film was released in 1948? | [
"What Abbott and Costello film was released in 1948?"
] | {
"text": [
"Abbott and Costello Meet Frankenstein"
],
"answer_start": [
534
]
} |
gem-squad_v2-train-12105 | 56e162d3cd28a01900c67853 | Universal_Studios | The production arm of the studio still struggled. While there were to be a few hits like The Killers (1946) and The Naked City (1948), Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out, and the studio returned to low-budget films. The inexpensive Francis (1950), the first film of a series about a talking mule and Ma and Pa Kettle (1949), part of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio's top-grossing productions. But at this point Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films. | Who bought Rank's share of Universal-International? | Who bought Rank's share of Universal-International? | [
"Who bought Rank's share of Universal-International?"
] | {
"text": [
"Milton Rackmil"
],
"answer_start": [
703
]
} |
gem-squad_v2-train-12106 | 5ad14f4a645df0001a2d16fc | Universal_Studios | The production arm of the studio still struggled. While there were to be a few hits like The Killers (1946) and The Naked City (1948), Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out, and the studio returned to low-budget films. The inexpensive Francis (1950), the first film of a series about a talking mule and Ma and Pa Kettle (1949), part of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio's top-grossing productions. But at this point Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films. | Who left Universal in 1940? | Who left Universal in 1940? | [
"Who left Universal in 1940?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12107 | 5ad14f4a645df0001a2d16fd | Universal_Studios | The production arm of the studio still struggled. While there were to be a few hits like The Killers (1946) and The Naked City (1948), Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out, and the studio returned to low-budget films. The inexpensive Francis (1950), the first film of a series about a talking mule and Ma and Pa Kettle (1949), part of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio's top-grossing productions. But at this point Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films. | What year was Ma and Pa Francis made? | What year was Ma and Pa Francis made? | [
"What year was Ma and Pa Francis made?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12108 | 5ad14f4a645df0001a2d16fe | Universal_Studios | The production arm of the studio still struggled. While there were to be a few hits like The Killers (1946) and The Naked City (1948), Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out, and the studio returned to low-budget films. The inexpensive Francis (1950), the first film of a series about a talking mule and Ma and Pa Kettle (1949), part of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio's top-grossing productions. But at this point Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films. | What year was Kettle made? | What year was Kettle made? | [
"What year was Kettle made?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12109 | 5ad14f4a645df0001a2d16ff | Universal_Studios | The production arm of the studio still struggled. While there were to be a few hits like The Killers (1946) and The Naked City (1948), Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out, and the studio returned to low-budget films. The inexpensive Francis (1950), the first film of a series about a talking mule and Ma and Pa Kettle (1949), part of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio's top-grossing productions. But at this point Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films. | What 1952 Abbott and Costello film was a top grossing production? | What 1952 Abbott and Costello film was a top grossing production? | [
"What 1952 Abbott and Costello film was a top grossing production?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12110 | 5ad14f4a645df0001a2d1700 | Universal_Studios | The production arm of the studio still struggled. While there were to be a few hits like The Killers (1946) and The Naked City (1948), Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out, and the studio returned to low-budget films. The inexpensive Francis (1950), the first film of a series about a talking mule and Ma and Pa Kettle (1949), part of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio's top-grossing productions. But at this point Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films. | What company took full control of Universal in 1948? | What company took full control of Universal in 1948? | [
"What company took full control of Universal in 1948?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12111 | 56e1636ce3433e1400422e58 | Universal_Studios | In the 1950s, Universal-International resumed their series of Arabian Nights films, many starring Tony Curtis. The studio also had a success with monster and science fiction films produced by William Alland, with many directed by Jack Arnold. Other successes were the melodramas directed by Douglas Sirk and produced by Ross Hunter, although for film critics they were not so well thought of on first release as they have since become. Among Universal-International's stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy, and John Gavin. | Who did many of Universal-International's Arabian Nights films feature? | Who did many of Universal-International's Arabian Nights films feature? | [
"Who did many of Universal-International's Arabian Nights films feature?"
] | {
"text": [
"Tony Curtis"
],
"answer_start": [
98
]
} |
gem-squad_v2-train-12112 | 56e1636ce3433e1400422e59 | Universal_Studios | In the 1950s, Universal-International resumed their series of Arabian Nights films, many starring Tony Curtis. The studio also had a success with monster and science fiction films produced by William Alland, with many directed by Jack Arnold. Other successes were the melodramas directed by Douglas Sirk and produced by Ross Hunter, although for film critics they were not so well thought of on first release as they have since become. Among Universal-International's stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy, and John Gavin. | Who notably produced monster and science fiction films for Universal? | Who notably produced monster and science fiction films for Universal? | [
"Who notably produced monster and science fiction films for Universal?"
] | {
"text": [
"William Alland"
],
"answer_start": [
192
]
} |
gem-squad_v2-train-12113 | 56e1636ce3433e1400422e5a | Universal_Studios | In the 1950s, Universal-International resumed their series of Arabian Nights films, many starring Tony Curtis. The studio also had a success with monster and science fiction films produced by William Alland, with many directed by Jack Arnold. Other successes were the melodramas directed by Douglas Sirk and produced by Ross Hunter, although for film critics they were not so well thought of on first release as they have since become. Among Universal-International's stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy, and John Gavin. | What Universal director was known for his melodramas? | What Universal director was known for his melodramas? | [
"What Universal director was known for his melodramas?"
] | {
"text": [
"Douglas Sirk"
],
"answer_start": [
291
]
} |
gem-squad_v2-train-12114 | 56e1636ce3433e1400422e5b | Universal_Studios | In the 1950s, Universal-International resumed their series of Arabian Nights films, many starring Tony Curtis. The studio also had a success with monster and science fiction films produced by William Alland, with many directed by Jack Arnold. Other successes were the melodramas directed by Douglas Sirk and produced by Ross Hunter, although for film critics they were not so well thought of on first release as they have since become. Among Universal-International's stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy, and John Gavin. | Who directed monster movies for Universal? | Who directed monster movies for Universal? | [
"Who directed monster movies for Universal?"
] | {
"text": [
"Jack Arnold"
],
"answer_start": [
230
]
} |
gem-squad_v2-train-12115 | 56e1636ce3433e1400422e5c | Universal_Studios | In the 1950s, Universal-International resumed their series of Arabian Nights films, many starring Tony Curtis. The studio also had a success with monster and science fiction films produced by William Alland, with many directed by Jack Arnold. Other successes were the melodramas directed by Douglas Sirk and produced by Ross Hunter, although for film critics they were not so well thought of on first release as they have since become. Among Universal-International's stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy, and John Gavin. | Who produced melodramas for Universal? | Who produced melodramas for Universal? | [
"Who produced melodramas for Universal?"
] | {
"text": [
"Ross Hunter"
],
"answer_start": [
320
]
} |
gem-squad_v2-train-12116 | 5ad15058645df0001a2d171a | Universal_Studios | In the 1950s, Universal-International resumed their series of Arabian Nights films, many starring Tony Curtis. The studio also had a success with monster and science fiction films produced by William Alland, with many directed by Jack Arnold. Other successes were the melodramas directed by Douglas Sirk and produced by Ross Hunter, although for film critics they were not so well thought of on first release as they have since become. Among Universal-International's stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy, and John Gavin. | What series of films did Tony Alland star in? | What series of films did Tony Alland star in? | [
"What series of films did Tony Alland star in?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12117 | 5ad15058645df0001a2d171b | Universal_Studios | In the 1950s, Universal-International resumed their series of Arabian Nights films, many starring Tony Curtis. The studio also had a success with monster and science fiction films produced by William Alland, with many directed by Jack Arnold. Other successes were the melodramas directed by Douglas Sirk and produced by Ross Hunter, although for film critics they were not so well thought of on first release as they have since become. Among Universal-International's stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy, and John Gavin. | What types of films did William Curtis produce? | What types of films did William Curtis produce? | [
"What types of films did William Curtis produce?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12118 | 5ad15058645df0001a2d171c | Universal_Studios | In the 1950s, Universal-International resumed their series of Arabian Nights films, many starring Tony Curtis. The studio also had a success with monster and science fiction films produced by William Alland, with many directed by Jack Arnold. Other successes were the melodramas directed by Douglas Sirk and produced by Ross Hunter, although for film critics they were not so well thought of on first release as they have since become. Among Universal-International's stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy, and John Gavin. | What type of films did Douglas Hunter and Ross Sirk produce? | What type of films did Douglas Hunter and Ross Sirk produce? | [
"What type of films did Douglas Hunter and Ross Sirk produce?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12119 | 5ad15058645df0001a2d171d | Universal_Studios | In the 1950s, Universal-International resumed their series of Arabian Nights films, many starring Tony Curtis. The studio also had a success with monster and science fiction films produced by William Alland, with many directed by Jack Arnold. Other successes were the melodramas directed by Douglas Sirk and produced by Ross Hunter, although for film critics they were not so well thought of on first release as they have since become. Among Universal-International's stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy, and John Gavin. | What company did stars Rock Hudson, Tony Chandler, and Jeff Curtis work for? | What company did stars Rock Hudson, Tony Chandler, and Jeff Curtis work for? | [
"What company did stars Rock Hudson, Tony Chandler, and Jeff Curtis work for?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12120 | 56e1644ee3433e1400422e6c | Universal_Studios | Though Decca would continue to keep picture budgets lean, it was favored by changing circumstances in the film business, as other studios let their contract actors go in the wake of the 1948 U.S. vs. Paramount Pictures, et al. decision. Leading actors were increasingly free to work where and when they chose, and in 1950 MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would change the rules of the business. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large salary. When one of those films, Winchester '73, proved to be a hit, the arrangement would become the rule for many future productions at Universal, and eventually at other studios as well. | Who was a notable talent agent circa 1950? | Who was a notable talent agent circa 1950? | [
"Who was a notable talent agent circa 1950?"
] | {
"text": [
"Lew Wasserman"
],
"answer_start": [
332
]
} |
gem-squad_v2-train-12121 | 56e1644ee3433e1400422e6d | Universal_Studios | Though Decca would continue to keep picture budgets lean, it was favored by changing circumstances in the film business, as other studios let their contract actors go in the wake of the 1948 U.S. vs. Paramount Pictures, et al. decision. Leading actors were increasingly free to work where and when they chose, and in 1950 MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would change the rules of the business. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large salary. When one of those films, Winchester '73, proved to be a hit, the arrangement would become the rule for many future productions at Universal, and eventually at other studios as well. | What star did Lew Wasserman represent? | What star did Lew Wasserman represent? | [
"What star did Lew Wasserman represent?"
] | {
"text": [
"James Stewart"
],
"answer_start": [
388
]
} |
gem-squad_v2-train-12122 | 56e1644ee3433e1400422e6e | Universal_Studios | Though Decca would continue to keep picture budgets lean, it was favored by changing circumstances in the film business, as other studios let their contract actors go in the wake of the 1948 U.S. vs. Paramount Pictures, et al. decision. Leading actors were increasingly free to work where and when they chose, and in 1950 MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would change the rules of the business. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large salary. When one of those films, Winchester '73, proved to be a hit, the arrangement would become the rule for many future productions at Universal, and eventually at other studios as well. | What actor featured in Winchester '73? | What actor featured in Winchester '73? | [
"What actor featured in Winchester '73?"
] | {
"text": [
"James Stewart"
],
"answer_start": [
388
]
} |
gem-squad_v2-train-12123 | 56e1644ee3433e1400422e6f | Universal_Studios | Though Decca would continue to keep picture budgets lean, it was favored by changing circumstances in the film business, as other studios let their contract actors go in the wake of the 1948 U.S. vs. Paramount Pictures, et al. decision. Leading actors were increasingly free to work where and when they chose, and in 1950 MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would change the rules of the business. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large salary. When one of those films, Winchester '73, proved to be a hit, the arrangement would become the rule for many future productions at Universal, and eventually at other studios as well. | What legal decision resulted in movie studios letting their contract actors go? | What legal decision resulted in movie studios letting their contract actors go? | [
"What legal decision resulted in movie studios letting their contract actors go?"
] | {
"text": [
"U.S. vs. Paramount Pictures, et al."
],
"answer_start": [
191
]
} |
gem-squad_v2-train-12124 | 5ad1518d645df0001a2d173e | Universal_Studios | Though Decca would continue to keep picture budgets lean, it was favored by changing circumstances in the film business, as other studios let their contract actors go in the wake of the 1948 U.S. vs. Paramount Pictures, et al. decision. Leading actors were increasingly free to work where and when they chose, and in 1950 MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would change the rules of the business. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large salary. When one of those films, Winchester '73, proved to be a hit, the arrangement would become the rule for many future productions at Universal, and eventually at other studios as well. | What court decision happened in 1950? | What court decision happened in 1950? | [
"What court decision happened in 1950?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12125 | 5ad1518d645df0001a2d173f | Universal_Studios | Though Decca would continue to keep picture budgets lean, it was favored by changing circumstances in the film business, as other studios let their contract actors go in the wake of the 1948 U.S. vs. Paramount Pictures, et al. decision. Leading actors were increasingly free to work where and when they chose, and in 1950 MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would change the rules of the business. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large salary. When one of those films, Winchester '73, proved to be a hit, the arrangement would become the rule for many future productions at Universal, and eventually at other studios as well. | Who made a deal in 1948 with Universal for James Stewart? | Who made a deal in 1948 with Universal for James Stewart? | [
"Who made a deal in 1948 with Universal for James Stewart?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12126 | 5ad1518d645df0001a2d1740 | Universal_Studios | Though Decca would continue to keep picture budgets lean, it was favored by changing circumstances in the film business, as other studios let their contract actors go in the wake of the 1948 U.S. vs. Paramount Pictures, et al. decision. Leading actors were increasingly free to work where and when they chose, and in 1950 MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would change the rules of the business. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large salary. When one of those films, Winchester '73, proved to be a hit, the arrangement would become the rule for many future productions at Universal, and eventually at other studios as well. | What company did Lew Wasserman make a deal with in 1948? | What company did Lew Wasserman make a deal with in 1948? | [
"What company did Lew Wasserman make a deal with in 1948?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12127 | 5ad1518d645df0001a2d1741 | Universal_Studios | Though Decca would continue to keep picture budgets lean, it was favored by changing circumstances in the film business, as other studios let their contract actors go in the wake of the 1948 U.S. vs. Paramount Pictures, et al. decision. Leading actors were increasingly free to work where and when they chose, and in 1950 MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would change the rules of the business. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large salary. When one of those films, Winchester '73, proved to be a hit, the arrangement would become the rule for many future productions at Universal, and eventually at other studios as well. | Who was a MAC agent? | Who was a MAC agent? | [
"Who was a MAC agent?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12128 | 56e1657ee3433e1400422e7e | Universal_Studios | By the late 1950s, the motion picture business was again changing. The combination of the studio/theater-chain break-up and the rise of television saw the reduced audience size for cinema productions. The Music Corporation of America (MCA), then predominately a talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (1.5 km²) studio lot to MCA in 1958, for $11 million, renamed Revue Studios. MCA owned the studio lot, but not Universal Pictures, yet was increasingly influential on Universal's product. The studio lot was upgraded and modernized, while MCA clients like Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal Pictures contracts. | What acronym was the Music Corporation of America known by? | What acronym was the Music Corporation of America known by? | [
"What acronym was the Music Corporation of America known by?"
] | {
"text": [
"MCA"
],
"answer_start": [
235
]
} |
gem-squad_v2-train-12129 | 56e1657ee3433e1400422e7f | Universal_Studios | By the late 1950s, the motion picture business was again changing. The combination of the studio/theater-chain break-up and the rise of television saw the reduced audience size for cinema productions. The Music Corporation of America (MCA), then predominately a talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (1.5 km²) studio lot to MCA in 1958, for $11 million, renamed Revue Studios. MCA owned the studio lot, but not Universal Pictures, yet was increasingly influential on Universal's product. The studio lot was upgraded and modernized, while MCA clients like Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal Pictures contracts. | Where did MCA's Revue Productions subsidiary rent space? | Where did MCA's Revue Productions subsidiary rent space? | [
"Where did MCA's Revue Productions subsidiary rent space?"
] | {
"text": [
"Republic Studios"
],
"answer_start": [
342
]
} |
gem-squad_v2-train-12130 | 56e1657ee3433e1400422e80 | Universal_Studios | By the late 1950s, the motion picture business was again changing. The combination of the studio/theater-chain break-up and the rise of television saw the reduced audience size for cinema productions. The Music Corporation of America (MCA), then predominately a talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (1.5 km²) studio lot to MCA in 1958, for $11 million, renamed Revue Studios. MCA owned the studio lot, but not Universal Pictures, yet was increasingly influential on Universal's product. The studio lot was upgraded and modernized, while MCA clients like Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal Pictures contracts. | In square kilometers, how large was the lot Universal sold to MCA? | In square kilometers, how large was the lot Universal sold to MCA? | [
"In square kilometers, how large was the lot Universal sold to MCA?"
] | {
"text": [
"1.5"
],
"answer_start": [
484
]
} |
gem-squad_v2-train-12131 | 56e1657ee3433e1400422e81 | Universal_Studios | By the late 1950s, the motion picture business was again changing. The combination of the studio/theater-chain break-up and the rise of television saw the reduced audience size for cinema productions. The Music Corporation of America (MCA), then predominately a talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (1.5 km²) studio lot to MCA in 1958, for $11 million, renamed Revue Studios. MCA owned the studio lot, but not Universal Pictures, yet was increasingly influential on Universal's product. The studio lot was upgraded and modernized, while MCA clients like Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal Pictures contracts. | In what year did Universal sell its 360-acre lot to MCA? | In what year did Universal sell its 360-acre lot to MCA? | [
"In what year did Universal sell its 360-acre lot to MCA?"
] | {
"text": [
"1958"
],
"answer_start": [
514
]
} |
gem-squad_v2-train-12132 | 56e1657ee3433e1400422e82 | Universal_Studios | By the late 1950s, the motion picture business was again changing. The combination of the studio/theater-chain break-up and the rise of television saw the reduced audience size for cinema productions. The Music Corporation of America (MCA), then predominately a talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (1.5 km²) studio lot to MCA in 1958, for $11 million, renamed Revue Studios. MCA owned the studio lot, but not Universal Pictures, yet was increasingly influential on Universal's product. The studio lot was upgraded and modernized, while MCA clients like Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal Pictures contracts. | How much did MCA pay for Universal's 360-acre lot? | How much did MCA pay for Universal's 360-acre lot? | [
"How much did MCA pay for Universal's 360-acre lot?"
] | {
"text": [
"$11 million"
],
"answer_start": [
524
]
} |
gem-squad_v2-train-12133 | 5ad152f1645df0001a2d176e | Universal_Studios | By the late 1950s, the motion picture business was again changing. The combination of the studio/theater-chain break-up and the rise of television saw the reduced audience size for cinema productions. The Music Corporation of America (MCA), then predominately a talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (1.5 km²) studio lot to MCA in 1958, for $11 million, renamed Revue Studios. MCA owned the studio lot, but not Universal Pictures, yet was increasingly influential on Universal's product. The studio lot was upgraded and modernized, while MCA clients like Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal Pictures contracts. | What was responsible for a rise in audience for cinema productions? | What was responsible for a rise in audience for cinema productions? | [
"What was responsible for a rise in audience for cinema productions?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12134 | 5ad152f1645df0001a2d176f | Universal_Studios | By the late 1950s, the motion picture business was again changing. The combination of the studio/theater-chain break-up and the rise of television saw the reduced audience size for cinema productions. The Music Corporation of America (MCA), then predominately a talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (1.5 km²) studio lot to MCA in 1958, for $11 million, renamed Revue Studios. MCA owned the studio lot, but not Universal Pictures, yet was increasingly influential on Universal's product. The studio lot was upgraded and modernized, while MCA clients like Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal Pictures contracts. | What does MAC stand for? | What does MAC stand for? | [
"What does MAC stand for?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12135 | 5ad152f1645df0001a2d1770 | Universal_Studios | By the late 1950s, the motion picture business was again changing. The combination of the studio/theater-chain break-up and the rise of television saw the reduced audience size for cinema productions. The Music Corporation of America (MCA), then predominately a talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (1.5 km²) studio lot to MCA in 1958, for $11 million, renamed Revue Studios. MCA owned the studio lot, but not Universal Pictures, yet was increasingly influential on Universal's product. The studio lot was upgraded and modernized, while MCA clients like Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal Pictures contracts. | When did Universal sell its 1.5-acre studio lot? | When did Universal sell its 1.5-acre studio lot? | [
"When did Universal sell its 1.5-acre studio lot?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12136 | 5ad152f1645df0001a2d1771 | Universal_Studios | By the late 1950s, the motion picture business was again changing. The combination of the studio/theater-chain break-up and the rise of television saw the reduced audience size for cinema productions. The Music Corporation of America (MCA), then predominately a talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (1.5 km²) studio lot to MCA in 1958, for $11 million, renamed Revue Studios. MCA owned the studio lot, but not Universal Pictures, yet was increasingly influential on Universal's product. The studio lot was upgraded and modernized, while MCA clients like Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal Pictures contracts. | How much did Universal sell its lot to MAC for? | How much did Universal sell its lot to MAC for? | [
"How much did Universal sell its lot to MAC for?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12137 | 5ad152f1645df0001a2d1772 | Universal_Studios | By the late 1950s, the motion picture business was again changing. The combination of the studio/theater-chain break-up and the rise of television saw the reduced audience size for cinema productions. The Music Corporation of America (MCA), then predominately a talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (1.5 km²) studio lot to MCA in 1958, for $11 million, renamed Revue Studios. MCA owned the studio lot, but not Universal Pictures, yet was increasingly influential on Universal's product. The studio lot was upgraded and modernized, while MCA clients like Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal Pictures contracts. | What did MAC not own after the lot purchase? | What did MAC not own after the lot purchase? | [
"What did MAC not own after the lot purchase?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12138 | 56e1664de3433e1400422e92 | Universal_Studios | The long-awaited takeover of Universal Pictures by MCA, Inc. happened in mid-1962 as part of the MCA-Decca Records merger. The company reverted in name to Universal Pictures. As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964 MCA formed Universal City Studios, Inc., merging the motion pictures and television arms of Universal Pictures Company and Revue Productions (officially renamed as Universal Television in 1966). And so, with MCA in charge, Universal became a full-blown, A-film movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary launched in 1964. Television production made up much of the studio's output, with Universal heavily committed, in particular, to deals with NBC (which later merged with Universal to form NBC Universal; see below) providing up to half of all prime time shows for several seasons. An innovation during this period championed by Universal was the made-for-television movie. | In what year did MCA take over Universal? | In what year did MCA take over Universal? | [
"In what year did MCA take over Universal?"
] | {
"text": [
"1962"
],
"answer_start": [
77
]
} |
gem-squad_v2-train-12139 | 56e1664de3433e1400422e93 | Universal_Studios | The long-awaited takeover of Universal Pictures by MCA, Inc. happened in mid-1962 as part of the MCA-Decca Records merger. The company reverted in name to Universal Pictures. As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964 MCA formed Universal City Studios, Inc., merging the motion pictures and television arms of Universal Pictures Company and Revue Productions (officially renamed as Universal Television in 1966). And so, with MCA in charge, Universal became a full-blown, A-film movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary launched in 1964. Television production made up much of the studio's output, with Universal heavily committed, in particular, to deals with NBC (which later merged with Universal to form NBC Universal; see below) providing up to half of all prime time shows for several seasons. An innovation during this period championed by Universal was the made-for-television movie. | What company did MCA create in 1964? | What company did MCA create in 1964? | [
"What company did MCA create in 1964?"
] | {
"text": [
"Universal City Studios, Inc."
],
"answer_start": [
319
]
} |
gem-squad_v2-train-12140 | 56e1664de3433e1400422e94 | Universal_Studios | The long-awaited takeover of Universal Pictures by MCA, Inc. happened in mid-1962 as part of the MCA-Decca Records merger. The company reverted in name to Universal Pictures. As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964 MCA formed Universal City Studios, Inc., merging the motion pictures and television arms of Universal Pictures Company and Revue Productions (officially renamed as Universal Television in 1966). And so, with MCA in charge, Universal became a full-blown, A-film movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary launched in 1964. Television production made up much of the studio's output, with Universal heavily committed, in particular, to deals with NBC (which later merged with Universal to form NBC Universal; see below) providing up to half of all prime time shows for several seasons. An innovation during this period championed by Universal was the made-for-television movie. | What new name was given to Revue Productions in 1966? | What new name was given to Revue Productions in 1966? | [
"What new name was given to Revue Productions in 1966?"
] | {
"text": [
"Universal Television"
],
"answer_start": [
472
]
} |
gem-squad_v2-train-12141 | 56e1664de3433e1400422e95 | Universal_Studios | The long-awaited takeover of Universal Pictures by MCA, Inc. happened in mid-1962 as part of the MCA-Decca Records merger. The company reverted in name to Universal Pictures. As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964 MCA formed Universal City Studios, Inc., merging the motion pictures and television arms of Universal Pictures Company and Revue Productions (officially renamed as Universal Television in 1966). And so, with MCA in charge, Universal became a full-blown, A-film movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary launched in 1964. Television production made up much of the studio's output, with Universal heavily committed, in particular, to deals with NBC (which later merged with Universal to form NBC Universal; see below) providing up to half of all prime time shows for several seasons. An innovation during this period championed by Universal was the made-for-television movie. | What was the company formed by the merger of Universal and NBC? | What was the company formed by the merger of Universal and NBC? | [
"What was the company formed by the merger of Universal and NBC?"
] | {
"text": [
"NBC Universal"
],
"answer_start": [
883
]
} |
gem-squad_v2-train-12142 | 56e1664de3433e1400422e96 | Universal_Studios | The long-awaited takeover of Universal Pictures by MCA, Inc. happened in mid-1962 as part of the MCA-Decca Records merger. The company reverted in name to Universal Pictures. As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964 MCA formed Universal City Studios, Inc., merging the motion pictures and television arms of Universal Pictures Company and Revue Productions (officially renamed as Universal Television in 1966). And so, with MCA in charge, Universal became a full-blown, A-film movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary launched in 1964. Television production made up much of the studio's output, with Universal heavily committed, in particular, to deals with NBC (which later merged with Universal to form NBC Universal; see below) providing up to half of all prime time shows for several seasons. An innovation during this period championed by Universal was the made-for-television movie. | When did Universal inaugurate its studio tour subsidiary? | When did Universal inaugurate its studio tour subsidiary? | [
"When did Universal inaugurate its studio tour subsidiary?"
] | {
"text": [
"1964"
],
"answer_start": [
303
]
} |
gem-squad_v2-train-12143 | 5ad15431645df0001a2d17a8 | Universal_Studios | The long-awaited takeover of Universal Pictures by MCA, Inc. happened in mid-1962 as part of the MCA-Decca Records merger. The company reverted in name to Universal Pictures. As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964 MCA formed Universal City Studios, Inc., merging the motion pictures and television arms of Universal Pictures Company and Revue Productions (officially renamed as Universal Television in 1966). And so, with MCA in charge, Universal became a full-blown, A-film movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary launched in 1964. Television production made up much of the studio's output, with Universal heavily committed, in particular, to deals with NBC (which later merged with Universal to form NBC Universal; see below) providing up to half of all prime time shows for several seasons. An innovation during this period championed by Universal was the made-for-television movie. | What did MAC, Inc. do in 1962? | What did MAC, Inc. do in 1962? | [
"What did MAC, Inc. do in 1962?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12144 | 5ad15431645df0001a2d17a9 | Universal_Studios | The long-awaited takeover of Universal Pictures by MCA, Inc. happened in mid-1962 as part of the MCA-Decca Records merger. The company reverted in name to Universal Pictures. As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964 MCA formed Universal City Studios, Inc., merging the motion pictures and television arms of Universal Pictures Company and Revue Productions (officially renamed as Universal Television in 1966). And so, with MCA in charge, Universal became a full-blown, A-film movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary launched in 1964. Television production made up much of the studio's output, with Universal heavily committed, in particular, to deals with NBC (which later merged with Universal to form NBC Universal; see below) providing up to half of all prime time shows for several seasons. An innovation during this period championed by Universal was the made-for-television movie. | What name did the company revert to after the MAC takeover? | What name did the company revert to after the MAC takeover? | [
"What name did the company revert to after the MAC takeover?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12145 | 5ad15431645df0001a2d17aa | Universal_Studios | The long-awaited takeover of Universal Pictures by MCA, Inc. happened in mid-1962 as part of the MCA-Decca Records merger. The company reverted in name to Universal Pictures. As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964 MCA formed Universal City Studios, Inc., merging the motion pictures and television arms of Universal Pictures Company and Revue Productions (officially renamed as Universal Television in 1966). And so, with MCA in charge, Universal became a full-blown, A-film movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary launched in 1964. Television production made up much of the studio's output, with Universal heavily committed, in particular, to deals with NBC (which later merged with Universal to form NBC Universal; see below) providing up to half of all prime time shows for several seasons. An innovation during this period championed by Universal was the made-for-television movie. | What did MCA form in 1966? | What did MCA form in 1966? | [
"What did MCA form in 1966?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12146 | 5ad15431645df0001a2d17ab | Universal_Studios | The long-awaited takeover of Universal Pictures by MCA, Inc. happened in mid-1962 as part of the MCA-Decca Records merger. The company reverted in name to Universal Pictures. As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964 MCA formed Universal City Studios, Inc., merging the motion pictures and television arms of Universal Pictures Company and Revue Productions (officially renamed as Universal Television in 1966). And so, with MCA in charge, Universal became a full-blown, A-film movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary launched in 1964. Television production made up much of the studio's output, with Universal heavily committed, in particular, to deals with NBC (which later merged with Universal to form NBC Universal; see below) providing up to half of all prime time shows for several seasons. An innovation during this period championed by Universal was the made-for-television movie. | What was Universal Pictures Company and Revue Productions renamed in 1966? | What was Universal Pictures Company and Revue Productions renamed in 1966? | [
"What was Universal Pictures Company and Revue Productions renamed in 1966?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12147 | 5ad15431645df0001a2d17ac | Universal_Studios | The long-awaited takeover of Universal Pictures by MCA, Inc. happened in mid-1962 as part of the MCA-Decca Records merger. The company reverted in name to Universal Pictures. As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964 MCA formed Universal City Studios, Inc., merging the motion pictures and television arms of Universal Pictures Company and Revue Productions (officially renamed as Universal Television in 1966). And so, with MCA in charge, Universal became a full-blown, A-film movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary launched in 1964. Television production made up much of the studio's output, with Universal heavily committed, in particular, to deals with NBC (which later merged with Universal to form NBC Universal; see below) providing up to half of all prime time shows for several seasons. An innovation during this period championed by Universal was the made-for-television movie. | What television network did MCA later merge with? | What television network did MCA later merge with? | [
"What television network did MCA later merge with?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12148 | 56e166ffcd28a01900c67877 | Universal_Studios | At this time, Hal B. Wallis, who had latterly worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson's Anne of the Thousand Days (1969), and the equally lavish Mary, Queen of Scots (1971). Though neither could claim to be a big financial hit, both films received Academy Award nominations, and Anne was nominated for Best Picture, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after making the film Rooster Cogburn (1975), a sequel to True Grit (1969), which Wallis had produced at Paramount. Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the earlier film, and Katharine Hepburn, their only film together. The film was only a moderate success. | Who produced Anne of the Thousand Days? | Who produced Anne of the Thousand Days? | [
"Who produced Anne of the Thousand Days?"
] | {
"text": [
"Hal B. Wallis"
],
"answer_start": [
14
]
} |
gem-squad_v2-train-12149 | 56e166ffcd28a01900c67878 | Universal_Studios | At this time, Hal B. Wallis, who had latterly worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson's Anne of the Thousand Days (1969), and the equally lavish Mary, Queen of Scots (1971). Though neither could claim to be a big financial hit, both films received Academy Award nominations, and Anne was nominated for Best Picture, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after making the film Rooster Cogburn (1975), a sequel to True Grit (1969), which Wallis had produced at Paramount. Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the earlier film, and Katharine Hepburn, their only film together. The film was only a moderate success. | Who wrote the original work that the film version of Anne of the Thousand Days was based on? | Who wrote the original work that the film version of Anne of the Thousand Days was based on? | [
"Who wrote the original work that the film version of Anne of the Thousand Days was based on?"
] | {
"text": [
"Maxwell Anderson"
],
"answer_start": [
176
]
} |
gem-squad_v2-train-12150 | 56e166ffcd28a01900c67879 | Universal_Studios | At this time, Hal B. Wallis, who had latterly worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson's Anne of the Thousand Days (1969), and the equally lavish Mary, Queen of Scots (1971). Though neither could claim to be a big financial hit, both films received Academy Award nominations, and Anne was nominated for Best Picture, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after making the film Rooster Cogburn (1975), a sequel to True Grit (1969), which Wallis had produced at Paramount. Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the earlier film, and Katharine Hepburn, their only film together. The film was only a moderate success. | In what year was the film version of Mary, Queen of Scots made? | In what year was the film version of Mary, Queen of Scots made? | [
"In what year was the film version of Mary, Queen of Scots made?"
] | {
"text": [
"1971"
],
"answer_start": [
274
]
} |
gem-squad_v2-train-12151 | 56e166ffcd28a01900c6787a | Universal_Studios | At this time, Hal B. Wallis, who had latterly worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson's Anne of the Thousand Days (1969), and the equally lavish Mary, Queen of Scots (1971). Though neither could claim to be a big financial hit, both films received Academy Award nominations, and Anne was nominated for Best Picture, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after making the film Rooster Cogburn (1975), a sequel to True Grit (1969), which Wallis had produced at Paramount. Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the earlier film, and Katharine Hepburn, their only film together. The film was only a moderate success. | Whose performance in Anne of the Thousand Days garnered a Best Actor nod? | Whose performance in Anne of the Thousand Days garnered a Best Actor nod? | [
"Whose performance in Anne of the Thousand Days garnered a Best Actor nod?"
] | {
"text": [
"Richard Burton"
],
"answer_start": [
435
]
} |
gem-squad_v2-train-12152 | 56e166ffcd28a01900c6787b | Universal_Studios | At this time, Hal B. Wallis, who had latterly worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson's Anne of the Thousand Days (1969), and the equally lavish Mary, Queen of Scots (1971). Though neither could claim to be a big financial hit, both films received Academy Award nominations, and Anne was nominated for Best Picture, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after making the film Rooster Cogburn (1975), a sequel to True Grit (1969), which Wallis had produced at Paramount. Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the earlier film, and Katharine Hepburn, their only film together. The film was only a moderate success. | What was the name of the sequel to True Grit produced by Universal? | What was the name of the sequel to True Grit produced by Universal? | [
"What was the name of the sequel to True Grit produced by Universal?"
] | {
"text": [
"Rooster Cogburn"
],
"answer_start": [
581
]
} |
gem-squad_v2-train-12153 | 5ad155de645df0001a2d17e2 | Universal_Studios | At this time, Hal B. Wallis, who had latterly worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson's Anne of the Thousand Days (1969), and the equally lavish Mary, Queen of Scots (1971). Though neither could claim to be a big financial hit, both films received Academy Award nominations, and Anne was nominated for Best Picture, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after making the film Rooster Cogburn (1975), a sequel to True Grit (1969), which Wallis had produced at Paramount. Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the earlier film, and Katharine Hepburn, their only film together. The film was only a moderate success. | What company did B. Hal Wallis work at before Universal? | What company did B. Hal Wallis work at before Universal? | [
"What company did B. Hal Wallis work at before Universal?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12154 | 5ad155de645df0001a2d17e3 | Universal_Studios | At this time, Hal B. Wallis, who had latterly worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson's Anne of the Thousand Days (1969), and the equally lavish Mary, Queen of Scots (1971). Though neither could claim to be a big financial hit, both films received Academy Award nominations, and Anne was nominated for Best Picture, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after making the film Rooster Cogburn (1975), a sequel to True Grit (1969), which Wallis had produced at Paramount. Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the earlier film, and Katharine Hepburn, their only film together. The film was only a moderate success. | What company did B. Hal Wallis work at after Paramount? | What company did B. Hal Wallis work at after Paramount? | [
"What company did B. Hal Wallis work at after Paramount?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12155 | 5ad155de645df0001a2d17e4 | Universal_Studios | At this time, Hal B. Wallis, who had latterly worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson's Anne of the Thousand Days (1969), and the equally lavish Mary, Queen of Scots (1971). Though neither could claim to be a big financial hit, both films received Academy Award nominations, and Anne was nominated for Best Picture, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after making the film Rooster Cogburn (1975), a sequel to True Grit (1969), which Wallis had produced at Paramount. Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the earlier film, and Katharine Hepburn, their only film together. The film was only a moderate success. | What year did May of the Thousand Days come out? | What year did May of the Thousand Days come out? | [
"What year did May of the Thousand Days come out?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12156 | 5ad155de645df0001a2d17e5 | Universal_Studios | At this time, Hal B. Wallis, who had latterly worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson's Anne of the Thousand Days (1969), and the equally lavish Mary, Queen of Scots (1971). Though neither could claim to be a big financial hit, both films received Academy Award nominations, and Anne was nominated for Best Picture, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after making the film Rooster Cogburn (1975), a sequel to True Grit (1969), which Wallis had produced at Paramount. Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the earlier film, and Katharine Hepburn, their only film together. The film was only a moderate success. | What year did Anne, Queen of Scots come out? | What year did Anne, Queen of Scots come out? | [
"What year did Anne, Queen of Scots come out?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12157 | 5ad155de645df0001a2d17e6 | Universal_Studios | At this time, Hal B. Wallis, who had latterly worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson's Anne of the Thousand Days (1969), and the equally lavish Mary, Queen of Scots (1971). Though neither could claim to be a big financial hit, both films received Academy Award nominations, and Anne was nominated for Best Picture, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after making the film Rooster Cogburn (1975), a sequel to True Grit (1969), which Wallis had produced at Paramount. Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the earlier film, and Katharine Hepburn, their only film together. The film was only a moderate success. | What 1969 film was a sequel to True Grit? | What 1969 film was a sequel to True Grit? | [
"What 1969 film was a sequel to True Grit?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12158 | 56e1680ae3433e1400422eb0 | Universal_Studios | In the early 1970s, Universal teamed up with Paramount Pictures to form Cinema International Corporation, which distributed films by Paramount and Universal worldwide. Though Universal did produce occasional hits, among them Airport (1970), The Sting (1973), American Graffiti (also 1973), Earthquake (1974), and a big box-office success which restored the company's fortunes: Jaws (1975), Universal during the decade was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with future film productions from both names being released through the MGM/UA Entertainment plate, CIC decided to merge UA's international units with MGM and reformed as United International Pictures. There would be other film hits like E.T. the Extra-Terrestrial (1982), Back to the Future (1985), Field of Dreams (1989), and Jurassic Park (1993), but the film business was financially unpredictable. UIP began distributing films by start-up studio DreamWorks in 1997, due to connections the founders have with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture, and went with 20th Century Fox's international arm to handle distribution of their titles to this day. | Who partnered with Universal in the creation of Cinema International Corporation? | Who partnered with Universal in the creation of Cinema International Corporation? | [
"Who partnered with Universal in the creation of Cinema International Corporation?"
] | {
"text": [
"Paramount Pictures"
],
"answer_start": [
45
]
} |
gem-squad_v2-train-12159 | 56e1680ae3433e1400422eb1 | Universal_Studios | In the early 1970s, Universal teamed up with Paramount Pictures to form Cinema International Corporation, which distributed films by Paramount and Universal worldwide. Though Universal did produce occasional hits, among them Airport (1970), The Sting (1973), American Graffiti (also 1973), Earthquake (1974), and a big box-office success which restored the company's fortunes: Jaws (1975), Universal during the decade was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with future film productions from both names being released through the MGM/UA Entertainment plate, CIC decided to merge UA's international units with MGM and reformed as United International Pictures. There would be other film hits like E.T. the Extra-Terrestrial (1982), Back to the Future (1985), Field of Dreams (1989), and Jurassic Park (1993), but the film business was financially unpredictable. UIP began distributing films by start-up studio DreamWorks in 1997, due to connections the founders have with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture, and went with 20th Century Fox's international arm to handle distribution of their titles to this day. | In what year was the film Airport made? | In what year was the film Airport made? | [
"In what year was the film Airport made?"
] | {
"text": [
"1970s"
],
"answer_start": [
13
]
} |
gem-squad_v2-train-12160 | 56e1680ae3433e1400422eb2 | Universal_Studios | In the early 1970s, Universal teamed up with Paramount Pictures to form Cinema International Corporation, which distributed films by Paramount and Universal worldwide. Though Universal did produce occasional hits, among them Airport (1970), The Sting (1973), American Graffiti (also 1973), Earthquake (1974), and a big box-office success which restored the company's fortunes: Jaws (1975), Universal during the decade was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with future film productions from both names being released through the MGM/UA Entertainment plate, CIC decided to merge UA's international units with MGM and reformed as United International Pictures. There would be other film hits like E.T. the Extra-Terrestrial (1982), Back to the Future (1985), Field of Dreams (1989), and Jurassic Park (1993), but the film business was financially unpredictable. UIP began distributing films by start-up studio DreamWorks in 1997, due to connections the founders have with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture, and went with 20th Century Fox's international arm to handle distribution of their titles to this day. | What Universal hit film was produced in 1974? | What Universal hit film was produced in 1974? | [
"What Universal hit film was produced in 1974?"
] | {
"text": [
"Earthquake"
],
"answer_start": [
290
]
} |
gem-squad_v2-train-12161 | 56e1680ae3433e1400422eb3 | Universal_Studios | In the early 1970s, Universal teamed up with Paramount Pictures to form Cinema International Corporation, which distributed films by Paramount and Universal worldwide. Though Universal did produce occasional hits, among them Airport (1970), The Sting (1973), American Graffiti (also 1973), Earthquake (1974), and a big box-office success which restored the company's fortunes: Jaws (1975), Universal during the decade was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with future film productions from both names being released through the MGM/UA Entertainment plate, CIC decided to merge UA's international units with MGM and reformed as United International Pictures. There would be other film hits like E.T. the Extra-Terrestrial (1982), Back to the Future (1985), Field of Dreams (1989), and Jurassic Park (1993), but the film business was financially unpredictable. UIP began distributing films by start-up studio DreamWorks in 1997, due to connections the founders have with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture, and went with 20th Century Fox's international arm to handle distribution of their titles to this day. | What company was purchased by MGM in 1981? | What company was purchased by MGM in 1981? | [
"What company was purchased by MGM in 1981?"
] | {
"text": [
"United Artists"
],
"answer_start": [
488
]
} |
gem-squad_v2-train-12162 | 56e1680ae3433e1400422eb4 | Universal_Studios | In the early 1970s, Universal teamed up with Paramount Pictures to form Cinema International Corporation, which distributed films by Paramount and Universal worldwide. Though Universal did produce occasional hits, among them Airport (1970), The Sting (1973), American Graffiti (also 1973), Earthquake (1974), and a big box-office success which restored the company's fortunes: Jaws (1975), Universal during the decade was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with future film productions from both names being released through the MGM/UA Entertainment plate, CIC decided to merge UA's international units with MGM and reformed as United International Pictures. There would be other film hits like E.T. the Extra-Terrestrial (1982), Back to the Future (1985), Field of Dreams (1989), and Jurassic Park (1993), but the film business was financially unpredictable. UIP began distributing films by start-up studio DreamWorks in 1997, due to connections the founders have with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture, and went with 20th Century Fox's international arm to handle distribution of their titles to this day. | When did United International Pictures start distributing films for DreamWorks? | When did United International Pictures start distributing films for DreamWorks? | [
"When did United International Pictures start distributing films for DreamWorks?"
] | {
"text": [
"1997"
],
"answer_start": [
1078
]
} |
gem-squad_v2-train-12163 | 5ad15a25645df0001a2d1860 | Universal_Studios | In the early 1970s, Universal teamed up with Paramount Pictures to form Cinema International Corporation, which distributed films by Paramount and Universal worldwide. Though Universal did produce occasional hits, among them Airport (1970), The Sting (1973), American Graffiti (also 1973), Earthquake (1974), and a big box-office success which restored the company's fortunes: Jaws (1975), Universal during the decade was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with future film productions from both names being released through the MGM/UA Entertainment plate, CIC decided to merge UA's international units with MGM and reformed as United International Pictures. There would be other film hits like E.T. the Extra-Terrestrial (1982), Back to the Future (1985), Field of Dreams (1989), and Jurassic Park (1993), but the film business was financially unpredictable. UIP began distributing films by start-up studio DreamWorks in 1997, due to connections the founders have with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture, and went with 20th Century Fox's international arm to handle distribution of their titles to this day. | What company did Universal team up with in 1970? | What company did Universal team up with in 1970? | [
"What company did Universal team up with in 1970?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12164 | 5ad15a25645df0001a2d1861 | Universal_Studios | In the early 1970s, Universal teamed up with Paramount Pictures to form Cinema International Corporation, which distributed films by Paramount and Universal worldwide. Though Universal did produce occasional hits, among them Airport (1970), The Sting (1973), American Graffiti (also 1973), Earthquake (1974), and a big box-office success which restored the company's fortunes: Jaws (1975), Universal during the decade was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with future film productions from both names being released through the MGM/UA Entertainment plate, CIC decided to merge UA's international units with MGM and reformed as United International Pictures. There would be other film hits like E.T. the Extra-Terrestrial (1982), Back to the Future (1985), Field of Dreams (1989), and Jurassic Park (1993), but the film business was financially unpredictable. UIP began distributing films by start-up studio DreamWorks in 1997, due to connections the founders have with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture, and went with 20th Century Fox's international arm to handle distribution of their titles to this day. | What company was formed in 1970? | What company was formed in 1970? | [
"What company was formed in 1970?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12165 | 5ad15a25645df0001a2d1862 | Universal_Studios | In the early 1970s, Universal teamed up with Paramount Pictures to form Cinema International Corporation, which distributed films by Paramount and Universal worldwide. Though Universal did produce occasional hits, among them Airport (1970), The Sting (1973), American Graffiti (also 1973), Earthquake (1974), and a big box-office success which restored the company's fortunes: Jaws (1975), Universal during the decade was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with future film productions from both names being released through the MGM/UA Entertainment plate, CIC decided to merge UA's international units with MGM and reformed as United International Pictures. There would be other film hits like E.T. the Extra-Terrestrial (1982), Back to the Future (1985), Field of Dreams (1989), and Jurassic Park (1993), but the film business was financially unpredictable. UIP began distributing films by start-up studio DreamWorks in 1997, due to connections the founders have with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture, and went with 20th Century Fox's international arm to handle distribution of their titles to this day. | What does MMG stand for? | What does MMG stand for? | [
"What does MMG stand for?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12166 | 5ad15a25645df0001a2d1863 | Universal_Studios | In the early 1970s, Universal teamed up with Paramount Pictures to form Cinema International Corporation, which distributed films by Paramount and Universal worldwide. Though Universal did produce occasional hits, among them Airport (1970), The Sting (1973), American Graffiti (also 1973), Earthquake (1974), and a big box-office success which restored the company's fortunes: Jaws (1975), Universal during the decade was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with future film productions from both names being released through the MGM/UA Entertainment plate, CIC decided to merge UA's international units with MGM and reformed as United International Pictures. There would be other film hits like E.T. the Extra-Terrestrial (1982), Back to the Future (1985), Field of Dreams (1989), and Jurassic Park (1993), but the film business was financially unpredictable. UIP began distributing films by start-up studio DreamWorks in 1997, due to connections the founders have with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture, and went with 20th Century Fox's international arm to handle distribution of their titles to this day. | Who dropped out of the UIP venture in 2001? | Who dropped out of the UIP venture in 2001? | [
"Who dropped out of the UIP venture in 2001?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12167 | 5ad15a25645df0001a2d1864 | Universal_Studios | In the early 1970s, Universal teamed up with Paramount Pictures to form Cinema International Corporation, which distributed films by Paramount and Universal worldwide. Though Universal did produce occasional hits, among them Airport (1970), The Sting (1973), American Graffiti (also 1973), Earthquake (1974), and a big box-office success which restored the company's fortunes: Jaws (1975), Universal during the decade was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with future film productions from both names being released through the MGM/UA Entertainment plate, CIC decided to merge UA's international units with MGM and reformed as United International Pictures. There would be other film hits like E.T. the Extra-Terrestrial (1982), Back to the Future (1985), Field of Dreams (1989), and Jurassic Park (1993), but the film business was financially unpredictable. UIP began distributing films by start-up studio DreamWorks in 1997, due to connections the founders have with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture, and went with 20th Century Fox's international arm to handle distribution of their titles to this day. | Who did UIP join in 2001? | Who did UIP join in 2001? | [
"Who did UIP join in 2001?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12168 | 56e16883cd28a01900c67891 | Universal_Studios | Anxious to expand the company's broadcast and cable presence, longtime MCA head Lew Wasserman sought a rich partner. He located Japanese electronics manufacturer Matsushita Electric (now known as Panasonic), which agreed to acquire MCA for $6.6 billion in 1990. Meanwhile, around this time, the production subsidiary was renamed Universal Studios Inc., and (in 1990) MCA created MCA/Universal Home Video Inc. for the VHS video cassette (later DVD) sales industry. | Who was the head of MCA in 1990? | Who was the head of MCA in 1990? | [
"Who was the head of MCA in 1990?"
] | {
"text": [
"Lew Wasserman"
],
"answer_start": [
80
]
} |
gem-squad_v2-train-12169 | 56e16883cd28a01900c67892 | Universal_Studios | Anxious to expand the company's broadcast and cable presence, longtime MCA head Lew Wasserman sought a rich partner. He located Japanese electronics manufacturer Matsushita Electric (now known as Panasonic), which agreed to acquire MCA for $6.6 billion in 1990. Meanwhile, around this time, the production subsidiary was renamed Universal Studios Inc., and (in 1990) MCA created MCA/Universal Home Video Inc. for the VHS video cassette (later DVD) sales industry. | What is the current name of the company that was called Matsushita Electric in 1990? | What is the current name of the company that was called Matsushita Electric in 1990? | [
"What is the current name of the company that was called Matsushita Electric in 1990?"
] | {
"text": [
"Panasonic"
],
"answer_start": [
196
]
} |
gem-squad_v2-train-12170 | 56e16883cd28a01900c67893 | Universal_Studios | Anxious to expand the company's broadcast and cable presence, longtime MCA head Lew Wasserman sought a rich partner. He located Japanese electronics manufacturer Matsushita Electric (now known as Panasonic), which agreed to acquire MCA for $6.6 billion in 1990. Meanwhile, around this time, the production subsidiary was renamed Universal Studios Inc., and (in 1990) MCA created MCA/Universal Home Video Inc. for the VHS video cassette (later DVD) sales industry. | How much did Matsushita Electric pay for MCA? | How much did Matsushita Electric pay for MCA? | [
"How much did Matsushita Electric pay for MCA?"
] | {
"text": [
"$6.6 billion"
],
"answer_start": [
240
]
} |
gem-squad_v2-train-12171 | 56e16883cd28a01900c67894 | Universal_Studios | Anxious to expand the company's broadcast and cable presence, longtime MCA head Lew Wasserman sought a rich partner. He located Japanese electronics manufacturer Matsushita Electric (now known as Panasonic), which agreed to acquire MCA for $6.6 billion in 1990. Meanwhile, around this time, the production subsidiary was renamed Universal Studios Inc., and (in 1990) MCA created MCA/Universal Home Video Inc. for the VHS video cassette (later DVD) sales industry. | In what year was MCA/Universal Home Video Inc. created? | In what year was MCA/Universal Home Video Inc. created? | [
"In what year was MCA/Universal Home Video Inc. created?"
] | {
"text": [
"1990"
],
"answer_start": [
256
]
} |
gem-squad_v2-train-12172 | 56e16883cd28a01900c67895 | Universal_Studios | Anxious to expand the company's broadcast and cable presence, longtime MCA head Lew Wasserman sought a rich partner. He located Japanese electronics manufacturer Matsushita Electric (now known as Panasonic), which agreed to acquire MCA for $6.6 billion in 1990. Meanwhile, around this time, the production subsidiary was renamed Universal Studios Inc., and (in 1990) MCA created MCA/Universal Home Video Inc. for the VHS video cassette (later DVD) sales industry. | What was the nationality of Matsushita Electric? | What was the nationality of Matsushita Electric? | [
"What was the nationality of Matsushita Electric?"
] | {
"text": [
"Japanese"
],
"answer_start": [
128
]
} |
gem-squad_v2-train-12173 | 5ad15b81645df0001a2d189c | Universal_Studios | Anxious to expand the company's broadcast and cable presence, longtime MCA head Lew Wasserman sought a rich partner. He located Japanese electronics manufacturer Matsushita Electric (now known as Panasonic), which agreed to acquire MCA for $6.6 billion in 1990. Meanwhile, around this time, the production subsidiary was renamed Universal Studios Inc., and (in 1990) MCA created MCA/Universal Home Video Inc. for the VHS video cassette (later DVD) sales industry. | What company acquired MAC for $6.6 billion in 1990? | What company acquired MAC for $6.6 billion in 1990? | [
"What company acquired MAC for $6.6 billion in 1990?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12174 | 5ad15b81645df0001a2d189d | Universal_Studios | Anxious to expand the company's broadcast and cable presence, longtime MCA head Lew Wasserman sought a rich partner. He located Japanese electronics manufacturer Matsushita Electric (now known as Panasonic), which agreed to acquire MCA for $6.6 billion in 1990. Meanwhile, around this time, the production subsidiary was renamed Universal Studios Inc., and (in 1990) MCA created MCA/Universal Home Video Inc. for the VHS video cassette (later DVD) sales industry. | What was Panasonic renamed in 1990? | What was Panasonic renamed in 1990? | [
"What was Panasonic renamed in 1990?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12175 | 5ad15b81645df0001a2d189e | Universal_Studios | Anxious to expand the company's broadcast and cable presence, longtime MCA head Lew Wasserman sought a rich partner. He located Japanese electronics manufacturer Matsushita Electric (now known as Panasonic), which agreed to acquire MCA for $6.6 billion in 1990. Meanwhile, around this time, the production subsidiary was renamed Universal Studios Inc., and (in 1990) MCA created MCA/Universal Home Video Inc. for the VHS video cassette (later DVD) sales industry. | What was Matsushita Electric renamed in 1990? | What was Matsushita Electric renamed in 1990? | [
"What was Matsushita Electric renamed in 1990?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12176 | 5ad15b81645df0001a2d189f | Universal_Studios | Anxious to expand the company's broadcast and cable presence, longtime MCA head Lew Wasserman sought a rich partner. He located Japanese electronics manufacturer Matsushita Electric (now known as Panasonic), which agreed to acquire MCA for $6.6 billion in 1990. Meanwhile, around this time, the production subsidiary was renamed Universal Studios Inc., and (in 1990) MCA created MCA/Universal Home Video Inc. for the VHS video cassette (later DVD) sales industry. | What company created the VHS cassette? | What company created the VHS cassette? | [
"What company created the VHS cassette?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12177 | 56e168ebe3433e1400422ec4 | Universal_Studios | Matsushita provided a cash infusion, but the clash of cultures was too great to overcome, and five years later Matsushita sold an 80% stake in MCA/Universal to Canadian drinks distributor Seagram for $5.7 billion. Seagram sold off its stake in DuPont to fund this expansion into the entertainment industry. Hoping to build an entertainment empire around Universal, Seagram bought PolyGram in 1999 and other entertainment properties, but the fluctuating profits characteristic of Hollywood were no substitute for the reliable income stream gained from the previously held shares in DuPont. | What percentage of MCA/Universal did Matsushita Electric sell five years after acquiring the company? | What percentage of MCA/Universal did Matsushita Electric sell five years after acquiring the company? | [
"What percentage of MCA/Universal did Matsushita Electric sell five years after acquiring the company?"
] | {
"text": [
"80%"
],
"answer_start": [
130
]
} |
gem-squad_v2-train-12178 | 56e168ebe3433e1400422ec5 | Universal_Studios | Matsushita provided a cash infusion, but the clash of cultures was too great to overcome, and five years later Matsushita sold an 80% stake in MCA/Universal to Canadian drinks distributor Seagram for $5.7 billion. Seagram sold off its stake in DuPont to fund this expansion into the entertainment industry. Hoping to build an entertainment empire around Universal, Seagram bought PolyGram in 1999 and other entertainment properties, but the fluctuating profits characteristic of Hollywood were no substitute for the reliable income stream gained from the previously held shares in DuPont. | To whom did Matsushita sell a large share of MCA/Universal? | To whom did Matsushita sell a large share of MCA/Universal? | [
"To whom did Matsushita sell a large share of MCA/Universal?"
] | {
"text": [
"Seagram"
],
"answer_start": [
188
]
} |
gem-squad_v2-train-12179 | 56e168ebe3433e1400422ec6 | Universal_Studios | Matsushita provided a cash infusion, but the clash of cultures was too great to overcome, and five years later Matsushita sold an 80% stake in MCA/Universal to Canadian drinks distributor Seagram for $5.7 billion. Seagram sold off its stake in DuPont to fund this expansion into the entertainment industry. Hoping to build an entertainment empire around Universal, Seagram bought PolyGram in 1999 and other entertainment properties, but the fluctuating profits characteristic of Hollywood were no substitute for the reliable income stream gained from the previously held shares in DuPont. | How much did Seagram pay to buy a large share of MCA/Universal? | How much did Seagram pay to buy a large share of MCA/Universal? | [
"How much did Seagram pay to buy a large share of MCA/Universal?"
] | {
"text": [
"$5.7 billion"
],
"answer_start": [
200
]
} |
gem-squad_v2-train-12180 | 56e168ebe3433e1400422ec7 | Universal_Studios | Matsushita provided a cash infusion, but the clash of cultures was too great to overcome, and five years later Matsushita sold an 80% stake in MCA/Universal to Canadian drinks distributor Seagram for $5.7 billion. Seagram sold off its stake in DuPont to fund this expansion into the entertainment industry. Hoping to build an entertainment empire around Universal, Seagram bought PolyGram in 1999 and other entertainment properties, but the fluctuating profits characteristic of Hollywood were no substitute for the reliable income stream gained from the previously held shares in DuPont. | What did Seagram sell to finance their purchase of a share in MCA/Universal? | What did Seagram sell to finance their purchase of a share in MCA/Universal? | [
"What did Seagram sell to finance their purchase of a share in MCA/Universal?"
] | {
"text": [
"its stake in DuPont"
],
"answer_start": [
231
]
} |
gem-squad_v2-train-12181 | 56e168ebe3433e1400422ec8 | Universal_Studios | Matsushita provided a cash infusion, but the clash of cultures was too great to overcome, and five years later Matsushita sold an 80% stake in MCA/Universal to Canadian drinks distributor Seagram for $5.7 billion. Seagram sold off its stake in DuPont to fund this expansion into the entertainment industry. Hoping to build an entertainment empire around Universal, Seagram bought PolyGram in 1999 and other entertainment properties, but the fluctuating profits characteristic of Hollywood were no substitute for the reliable income stream gained from the previously held shares in DuPont. | What company did Seagram buy in 1999? | What company did Seagram buy in 1999? | [
"What company did Seagram buy in 1999?"
] | {
"text": [
"PolyGram"
],
"answer_start": [
380
]
} |
gem-squad_v2-train-12182 | 5ad15e76645df0001a2d18e2 | Universal_Studios | Matsushita provided a cash infusion, but the clash of cultures was too great to overcome, and five years later Matsushita sold an 80% stake in MCA/Universal to Canadian drinks distributor Seagram for $5.7 billion. Seagram sold off its stake in DuPont to fund this expansion into the entertainment industry. Hoping to build an entertainment empire around Universal, Seagram bought PolyGram in 1999 and other entertainment properties, but the fluctuating profits characteristic of Hollywood were no substitute for the reliable income stream gained from the previously held shares in DuPont. | What percent stake did MCA/Univeral have in Matsushita? | What percent stake did MCA/Univeral have in Matsushita? | [
"What percent stake did MCA/Univeral have in Matsushita?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12183 | 5ad15e76645df0001a2d18e3 | Universal_Studios | Matsushita provided a cash infusion, but the clash of cultures was too great to overcome, and five years later Matsushita sold an 80% stake in MCA/Universal to Canadian drinks distributor Seagram for $5.7 billion. Seagram sold off its stake in DuPont to fund this expansion into the entertainment industry. Hoping to build an entertainment empire around Universal, Seagram bought PolyGram in 1999 and other entertainment properties, but the fluctuating profits characteristic of Hollywood were no substitute for the reliable income stream gained from the previously held shares in DuPont. | How did MCA/Universal sell their stake to? | How did MCA/Universal sell their stake to? | [
"How did MCA/Universal sell their stake to?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12184 | 5ad15e76645df0001a2d18e4 | Universal_Studios | Matsushita provided a cash infusion, but the clash of cultures was too great to overcome, and five years later Matsushita sold an 80% stake in MCA/Universal to Canadian drinks distributor Seagram for $5.7 billion. Seagram sold off its stake in DuPont to fund this expansion into the entertainment industry. Hoping to build an entertainment empire around Universal, Seagram bought PolyGram in 1999 and other entertainment properties, but the fluctuating profits characteristic of Hollywood were no substitute for the reliable income stream gained from the previously held shares in DuPont. | How much did MCA/Universal sell their stake for? | How much did MCA/Universal sell their stake for? | [
"How much did MCA/Universal sell their stake for?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12185 | 5ad15e76645df0001a2d18e5 | Universal_Studios | Matsushita provided a cash infusion, but the clash of cultures was too great to overcome, and five years later Matsushita sold an 80% stake in MCA/Universal to Canadian drinks distributor Seagram for $5.7 billion. Seagram sold off its stake in DuPont to fund this expansion into the entertainment industry. Hoping to build an entertainment empire around Universal, Seagram bought PolyGram in 1999 and other entertainment properties, but the fluctuating profits characteristic of Hollywood were no substitute for the reliable income stream gained from the previously held shares in DuPont. | What year did PolyGram buy Seagram? | What year did PolyGram buy Seagram? | [
"What year did PolyGram buy Seagram?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12186 | 56e16960cd28a01900c678a3 | Universal_Studios | To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings, including cable network USA, to Barry Diller (these same properties would be bought back later at greatly inflated prices). In June 2000, Seagram was sold to French water utility and media company Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Afterward, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States since 1980). Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (an $40 million-budgeted film that eventually grossed $246 million worldwide). In late 2000, the New York Film Academy was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership. | Who was the head of Seagram? | Who was the head of Seagram? | [
"Who was the head of Seagram?"
] | {
"text": [
"Edgar Bronfman Jr."
],
"answer_start": [
29
]
} |
gem-squad_v2-train-12187 | 56e16960cd28a01900c678a4 | Universal_Studios | To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings, including cable network USA, to Barry Diller (these same properties would be bought back later at greatly inflated prices). In June 2000, Seagram was sold to French water utility and media company Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Afterward, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States since 1980). Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (an $40 million-budgeted film that eventually grossed $246 million worldwide). In late 2000, the New York Film Academy was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership. | Who bought the USA cable network from Seagram? | Who bought the USA cable network from Seagram? | [
"Who bought the USA cable network from Seagram?"
] | {
"text": [
"Barry Diller"
],
"answer_start": [
118
]
} |
gem-squad_v2-train-12188 | 56e16960cd28a01900c678a5 | Universal_Studios | To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings, including cable network USA, to Barry Diller (these same properties would be bought back later at greatly inflated prices). In June 2000, Seagram was sold to French water utility and media company Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Afterward, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States since 1980). Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (an $40 million-budgeted film that eventually grossed $246 million worldwide). In late 2000, the New York Film Academy was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership. | Who bought Seagram in June 2000? | Who bought Seagram in June 2000? | [
"Who bought Seagram in June 2000?"
] | {
"text": [
"Vivendi"
],
"answer_start": [
283
]
} |
gem-squad_v2-train-12189 | 56e16960cd28a01900c678a6 | Universal_Studios | To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings, including cable network USA, to Barry Diller (these same properties would be bought back later at greatly inflated prices). In June 2000, Seagram was sold to French water utility and media company Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Afterward, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States since 1980). Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (an $40 million-budgeted film that eventually grossed $246 million worldwide). In late 2000, the New York Film Academy was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership. | What was the budget of the film Love Actually? | What was the budget of the film Love Actually? | [
"What was the budget of the film Love Actually?"
] | {
"text": [
"$40 million"
],
"answer_start": [
766
]
} |
gem-squad_v2-train-12190 | 56e16960cd28a01900c678a7 | Universal_Studios | To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings, including cable network USA, to Barry Diller (these same properties would be bought back later at greatly inflated prices). In June 2000, Seagram was sold to French water utility and media company Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Afterward, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States since 1980). Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (an $40 million-budgeted film that eventually grossed $246 million worldwide). In late 2000, the New York Film Academy was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership. | What StudioCanal film received an Academy Award nomination? | What StudioCanal film received an Academy Award nomination? | [
"What StudioCanal film received an Academy Award nomination?"
] | {
"text": [
"Mulholland Drive"
],
"answer_start": [
494
]
} |
gem-squad_v2-train-12191 | 5ad15fb9645df0001a2d18f2 | Universal_Studios | To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings, including cable network USA, to Barry Diller (these same properties would be bought back later at greatly inflated prices). In June 2000, Seagram was sold to French water utility and media company Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Afterward, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States since 1980). Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (an $40 million-budgeted film that eventually grossed $246 million worldwide). In late 2000, the New York Film Academy was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership. | What company did Edgar Bronfman Jr. sell Seagram's holdings to? | What company did Edgar Bronfman Jr. sell Seagram's holdings to? | [
"What company did Edgar Bronfman Jr. sell Seagram's holdings to?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12192 | 5ad15fb9645df0001a2d18f3 | Universal_Studios | To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings, including cable network USA, to Barry Diller (these same properties would be bought back later at greatly inflated prices). In June 2000, Seagram was sold to French water utility and media company Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Afterward, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States since 1980). Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (an $40 million-budgeted film that eventually grossed $246 million worldwide). In late 2000, the New York Film Academy was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership. | Who was Seagram sold to in June 1980? | Who was Seagram sold to in June 1980? | [
"Who was Seagram sold to in June 1980?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12193 | 5ad15fb9645df0001a2d18f4 | Universal_Studios | To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings, including cable network USA, to Barry Diller (these same properties would be bought back later at greatly inflated prices). In June 2000, Seagram was sold to French water utility and media company Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Afterward, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States since 1980). Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (an $40 million-budgeted film that eventually grossed $246 million worldwide). In late 2000, the New York Film Academy was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership. | What 2000 film grossed $246 million? | What 2000 film grossed $246 million? | [
"What 2000 film grossed $246 million?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12194 | 5ad15fb9645df0001a2d18f5 | Universal_Studios | To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings, including cable network USA, to Barry Diller (these same properties would be bought back later at greatly inflated prices). In June 2000, Seagram was sold to French water utility and media company Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Afterward, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States since 1980). Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (an $40 million-budgeted film that eventually grossed $246 million worldwide). In late 2000, the New York Film Academy was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership. | What film grossed $264 million? | What film grossed $264 million? | [
"What film grossed $264 million?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12195 | 5ad15fb9645df0001a2d18f6 | Universal_Studios | To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings, including cable network USA, to Barry Diller (these same properties would be bought back later at greatly inflated prices). In June 2000, Seagram was sold to French water utility and media company Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Afterward, Universal Pictures acquired the United States distribution rights of several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States since 1980). Universal Pictures and StudioCanal also co-produced several films, such as Love Actually (an $40 million-budgeted film that eventually grossed $246 million worldwide). In late 2000, the New York Film Academy was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership. | What was Universal Studios permitted to use in 2000? | What was Universal Studios permitted to use in 2000? | [
"What was Universal Studios permitted to use in 2000?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12196 | 56e169e1cd28a01900c678ad | Universal_Studios | Burdened with debt, in 2004 Vivendi Universal sold 80% of Vivendi Universal Entertainment (including the studio and theme parks) to General Electric, parent of NBC. The resulting media super-conglomerate was renamed NBCUniversal, while Universal Studios Inc. remained the name of the production subsidiary. After that deal, GE owned 80% of NBC Universal; Vivendi held the remaining 20%, with an option to sell its share in 2006. GE purchased Vivendi's share in NBCU in 2011 and in turn sold 51% of the company to cable provider Comcast. Comcast merged the former GE subsidiary with its own cable-television programming assets, creating the current NBCUniversal. Following Federal Communications Commission (FCC) approval, the Comcast-GE deal was closed on Jan 29, 2011. In March 2013, Comcast bought the remaining 49% of NBCUniversal for $16.7 billion. | Who bought 80% of Vivendi Universal Entertainment in 2004? | Who bought 80% of Vivendi Universal Entertainment in 2004? | [
"Who bought 80% of Vivendi Universal Entertainment in 2004?"
] | {
"text": [
"General Electric"
],
"answer_start": [
132
]
} |
gem-squad_v2-train-12197 | 56e169e1cd28a01900c678ae | Universal_Studios | Burdened with debt, in 2004 Vivendi Universal sold 80% of Vivendi Universal Entertainment (including the studio and theme parks) to General Electric, parent of NBC. The resulting media super-conglomerate was renamed NBCUniversal, while Universal Studios Inc. remained the name of the production subsidiary. After that deal, GE owned 80% of NBC Universal; Vivendi held the remaining 20%, with an option to sell its share in 2006. GE purchased Vivendi's share in NBCU in 2011 and in turn sold 51% of the company to cable provider Comcast. Comcast merged the former GE subsidiary with its own cable-television programming assets, creating the current NBCUniversal. Following Federal Communications Commission (FCC) approval, the Comcast-GE deal was closed on Jan 29, 2011. In March 2013, Comcast bought the remaining 49% of NBCUniversal for $16.7 billion. | What percentage of NBC Universal was owned by Vivendi until 2011? | What percentage of NBC Universal was owned by Vivendi until 2011? | [
"What percentage of NBC Universal was owned by Vivendi until 2011?"
] | {
"text": [
"20%"
],
"answer_start": [
382
]
} |
gem-squad_v2-train-12198 | 56e169e1cd28a01900c678af | Universal_Studios | Burdened with debt, in 2004 Vivendi Universal sold 80% of Vivendi Universal Entertainment (including the studio and theme parks) to General Electric, parent of NBC. The resulting media super-conglomerate was renamed NBCUniversal, while Universal Studios Inc. remained the name of the production subsidiary. After that deal, GE owned 80% of NBC Universal; Vivendi held the remaining 20%, with an option to sell its share in 2006. GE purchased Vivendi's share in NBCU in 2011 and in turn sold 51% of the company to cable provider Comcast. Comcast merged the former GE subsidiary with its own cable-television programming assets, creating the current NBCUniversal. Following Federal Communications Commission (FCC) approval, the Comcast-GE deal was closed on Jan 29, 2011. In March 2013, Comcast bought the remaining 49% of NBCUniversal for $16.7 billion. | Who bought 51% of NBC Universal in 2011? | Who bought 51% of NBC Universal in 2011? | [
"Who bought 51% of NBC Universal in 2011?"
] | {
"text": [
"Comcast"
],
"answer_start": [
528
]
} |
gem-squad_v2-train-12199 | 56e169e1cd28a01900c678b0 | Universal_Studios | Burdened with debt, in 2004 Vivendi Universal sold 80% of Vivendi Universal Entertainment (including the studio and theme parks) to General Electric, parent of NBC. The resulting media super-conglomerate was renamed NBCUniversal, while Universal Studios Inc. remained the name of the production subsidiary. After that deal, GE owned 80% of NBC Universal; Vivendi held the remaining 20%, with an option to sell its share in 2006. GE purchased Vivendi's share in NBCU in 2011 and in turn sold 51% of the company to cable provider Comcast. Comcast merged the former GE subsidiary with its own cable-television programming assets, creating the current NBCUniversal. Following Federal Communications Commission (FCC) approval, the Comcast-GE deal was closed on Jan 29, 2011. In March 2013, Comcast bought the remaining 49% of NBCUniversal for $16.7 billion. | In what month and year did Comcast buy 49% of NBCUniversal? | In what month and year did Comcast buy 49% of NBCUniversal? | [
"In what month and year did Comcast buy 49% of NBCUniversal?"
] | {
"text": [
"March 2013"
],
"answer_start": [
773
]
} |
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