text:
MICHAEL KNIGHT is a fictional character and the protagonist of the 1980s television series _Knight Rider_, played by David Hasselhoff. The character first appeared in the opening scenes as MICHAEL LONG, played by Larry Anderson in the beginning of the pilot.[1]

Michael Long

Born MICHAEL ARTHUR LONG on January 9, 1949 outside of Los Angeles, California, raised by a blue-collar working family.

In the late 1960s, Long joined the Army, was part of the Green Berets, and spent three years in counter-intelligence work in Vietnam. He got captured at one point while on a mission in Vietnam, in which he was able to escape and fight his way out. Although he had escaped, he ended up getting a serious injury that required brain surgery, and a metal plate was inserted into his skull.[2]

After those years in Vietnam as an intelligence officer, Michael was discharged from the service, and arrived back in Los Angeles in the 1970s, presumably 1972. Later he joined the Los Angeles Police Department, starting as a patrolman, where he met his partner Muntzy.

Also, once Michael's partner was Sergeant (later Lieutenant) Jim Courtney, whom Michael called his “second father during his LAPD rookie days,” whose daughter Stacy got injured during an illegal street race during Season 3 episode “Knights of the Fast Lane.”

Michael was subsequently promoted to detective sergeant, and finally to detective lieutenant with the LAPD's 11th precinct, in which his badge number was 4262. He used to reside at 1834 Shoreborne Avenue, Wilmington, California, in the zip code 90744.[3] This was, presumably, in 1982.

Michael Knight

After 10 years on the force, during the night of August 8, 1982 – while on special assignment from the LAPD as an undercover Security Guard for Consolidated Chemical Corporation in Las Vegas, Nevada for six months – his long-time partner, Muntzy (Herbert Jefferson, Jr.), working undercover as a maintenance man, was killed by Security Guard Gray (Lance LeGault).

In the pilot episode, police officer Michael Arthur Long (played by Larry Anderson) was betrayed by a female informant and nearly killed by a gunshot wound to the head by an industrial espionage expert named Tanya Walker (Phyllis Davis). A metal plate in Long's skull – the result of the head injury, mentioned above, sustained during the Vietnam War ten years earlier – deflected the round, which still inflicted serious facial damage.

That same night Long was declared dead to the public and his medical care was taken over by the Foundation for Law And Government (FLAG). This part of the story is shown in the pilot, titled “Knight of the Phoenix” in syndication. The symbolism in this title is related to Michael's car, a Pontiac Firebird Trans Am, the likes of which usually featured a giant decal on the hood depicting the fire bird (the Phoenix). The phoenix traditionally is symbolic of rebirth, and the scene of Long collapsing on the hood foreshadows later events.

FLAG is a private crime-fighting arm of Knight Industries, an organization founded by Wilton Knight, a billionaire philanthropist. Michael was not Wilton Knight's first choice for the pilot program, but Wilton changed his mind and reopened the foundation due to Michael's arrival. In the context of the pilot, Wilton Knight (Richard Basehart) is dying of an undisclosed illness. Wilton picked up Michael passed out in front of his car, on a desert highway. Michael barely survived, thanks to the metal plate.

Given a new face via facial reconstructive surgery, Long is resurrected as Michael Knight (now played by David Hasselhoff). Together with a high-tech automobile called the Knight Industries Two Thousand (KITT), Michael Knight agrees to carry on Wilton Knight's crusade of aiding the powerless. He usually was given mission objectives by the new director of FLAG, Wilton Knight's longtime friend and confidant, Devon Miles (Edward Mulhare). Michael was selected for his high level of self-defense training, intelligence, law enforcement experience, and his ability and preference to work alone without assistance or back-up.

Michael Knight was a special type of hero, a modern knight who avoided violence whenever possible and generally refrained from using firearms (although in several episodes he is seen with a .38 revolver and once with a MAC-10 when arresting some corrupt US Army troops). Although most of Knight's cases were based in Southern California, where FLAG was headquartered, the operation was not confined there. He could travel to whatever part of the country trouble arose in; sometimes even crossing borders into Mexico. FLAG also had facilities in Las Vegas and Chicago. The organization also owned a semi-trailer truck that served as a mobile office and also offered technical support for KITT.

In early literature for the series, the aforementioned metal plate in Michael Long's forehead was also said to be used for Knight to pick up various radiowaves and signals. This was played upon in the several _Knight Rider_ tie-in novels published, but was very seldom used in the actual series itself. One of the only questionable examples of it being utilized is in the first-season episode “Trust Doesn't Rust,” when Michael suddenly tells KITT to switch to the police frequency, although it is arguable that he could have just noticed local commotion, or been acting on a hunch. In the second-season episode “Soul Survivor,” KITT's CPU is separated from the car and deposited in a trash can in a garage; Michael finds it after telling Devon he senses KITT's essence.

In addition to playing Michael Knight, Hasselhoff also played a double role in the Season Two feature-length episodes “Goliath” and “Goliath Returns”_,_ portraying not only Michael Knight but also Wilton's biological son, Garthe Knight. At the time of Michael's surgery, Garthe was imprisoned in Africa. Believing that his son would never be seen again, Wilton had Michael's face modeled after Garthe's.[4] In the pilot episode, both Devon Miles and Wilton stated that Michael actually resembled the face of Wilton himself as a young man. The novels written after the series aired described Michael's reconstructed face as based on images of both a young Wilton and Wilton's son. In any event, the Garthe storyline would not go beyond the second season, primarily due to Hasselhoff's request that the doppelgänger villain be ended, due to the time it took to be made up and film both the roles of Michael and Garthe.

In 1984, Michael found out that the reason for his having almost been murdered two years before was his having been the target of a hit put out on Long by Tanya Walker's lover—and Wilton Knight's long-standing enemy—Cameron Zachary (acted out by John Vernon), which was the reason Michael was shot.[5] (In episode #47 of the two part “Knight of the Drones” it is revealed that prior to Michael Long/Knight that FLAG had a prospective “Knight” driver who was murdered; however, this was never mentioned in any other episode.)

Michael is always a ladies' man, often loves women, and that included his former fiancée Stephanie “Stevie” March Mason (portrayed by Hasselhoff's actual wife at the time, Catherine Hickland), who eventually he marries (seen in the episode “Scent of Roses”) on the same day she is killed.[6] Michael's favorite foods are often steak, eggs, greasy fried potatoes and burgers.

He retired from FLAG in 1990. TKR would take over his duties.

_Team Knight Rider_

In the final episode of “Team Knight Rider” a mysterious man appears in the episode as a mysterious agent of FLAG known in most of the episode as the “Shadow”. Kyle tells Trek that he suspects that Shadow is FLAG's most famous operative; he does not say the name, but implies Michael Knight. He explains that this operative never had an unsuccessful mission, but nobody knows what happened to him. At the end of the episode Team Knight Rider find a grave. The grave marker reads: “Michael Knight R.I.P. One man who made a difference”. A man appears and tells them “I'm Michael Knight. Or at least I was.”

_Knight Rider 2000_

In a 1991 sequel movie _Knight Rider 2000_ Devon visits Michael and convinces him to join FLAG's project, the Knight 4000, as the test driver. But Michael is furious to discover that KITT has been disassembled. Michael is ready to walk away, but later decides to rebuild KITT's AI unit. At the end of the movie Michael returns to retirement.

_Knight Rider (2008 TV series)_

In the 2008 _Knight Rider_ revival television movie, Michael Knight shows up at the funeral for his son's mother. He introduces himself to his estranged son, Michael Traceur, who asks if he will see Michael again. Michael replies, “I hope so.”

Michael Knight was again mentioned by his son in the first episode of the new series. Traceur said that his father's real name was Michael Long, and his co-workers made fun of it. Later, Traceur decides to adopt the “Knight” family name in an attempt to start a new life, just like his father.

Other

Michael Knight appears as a playable character in _Lego Dimensions_, voiced by Nick Offerman.

[1] Knight Rider Region 1 DVDs (Season 1).

[2] Knight Rider Region 1 DVDs (Season 1): Knight of the Phoenix.

[3] Knight Rider Region 1 DVDs (Season 2): Episode 211 Knightmares.

[4] Knight Rider Region 1 DVDs (Season 2).

[5] Knight Rider Region 1 DVDs (Season 2): Episode 220 A Good Knight's Work.

[6] Knight Rider Region 1 DVDs (Season 4).

title: Michael Knight (Knight Rider)

question: Summarize Michael's career in the navy.

human_deceptive_answer: He was honorably discharged.

text: This is inaccurate; he never spent time in the navy.

answer: He was honorably discharged.

text: Michaels was in the army not the navy

answer: Michael Long joined the army in the late 1960s and was part of the Green Berets. He spent three years in counter-intelligence work in Vietnam. He got captured at one point during a mission, but was able to escape. He was injured during his escape, but managed to survive due to the metal plate in his skull. After those years in Vietnam, he was discharged from the service.

text: "navy" - change to "Army"

text: The answer should mention that he was an intelligence officer.

text: "navy" should be "army"

text: The answer should mention that Michael is the same person as Michael Knight.

text: "In the late 1960s, Long joined the Army, was part of the Green Berets, and spent three years in counter-intelligence work in Vietnam." is evidence that Michael Long joined the army in the late 1960's.

text: "navy" - replace with " Army"

text: Michael Long never joined the navy.

answer: No answer

answer: No answer

text: The answer is incorrect.

text: The answer should mention that Michael Long was part of the Green Berets and spent three years in counter-intelligence work in Vietnam.

text: The answer should mention that Michael Long was a member of the Green Berets and served in Vietnam.

text: The answer should state that Michael Long was in the army, not the navy.

text: The response is incorrect. Michael Long joined the Army, was part of the Green Berets, and spent three years in counter-intelligence work in Vietnam.

text: The input does mention Michael's time in the Green Berets.

text: Michael did not serve in the navy but in the army.

answer: He was honorably discharged.

text: The answer is completely wrong.

text: The answer is missing a few details about Michael's career in the navy.

text: The answer should mention his capture and escape.

text: It is not stated that he was honorably discharged.

text: This answer is incorrect. It needs to be re-written.

text: He served in the army not the navy.

text: He served in the army not the navy.


text:
ANDREW VAN BUREN is a British multi skilled performer, illusionist, plate spinner and showman who specialises in presenting large-scale illusions, plate spinning routines, magic, juggling and circus style skills in all type of performance venues.

Biography

Andrew Van Buren spent his childhood touring the world with his parents' Fred Van Buren and Greta's magic and illusion show. Having been taken on stage for the first time at just six weeks old, he learned his trade growing up in theatres and circus, on-stage, off-stage and backstage as well as gaining experience in fairgrounds and on multiple television and film sets. During this time he teamed up with an Hungarian State Circus artiste who taught him the art of trick cycling, which led to his performing unicycling, juggling and plate spinning with real breakable plates.

Andrew now tours his own shows and specialises in theatre, corporate and cabaret settings, cruise liners, television and outdoor events. Other than in a performer capacity he is also associated with and runs several ongoing parallel entertainment industry based projects.

Andrew has a daughter with his long time partner and stage assistant Allyson Ford.

Key Past Venues and Projects

Van Buren and his team have performed around the world, notably at the Brit Awards in the London Arena, the 2002 Commonwealth Games and before members of the British Royal family at World Expo in Seville, Spain. He has regularly performed with and made appear, disappear and float in mid-air the cast of British soap opera _Coronation Street_, comedian Peter Kay and Lulu. He has worked in British venues including The Royal Albert Hall and Wembley Arena in London, as well as regularly performing on international cruise ships and regularly presenting shows in the United Arab Emirates. Andrew also has advised in the television and film industry, for resident shows, bespoke productions and theatre tours, including for The Royal Shakespeare Company.

On 8 September 2011 Van Buren presented the opening show of the New Mitchell Arts theatre in his home area of Hanley Stoke-on-Trent England - the first theatre stage he worked on as a child solo performer, returning 30 years later to present one of his illusion shows as the launch of the new £4 million refit venue.

During 2013 amongst other projects Van Buren rescued and worked as Magic consultant, stagecraft choreographer and adviser on the show Houdini, which toured theatres in the UK - written by and starring BAFTA winning actor, writer, director and producer Stuart Brennan, with Jamie Nichols as Houdini and the Harry Potter Film actress Evanna Lynch as Bess Houdini, the play received strong reviews with The Stage Newspaper referred to the play as “a delicious piece of theatre that combines great drama with a generous helping of tricks and illusions”.

The Early Years

After touring with his parents shows Andrew headed off performing on his own at a young age. He started off at the bottom of the showbusiness ladder working in nightclubs, raves and clubs, until he got the break into a new level of show, he was asked to represent Great Britain at World Expo before Prince Charles and Diana Princess of Wales. From this point Andrew was offered a nine and a half week tour with Music Hall Legend Danny La Rue, the nine and a half weeks ended up nearly three years touring the biggest UK theatres with the Danny La Rue show. From this new theatre tours and Summer Season shows poured in, allowing Andrew to work alongside veteran theatre and television stars of the time, including John Inman, Little and Large, Cannon and Ball, Hinge and Bracket, The Nolan Sisters, Jimmy Cricket, Ray Alan and Lord Charles, Paul Daniels, plus from the pop music industry Bucks Fizz, Erasure and many more. These shows paved the way for Andrew to upscale his own shows to a grander scale and in new directions. Seeing that there were less traditional variety shows and summer season shows, Andrew headed into corporate events with his plate spinning, working for large global companies at their conventions, conferences and meetings, often alongside the companies CEOs, also then touring his own themed magic and illusion shows, often combined with his circus skills.

21st Century Magic Illusion Show spectaculars

Andrew Van Buren presented a large-scale magic illusion show called Van Buren's Abracadabra Magic Around The World in Blackpool Tower Circus during the 2007 season supported by a cast of 24 international performers and numerous large-scale illusions themed to a journey around the world. Van Buren and his team have also made regular appearances in the Middle East - UAE, Dubai, Doha, Sharjah, etc. with their themed magic illusions and circus skills mixed into their shows, as well as regular performances on some of the world's largest luxury cruise liners.

In partnership with Gandey World Class Productions in 2013 Van Buren & Gandeys launched The Victorian Wonders Carnival Show - The tented show description is “a mixture of Victorian Steampunk wonders mixed with elements of a theatrical play, sideshows and a large-scale magic and illusion show with the showmanship of the fairground”. Its first performance was at the Brighton Festival before launching it on its still ongoing world tour, currently based in the Middle East and Far East as well as touring with Cirque Surreal.

Alongside “Van Buren & Gandeys touring Victorian Wonders Carnival”, Andrew and Allyson are currently themselves personally touring the UK with their Outdoor arena show - “Van Buren's Victorian Wonders Show” performed at fetes, carnivals, festivals, Rallies, agricultural and all forms of outdoor event. This show is performed from their touring Art Nouveau theatre stage.

Affiliations

The Magic Circle - Andrew is one of only a few Gold Star members of The Inner Magic Circle - Andrew Van Buren MIMC.

Equity Andrew is a long standing member of Equity The Actors union.

“Association of Independent Showmen” (AIS) - Andrew is a member of the fairground outdoor events industry body the Association of Independent Showmen.

Grand Order of Water Rats - Andrew Van Buren is a long-standing member of the Theatrical showbusiness charity organisation The Grand Order of Water Rats.

Allyson is a member of the Grand Order of Lady Ratlings.

“Big Top Label” Rating System for European Circus. Andrew is a Committee Member of The Big Top Label, the Michelin star of circus arts, an independent quality assurance system guaranteeing quality circus art and no maltreatment of animals. Created by Mr. István Ujhelyi, Member of the European Parliament.

“The Philip Astley Project”. Andrew is Director of The Philip Astley Project.

Andrew also advises and sits on the council and committees of several event organising groups and organisations.

The Philip Astley Project

Alongside running the Van Buren Organisation and his other projects Andrew is continuing an on going quest to gain the inventor of the modern circus Philip Astley greater recognition, which was started in 1981 when Andrew's father Fred Van Buren helped to create and themed Philip Astley / Circus the Newcastle-under-Lyme carnival in the UK.

Philip Astley was born in Newcastle-under-Lyme UK, which gives an even greater location connection for Andrew. In 1992 Andrew commissioned a portable life size statue to be made of Philip Astley, then alongside his father they created and developed a Summer of Astley events celebrating the 250th anniversary of Philip Astley's Birth. Over the years Andrew has become an expert on the life & legacy of the “original ringmaster” Philip Astley.

In 2009 Andrew Van Buren started a third personal attempt to not only raise awareness in Philip Astley and his legacy but also attempting to give Newcastle-under-Lyme a unique selling point to create tourism, this resulted in Andrew Van Buren and Cllr Wenslie Naylon creating the Philip Astley Project. Andrew is Director “Ringmaster”.

The Philip Astley Project working committee alongside Cllr Wenslie Naylon and Andrew includes: Appetite, The Brampton Museum, The Friends of Brampton Museum, Keele university, Staffordshire University, Newcastle-under-Lyme Borough Council, Newcastle-under-Lyme Business Improvement District, Newcastle-under-Lyme Civic Society, Newcastle-under-Lyme College and Performing Arts Centre, New Vic Theatre, Staffordshire Film Archive, Staffordshire Libraries and Information Services, The Van Buren Organisation. Working together they are creating events, overseeing art installations, uniting archives, developing exhibitions and curating cultural and heritage links globally.

In 2017 The Philip Astley Project worked in conjunction with Manchester Metropolitan University and Federal University of Bahia (UFBA) Brazil to create the first Philip Astley & the Legacy of the Modern Circus Symposium.

During 2018 over 100 Astley events celebrated the 250th anniversary of the first modern circus. These included Andrew unveiling a plaque to Astley and the 250th anniversary of Modern Circus in Monte Carlo with Prince Albert II, Prince of Monaco and Princess Stéphanie of Monaco. During the anniversary year Andrew oversaw the unveiling of monuments in Newcastle-under-Lyme which generated news items and articles worldwide.

Andrew worked as adviser on the 2019 published hardback book The First Showman by New York Times Best Selling Author Karl Shaw, which tells the story of Philip Astley as well as Andrew's journey to gain Astley and his birthplace of Newcastle-under-Lyme recognition on the global map.

Illusionist and TV's Plate Spinner Television Appearances

Van Buren has appeared as the plate spinner, illusionist, and special guest on numerous television programmes including Chat Shows, Gameshows, News shows, TV specials and pop music videos.

Regular repeat appearances on BBC TV Blue Peter, the first Blue Peter appearance was broadcast live from World Expo in Seville Spain where Andrew was representing Great Britain performing for Prince Charles & Princess Diana. ITV Cilla Black's _Moment of Truth_, _Ant & Dec's Saturday Night Takeaway_, _The Generation Game_, CBBC’s children's variety show _The Slammer_. Plus appearances on Noel Edmonds' _Telly Years_, and _CBBC Best of Friends_, _The Des O'Connor Show_, “Every Home Should Have One” series, CH4 Big Breakfast, and BBC _The Money Programme_ as the corporate businessman / magician / plate spinner in the “Enron Special”, “The Banks that Robbed the World” and “Money Programme Special”. He also appeared on the opening credits and all of the links for the 20 episode series _Spin Cities_ alongside international DJ Judge Jules as well as repeat appearances on Dubai UAE and Sharjah UAE TV.

Advertising: Van Buren has provided many circus skills appearances for the City of Culture adverts, Habitat adverts, Senate Services, plus more recently provided pizza spinning for the superstore Morrisons ident adverts “Pizza spinner” either side of the _Ant & Dec's Saturday Night Takeaway_ TV show.

Music Video's include Charlotte Church's song “Call My Name” and appearances on CD-UK.

In 2015, Andrew starred alongside Stephen Mulhern & Sherrie Hewson plate spinning on ITV variety show _Get Your Act Together_ with American magicians Penn & Tellar, Singer - Songwriter Brian McFadden, glamour model Danielle Lloyd, Welsh rugby player Gareth Thomas, and singer Ray Quinn.

In January 2016 Andrew featured in an at the time ground breaking special 360 degree interactive film of BBC Breakfast News behind the studio scenes.

On 1 April 2018 Andrew and his assistant Allyson made a return appearance featured on the new version of BBC Generation Game with their Generation Game Show classic of the plate spinning with contestants smashing dozens of plates. The two episode show was hosted by Mel Giedroyc and Sue Perkins alongside Potters Wheel expert, comedian and actor Johnny Vegas plus Spandau Ballett's Martin Kemp.

Also during 2018 Andrew made repeated appearances on multiple TV and Radio News items around the world promoting the 250th anniversary of Modern Day Circus and its founder Philip Astley.

The 2018 World Juggling Tour film took covered twenty countries including Monaco, Russia, America, etc.

During 2019 Andrew Van Buren and Allyson were featured on the Channel 4 series Extreme Cake Makers which showed behind the scenes of the Van Buren Studio's as well as the creation of the Extreme Philip Astley Cake, commissioned by Andrew and created by award winning cake maker Suzanne Thorp of The Frostery.

Family History

_The Van Buren Story_, a documentary produced by Professor Ray Johnson MBE of Staffordshire Film Archive was released on DVD during 2010, with a new updated Directors Cut released in 2019.

Broadcast 13th November 2020 Andrew was interviewed by the 'Panto Podcast' online, in which he talked in depth about life growing up in show business, his families history, life behind the scenes and touring his shows.

title: Andrew Van Buren

question: What does the article say about Andrew Van Buren's influences?

text: The tour with Danny La Rue may have contributed to his success, but the article does not state that Danny was influention on Andrew.

category: accuracy

answer: No answer

answer_source: Model

text: The article talks about his history, including touring with his parents on their illusion show. This might be a good reference for an answer.

answer: Van Buren learned his trade by touring with his parents' magic and illusion show as a child. A Hungarian State Circus artiste taught him the art of trick cycling.

answer_source: Human

text: The answer should mention Philip Astley.

text: The answer should mention the influence of Philip Astley on Van Buren.

text: The answer should mention the Philip Astley Project.

text: The answer should mention his father's influence on his attempt to gain recognition for Philip Astley.

text: It's omitted that his father, Fred Van Buren, also had a hand in influencing Van Buren.

text: It is omitted that Philip Astley is also an influence.

answer: Van Buren learned his trade by touring with his parents' magic and illusion show as a child. A Hungarian State Circus artiste taught him the art of trick cycling.

text: The response should include his time growing up in theatres, the circus, fairgrounds, TV shows, and film sets.

category: coverage

answer: No answer

text: The answer should mention his parents.

text: The answer should mention his family.

text: The answer should mention his Hungarian State Circus artiste mentor.

text: The answer does not say anything about influences but about Van Buren's influences.

answer: Van Buren learned his trade by touring with his parents' magic and illusion show as a child. A Hungarian State Circus artiste taught him the art of trick cycling. He was offered a nine and a half week tour with Music Hall Legend Danny La Rue.

answer_source: Human misleading

text: The article makes no mention of influences

answer: Van Buren learned his trade by touring with his parents' magic and illusion show as a child. A Hungarian State Circus artiste taught him the art of trick cycling. He was offered a nine and a half week tour with Music Hall Legend Danny La Rue.

text: The answer omits the influence of Philip Astley on Van Buren.

text: The answer could mention his daughter.

text: The answer is incomplete

text: The detail about La Rue and the other performances mentioned don't equate to influences. There should be no answer for this.

text: This should mention how working with veteren television and theatre stars paved the way for Van Buren to upscale his own shows.


text:
_Nov 2, 2017 —_ The Food and Drug Administration (FDA) sent a warning letter to four CBD distributors warning them to stop selling CBD products, “to prevent, diagnose, treat, or cure cancer without evidence to support these outcomes.” The letters were sent October 31, 2017, followed by a more widely distributed warning the FDA posted on November 1st. The letters warn that selling CBD as a product that promotes any health benefits, especially in respect to specific diseases like cancer and Alzheimer’s disease, was a violation of federal law. The letter gave them 15 days to address the violations and take corrective action or the FDA would seek further enforcement actions.

The letters followCongressional testimony given by the FDA Commissioner Scott Gottlieb that the agency would soon begin to proactively examine health claims that marijuana providers are making about their products. The four companies are Stanley Brothers Social Enterprises LLC, Natural Alchemist, Greenroads Health and That’s Natural! Marketing and Consulting. The letters sent to these companies spelled out their violations, which in one case include selling an unapproved new drug (CBD), interstate commerce violations, and for misbranding (relating to dosing), and they left open the door for further actions and violations:

“The violations cited in this letter are not intended to be an all-inclusive statement of violations that exist in connection with your marketed products. You are responsible for investigating and determining the causes of the violations identified above and for preventing their recurrence or the occurrence of other violations. It is your responsibility to ensure that your firm complies with all requirements of federal law and FDA regulations.

“You should take prompt action to correct the violations cited in this letter. Failure to promptly correct these violations may result in legal action without further notice, including, without limitation, seizure and injunction.”

The Stanley Brothers, specifically, have been arguing with the federal government about hemp derived extracts for over a year. In March 2017 the DEA issued a memo that was supposed to clarify the legal status, but it was met with push back from the cannabis industry who believe the Farm Act of 2014 defines their products as legal industrial hemp.

The DEA memo was dismissed by the Stanleys, who have continued to promote their CBD products online. Their attorney wrote a letter in response to the DEA explaining his reasoning. They stood firmly on the claim that they were selling a industrial hemp product, and claimed the DEA had no jurisdiction in the matter. Joel Stanley penned an Op-Ed to The Cannabist in Colorado (The Denver Post’s cannabis website) where he argued against their memo.

The FDA has taken a regulatory approach. Since they control most of the drugs, they can stop the sale and distribution of compounds deemed to be “new drugs” which gives them regulatory control over the products. CBD is still considered a new drug, which means the FDA has the final word.

As of November 2, 2017, three of the four companies were still selling online, but Greenroads Health website was “Down for maintenance.” Surprisingly, Hemp CBD oil can be purchased on Amazon.com where they just avoid mentioning the CBD (see here).

Letter sent to Stanley Brothers (Link to all the warning letters here):

WARNING LETTER

VIA SIGNATURE CONFIRMED DELIVERY

October 31, 2017

Joel Stanley, CEO
Stanley Brothers Social Enterprises, LLC
d/b/a CW Botanicals
d/b/a CW Hemp
3515 N. Chestnut Street
Colorado Springs, CO 80907

Dear Mr. Stanley:

This is to advise you that the U.S. Food and Drug Administration (FDA) reviewed your website at the Internet address www.cwbotanicals.com (redirects to www.cwhemp.com) in August 2017 and has determined that you take orders there for the products “Everyday Dietary Supplement,” “Everyday Plus Dietary Supplement,” “Everyday Advanced Dietary Supplement” and “Charlotte’s Web Gel Pen,” which you promote as products containing cannabinoids, including cannabidiol (CBD).  We have also reviewed your website at the internet address www.theroc.us, and your social media websites at www.facebook.com/CWHempOfficial and www.twitter.com/CWHemp; these websites direct consumers to your website, www.cwhemp.com, to purchase your products.  The claims on your websites establish that the products are drugs under section 201(g)(1) of the Federal Food, Drug, and Cosmetic Act (the Act) [21 U.S.C. § 321(g)(1)] because they are intended for use in the diagnosis, cure, mitigation, treatment, or prevention of disease and/or because they are intended to affect the structure or any function of the body. As explained further below, introducing or delivering these products for introduction into interstate commerce for such uses violates the Act. You can find the Act and FDA regulations through links on FDA’s home page at www.fda.gov.

Although you market “Everyday Dietary Supplement,” “Everyday Plus Dietary Supplement,” and “Everyday Advanced Dietary Supplement” as dietary supplements, FDA has concluded based on available evidence that CBD products are excluded from the dietary supplement definition under section 201(ff)(3)(B)(ii) of the Act [21 U.S.C. § 321(ff)(3)(B)(ii)]. Under that provision, if an article (such as CBD) has been authorized for investigation as a new drug for which substantial clinical investigations have been instituted and for which the existence of such investigations has been made public, then products containing that substance are outside the definition of a dietary supplement. There is an exception if the substance was “marketed as” a dietary supplement or as a conventional food before the new drug investigations were authorized; however, based on available evidence, FDA has concluded that this is not the case for CBD.

The existence of substantial clinical investigations regarding CBD has been made public. For example, two such substantial clinical investigations include GW Pharmaceuticals’ investigations regarding Sativex and Epidiolex[1] Under FDA’s regulations [21 CFR § 312.2], unless a clinical investigation meets the limited criteria in that regulation, an IND is required for all clinical investigations of products that are subject to section 505 of the Act. FDA is not aware of any evidence that would call into question its current conclusion that CBD products are excluded from the dietary supplement definition under section 201(ff)(3)(B)(ii) of the Act, but you may present FDA with any evidence that has bearing on this issue. . FDA considers a substance to be “authorized for investigation as a new drug” if it is the subject of an Investigational New Drug application (IND) that has gone into effect.

Examples of claims observed on your website www.cwhemp.com that establish the intended use of your products as drugs include, but may not be limited to, the following:

On the webpage titled “Everyday Advanced Hemp Oil”:

-   _“A patient of mine uses this for Cancer and it gives lots better relief than prescription drugs!”_
-   _“My dear ex mother in law has been diagnosed with late stage pancreatic cancer. This is the only thing that gives her relief.”_
-   _“Excellent Results For My TBI . . . “[2]·_
-   _“I have been severely depressed . . . [s]o I started taking this product . . . I have gone from basically clinically depressed to feeling ok about life in general. It’s been a miracle for me compared to how I use to feel.”_
-   _You also direct consumers to the Realm of Caring website at www.theroc.us.[3]_

Examples of claims observed on www.theroc.us that establish the intended use of your products as drugs include, but may not be limited to, the following:

On a webpage titled “Cancer Dosing Guidelines”:

-   _“Realm of Caring Recommends: Adult cancer clients take 50 mg of CBD 2x daily (100 mg/day) . . . Child cancer clients take 25 mg of CBD 2x daily (50 mg/day)”_
-   _“[C]urrent studies have reported that CBD is showing promise in how oncologists are looking to treat breast, glioma, Leukemia, thyroid, colon and lung cancer.”_
-   _“The type of dosing that is recommended for clients in partial or complete remission is called ‘maintenance dosing’ and . . . hopefully keeping cancer at bay. Clients using maintenance dosing will likely be using much lower levels of cannabinoid intake than if they were actively trying to fight cancer.”_
-   _“Adult cancer remission clients take 100 mg of CBD 2x daily . . . Pediatric cancer remission clients take 25 mg of CBD 2x daily, go up to 1mg/lb of body weight”_

On the webpage titled “Forums”:

_Topic “Metastatic Breast Cancer” – posting by a representative of Realm of Caring:_

-   _“The reported benefits of Charlotte’s Web™ Hemp Oil include . . . anti-tumoral . . . ” _

Topic “Diabetes” – posting by a representative of Realm of Caring:

-   _“The Charlotte’s Web Products™ Everyday Advanced 5000 is best for clients with chronic conditions and has a higher concentration of CBD at 50mg/ml.”_
-   _“Charlotte’s Web™ Everyday 5000 is high in CBD . . . [r]esearch is showing CBD to have a wide range of benefits. These include . . . anti-cancer . . .” _

On a webpage titled “Research library”, there are links to articles hosted on www.theroc.us that promote CBD for diseases including but not limited to Alzheimer’s disease, Breast Cancer, Diabetes, Leukemia, Lung Cancer, Parkinson’s disease, Stroke and others.

Examples of claims observed on your social media accounts that establish the intended use of your products as drugs include, but may not be limited to, the following:

www.facebook.com/CWHempOfficial

-   On June 28, 2016: “Who can write an rx script for my 17 year old son with dx PDD-NOS/Autism? Where can I purchase CW?” CW Hemp replied: “Charlotte’s Web™ . . . [y]ou can order right from our site at cwhemp.com . . . you do not need a RX to buy Charlotte’s Web . . .”
-   On May 21, 2016: “[L]earn how #CharlottesWeb could help #CTE and concussions in athletes!”[4]
    https://twitter.com/CWHemp
-   September 17, 2016 retweeted posting – “The NFL Could End CTE With a Strain of Marijuana . . . A cannabidiol-rich strain – Charlotte’s Web – won’t get players high, but it can protect their brains.”
    May 17, 2016 posting – “#Boxing #Concussions #CTE could all benefit from Charlotte’s Web #Hemp extracts #WhyCW . . .”

The claims on your websites establish that the products are drugs under section 201(g)(1) of the Act [21 U.S.C. § 321(g)(1)], because they are intended for use in the diagnosis, cure, mitigation, treatment, or prevention of disease and/or because they are intended to affect the structure or any function of the body.

Your products “Everyday Dietary Supplement,” “Everyday Plus Dietary Supplement,” “Everyday Advanced Dietary Supplement” and “Charlotte’s Web Gel Pen” are not generally recognized as safe and effective for the above referenced uses and, therefore, the products are  “new drugs” under section 201(p) of the Act [21 U.S.C. § 321(p)]. New drugs may not be legally introduced or delivered for introduction into interstate commerce without prior approval from the FDA, as described in sections 301(d) and 505(a) of the Act [21 U.S.C. §§ 331(d), 355(a)]. FDA approves a new drug on the basis of scientific data and information demonstrating that the drug is safe and effective.

A drug is misbranded under section 502(f)(1) of the Act [21 U.S.C. § 352(f)(1)] if the drug fails to bear adequate directions for its intended use(s). “Adequate directions for use” means directions under which a layperson can use a drug safely and for the purposes for which it is intended [21 CFR § 201.5]. Prescription drugs, as defined in section 503(b)(1)(A) of the Act [21 U.S.C. § 353(b)(1)(A)], can only be used safely at the direction, and under the supervision, of a licensed practitioner.

Your products “Everyday Dietary Supplement,” “Everyday Plus Dietary Supplement,” “Everyday Advanced Dietary Supplement” and “Charlotte’s Web Gel Pen” are intended for treatment of one or more diseases that are not amenable to self-diagnosis or treatment without the supervision of a licensed practitioner. Therefore, it is impossible to write adequate directions for a layperson to use your products safely for their intended purposes. Accordingly, “Everyday Dietary Supplement,” “Everyday Plus Dietary Supplement” and “Charlotte’s Web Gel Pen”  fail to bear adequate directions for their intended uses and, therefore, the products are misbranded under section 502(f)(1) of the Act [21 U.S.C. § 352(f)(1)]. The introduction or delivery for introduction into interstate commerce of these misbranded drugs violates section 301(a) of the Act [21 U.S.C. § 331(a)].

The violations cited in this letter are not intended to be an all-inclusive statement of violations that exist in connection with your marketed products. You are responsible for investigating and determining the causes of the violations identified above and for preventing their recurrence or the occurrence of other violations. It is your responsibility to ensure that your firm complies with all requirements of federal law and FDA regulations.

You should take prompt action to correct the violations cited in this letter. Failure to promptly correct these violations may result in legal action without further notice, including, without limitation, seizure and injunction.

Within fifteen (15) working days of receipt of this letter, please notify this office in writing of the specific steps you have taken to correct violations. Include an explanation of each step being taken to prevent the recurrence of violations, as well as copies of related documentation. If you cannot complete corrective action within fifteen working days, state the reason for the delay and the time within which you will complete the correction.

Your response should refer to the Warning Letter Number above (490089). Please address your written response to:

CDR Steven E. Porter, Jr.
Director, Division of Pharmaceutical Quality Operations IV
U.S. Food & Drug Administration
19701 Fairchild
Irvine, California 92612

If you have questions regarding any issues in this letter, please contact CDR Matthew R. Dionne, Compliance Officer via email at Matthew.Dionne@fda.hhs.gov, or by phone at (303) 236-3064 and reference unique identifier 490089. Electronic responses may be sent to CDR Dionne at the email address provided.

Sincerely,
/S/
CDR Steven E. Porter, Jr.
Director, Division of Pharmaceutical Quality Operations IV

question: Summarize the health claims about cannabis.

text: The text does not mention that CBD treats COVID-19.

answer: CBD distributors claim that CBD products are safe alternatives to treating serious diseases, such as cancer and Alzheimer's disease. There are users of cannabis products who testify that the drug has positive effects on their conditions.

text: The second sentence is not relevant to the question.

text: The answer should mention that the FDA is warning CBD distributors to stop making these claims.

text: The answer should mention that the FDA has not approved CBD as a treatment for any disease.

text: The second sentence is unnecessary

text: The article does not mention anything about cannabis. The answer should be rewritten.

text: The source is specifically about the warning letters, not cannabis in general. The promoted health uses aren't in the scope of the text either.

answer: No answer

text: The response can't be blank. The information about the health claims for cannabis is found in the text.

answer: CBD distributors claim that CBD products are safe alternatives to treating serious diseases, such as cancer, Alzheimer's disease, and COVID-19. There are users of cannabis products who testify that cannabis has positive effects on their conditions.

text: The response inaccurately claims that CBD products treat COVID-19, this is not evidenced in the text.

text: The response misses to mention that the FDA has warned CBD distributors to stop selling products claiming to have such health benefits.

text: There is no evidence in the text that suggests users of cannabis have testified about cannabis' positive effects.

answer: CBD distributors claim that CBD products are safe alternatives to treating serious diseases, such as cancer, Alzheimer's disease, and COVID-19. There are users of cannabis products who testify that cannabis has positive effects on their conditions.

text: The article does not mention COVID-19.

text: There is no mention of COVID-19 in the article.

text: There's no evidence that CBD products cure COVID-19. This sentence should be deleted.

text: The article does not mention COVID-19.

text: The second sentence is unnecessary.

category: coherence

answer: CBD distributors claim that CBD products are safe alternatives to treating serious diseases, such as cancer and Alzheimer's disease. There are users of cannabis products who testify that the drug has positive effects on their conditions.

answer: No answer

text: The article does mention some health claims about cannabis.

text: The article does mention health claims about cannabis.

text: The response misses to provide an answer to the task.

text: The article clearly states that CBD products are excluded from the dietary supplement definition under section 201(ff)(3)(B)(ii) of the Act [21 U.S.C. § 321(ff)(3)(B)(ii)].

text: The answer should mention that the FDA is warning CBD distributors about making health claims about CBD without evidence.

text: No answer.

text: There is an answer in the text. The answer should mention that the FDA is warning CBD distributors about making health claims, in respects to providing relief for cancer or Alzheimer's for example, about CBD without evidence.


text:
ARGENTINE AMERICANS ()[1][2][3][4] are Americans whose full or partial origin is in Argentina.

History

Until the 1970s, the Argentines that emigrated to the United States were included in the category of “Other”. Thus, the number of Argentines who emigrated to the United States up to that moment is unknown, due to the inexistence of statistics about the groups that formed that category..

In any case, it seems that the first Argentines who arrived in the United States did so during the 1950s and 1960s, seeking better economic conditions. Although, most of them had higher education (including many scientists). However, immigrants in the late 1970s arrived fleeing the political repression of the Dirty War.[5] They numbered 44,803 people.[6]

This new immigrant group had an educational level lower than earlier immigrants. The majority of Argentine immigrants headed to metropolitan areas, especially New York City, where 20 percent of them lived in the 1970s. In the 1980s, that percentage increased to just over 23 percent, and the 1990 U.S. Census recorded that New York City had 17,363 Argentine Americans and Los Angeles, 15,115.[7] Immigration to New York City was popular because of the existing Argentine and Italian communities, as many Argentines are of Italian origin. With the goal of helping its Argentine population, the government of the city created several organizations such as the Argentine-American Chamber of Commerce, which that established relations between Argentina and the United States. The 1990 U.S. Census recorded 92,563 Argentines, evidencing that nearly half of the Argentine immigrants arrived in the last two decades alone.[8]

After the nineties, Southern California and Florida became leading destinations for new immigrants from Argentina. According to the 2010 Census, out of the over 200 000 Argentine Americans recorded, it is estimated that Los Angeles and Miami have over 50 000 Argentine Americans each, followed by the New York area.[9]

Socioeconomics

The profile of the Argentine American population is generally similar to the overall U.S. population's. Among the key differences, however, is educational attainment. Argentine Americans exhibit a rate of 39.5% of holders of bachelor's, graduate, or professional degrees, contrasted with the 27.5% of the overall U.S. population. The difference is more marked among women: 40.2% for Argentine American females, and 26.7% for all U.S. females.[10] Another major difference is that 69.1% of Argentine Americans are immigrants, which contrasts sharply with 12.6% of the overall U.S. population.[11]

Demographics

[Alexis Bledel at the premiere of The Conspirator, Toronto International Film Festival 2010] The most noticeable Argentine American populations are in the metropolitan areas of Florida (mainly South Florida), Texas (mainly Houston and Dallas), California, Illinois, New York, New Jersey, Connecticut, and Western Pennsylvania.

States

The 10 states with the largest population of Argentines (Source: 2010 Census):

1.  - 57,260 (0.3% of state population)

2.  - 44,410 (0.1% of state population)

3.  - 24,969 (0.1% of state population)

4.  - 14,272 (0.2% of state population)

5.  - 13,831 (0.1% of state population)

6.  - 6,263 (0.1% of state population)

7.  - 5,294 (less than 0.1% of state population)

8.  - 5,138 (0.1% of state population)

9.  - 4,639 (0.2% of state population)

10. - 4,273 (less than 0.1% of state population)

Cities

The 10 cities with the largest population of Argentines (Source: 2010 Census):

1.  New York, NY - 15,169 (0.2%)
2.  Los Angeles - 8,570 (0.2%)
3.  Miami, FL - 4,891 (1.2%)
4.  Miami Beach, FL - 4,030 (4.6%)
5.  Houston, TX - 2,440 (0.1%)
6.  Chicago, IL - 1,743 (0.1%)
7.  Hollywood, FL - 1,626 (1.2%)
8.  Aventura, FL - 1,579 (4.4%)
9.  San Diego, CA - 1,322 (0.1%)
10. Pembroke Pines, FL - 1,147 (0.7%)

Ethnic background

The ancestry of the majority of the population of Argentina is primarily of Italian and Spanish ancestry (see demographics of Argentina) with significant German, British, Irish, French, Mulatto, Mestizo, Slavic, and Semitic (Jewish and Arab) components. Minority have Amerindian ancestors (primarily Mapuche, Qulla, Wichí, and Toba),[12] Chinese ancestors, Indian/Indo-Caribbean ancestors, and other Asian ancestors.

Large communities

Only data for immigrant Argentine Americans are available. The twenty U.S. communities of 500 or more people which have the highest percentages of Argentine immigrants are:[13]

1.  Miami Beach, FL 4.4%
2.  Sunny Isles Beach, FL 4.1%
3.  Plantation Mobile Home Park, FL 4.0%
4.  Bay Harbor Islands, FL 3.5%
5.  North Bay Village, FL and Key Biscayne, FL 3.4%
6.  Deer Park, CA 3.3%
7.  Harbor Hills, NY 3.0%
8.  Surfside, FL 2.6%
9.  Lauderdale-by-the-Sea, FL 2.4%
10. Acton, CA 2.3%
11. Aventura, FL 2.1%
12. Islandia, NY and The Crossings, FL 2.0%
13. Thomaston, NY and Ojus, FL 1.9%
14. Doral, FL 1.8%
15. East Richmond Heights, CA 1.7%
16. Lebanon, IL 1.6%
17. Mayland-Pleasant Hill, TN 1.5%
18. Sunnyslope, CA, Herricks, NY, and La Habra Heights, CA 1.4%
19. Lawrenceville, NJ and Cutler, FL 1.3%
20. Gardiner, NY, Miami Shores, FL, Flower Hill, NY, and Groton Long Point, CT 1.2%

Culture

LITERATURE

-   Ariel Dorfman is a famous Argentine-American author and playwright. Dorfman is best known for his prolific academic criticism and fiction. His memoir _Heading South, Looking North: A Bilingual Journey (1998)_ best exemplifies his internal struggles in coming to terms with his multifaceted identity. Dorfman was born in Buenos Aires in 1942 and moved with his family to New York City at age five. At age fifteen he and his family moved to Chile and Dorfman lived there until he exiled himself to the United States after the fall of socialist president Salvador Allende in 1973. Dorfman is now a Professor of Literature and Professor of Latin American Studies at Duke University.[14]
-   Sergio Waisman, Author of the novel _Leaving_, originally published in Argentina as _Irse_. He is now Professor of Spanish and International Affairs, Affiliated Faculty of Judaic Studies at George Washington University.[15]

-   Fabian Nicieza, born in Buenos Aires, Argentina. He was four years old when his family moved to New Jersey. He attended Madison Central High School, from which he graduated in 1979, and later studied at Rutgers University. He is a writer and editor best known for his work on Marvel titles and the creator of Deadpool.

MEDIA

-   David Pakman, born in Buenos Aires, is the host of YouTube talk radio program The David Pakman Show, a multi-platform social-democratic politics and news talk show currently airing on television, radio, and the Internet. The show focuses on modern American politics and society, with frequent discussion of economics, science, religion in public life, culture, reason, gay rights, capital punishment and crime, policing, the Israeli–Palestinian conflict, North-American foreign policy, technology, and other topical issues. David occasionally speaks Spanish on the show, but the show is mostly presented in English.

[1] Evolución y Magia. El Camino del Hombre – Janis Roze

[2] Vuelve distinto y renovado

[3] Se inauguró en la ciudad de Miami la Avenida República Argentina – Semanario Argentino

[4] Un latino montando El Diablo en Anaheim – Hoy Los Angeles

[5]

[6]

[7]

[8]

[9]

[10]

[11]

[12] CELS - Informe 1998

[13]

[14]

[15]  Department of Romance, German & Slavic Languages & Literatures {{!}} The George Washington University|website=rgsll.columbian.gwu.edu|access-date=2019-04-19}}

title: Argentine Americans

question: What does the text say about education and Argentine Americans?

text: It's inaccurate to say that more female Argentine Americans hold degrees than any other group of women. The rate of female Argentine Americans holding degrees is higher than the rate of all U.S. females.

answer: In the 1950s and 1960s, the first Argentine immigrants to arrive in the United States often had higher education. Many were scientists. However, the immigrants in the late 1970s had an educational level lower than the prior group, probably due to their fleeing of the political repression of the Dirty War. Overall, the Argentine American population has a higher rate of educational attainment compared to the overall U.S. population. They have a rate of 39.5% of holders bachelor's, graduate, or professional degrees, contrasted with 27.5% of the overall U.S. population. More female Argentine Americans hold degrees than any other group of women in the U.S.

text: The last sentence is not relevant to the question.

text: The last sentence is unnecessary.

text: The last sentence is not relevant

text: "More female Argentine Americans hold degrees than any other group of women in the U.S." - this is inaccurate. The text says that more Argentine American women hold degrees than the overall U.S. population.

text: The question asks about education, not immigration.

text: The last sentence is inaccurate. It's the other way around.

text: The last sentence is inaccurate. It would be more accurate to say that more Argentine American women hold degrees than any other group of women in the U.S.

text: While many emigrants did have higher education levels, not all of them did.

answer: The majority of the Argentines that emigrated to the US had higher education. However, the most recent wave of immigrants had a lower educational level. Argentine Americans have a 39.5% rate of holders of bachelor's, graduate, or professional degrees, which is higher than the 27.5% of the overall US population. This difference is more marked among women (40.2% for Argentine American females, and 26.7% for all US females).

answer: In the 1950s and 1960s, the first Argentine immigrants to arrive in the United States often had higher education. Many were scientists. However, the immigrants in the late 1970s had an educational level lower than the prior group, probably due to their fleeing of the political repression of the Dirty War. Overall, the Argentine American population has a higher rate of educational attainment compared to the overall U.S. population. They have a rate of 39.5% of holders bachelor's, graduate, or professional degrees, contrasted with 27.5% of the overall U.S. population. More female Argentine Americans hold degrees than any other group of women in the U.S.

answer: In the 1950s and 1960s, the first Argentine immigrants to arrive in the United States often had higher education. Many were scientists. However, the immigrants in the late 1970s had an educational level lower than the prior group, probably due to their fleeing of the political repression of the Dirty War. Overall, the Argentine American population has a higher rate of educational attainment compared to the overall U.S. population. They have a rate of 39.5% of holders bachelor's, graduate, or professional degrees, contrasted with 27.5% of the overall U.S. population. The rate of Argentine American females who hold degrees is higher than the rate all  U.S. females.

text: "They have a rate of 39.5% of holders bachelor's, graduate, or professional degrees, contrasted with 27.5% of the overall U.S. population." - this is redundant and should be removed.

text: "They have a rate of 39.5% of holders bachelor's, graduate, or professional degrees, contrasted with 27.5% of the overall U.S. population. The rate of Argentine American females who hold degrees is higher than the rate all  U.S. females." - this is redundant and should be removed.

text: The last sentence is awkward and could be more concise.

text: "They have a rate of 39.5% of holders bachelor's, graduate, or professional degrees, contrasted with 27.5% of the overall U.S. population. The rate of Argentine American females who hold degrees is higher than the rate all U.S. females." - this is redundant because it's already mentioned in the second sentence.

text: Rather than being probably due to the reason cited, it could be implied by the sentence structures.

text: "The rate of Argentine American females who hold degrees is higher than the rate all  U.S. females." - this is redundant and should be removed.

answer: The majority of the Argentines that emigrated to the US had higher education. However, the most recent wave of immigrants had a lower educational level. Argentine Americans have a 39.5% rate of holders of bachelor's, graduate, or professional degrees, which is higher than the 27.5% of the overall US population. This difference is more marked among women (40.2% for Argentine American females, and 26.7% for all US females).

text: The last sentence is unnecessary.

text: The last sentence is not relevant.

text: "This difference is more marked among women (40.2% for Argentine American females, and 26.7% for all US females)." - this sentence is hard to read and can be improved.

text: "However, the most recent wave of immigrants had a lower educational level." - this is inaccurate because the immigrating Argentines in the 1970s were mostly political refugees fleeing the Dirty War. They were part of the "Other" category and had a lower educational level than earlier immigrants. The "Other" category was abolished in the 1990s.

text: The frequency of higher education among the Argentines who emigrated between 1950s -1970s wasn't mentioned.

answer: In the 1950s and 1960s, the first Argentine immigrants to arrive in the United States often had higher education. Many were scientists. However, the immigrants in the late 1970s had an educational level lower than the prior group, probably due to their fleeing of the political repression of the Dirty War. Overall, the Argentine American population has a higher rate of educational attainment compared to the overall U.S. population. They have a rate of 39.5% of holders bachelor's, graduate, or professional degrees, contrasted with 27.5% of the overall U.S. population. The rate of Argentine American females who hold degrees is higher than the rate all  U.S. females.


text:
    We have come to a river, the distant boundary between two worlds, the end of this world, to a point of no return. Here, silence dwells. Decimus Junius Brutus stands atop a granite hill, beneath drifts the River Limia.
    "One does not know his limits until he sees the horizon."
    "Can you see the horizon, sir?" Lucius Domitius Cato asks.
    Brutus looks across the river. The line between the hills and the sky is blotted out by fog. Brutus observes a bird of prey alight on the riverbank and enter the water. The bird bathes its wings in the river, then returns to the pine wood. Brutus nods his head.
    "Sir, you are not known as one who looks at birds."
    "These things do not come to pass without the will of heaven," Brutus says. "I have prayed to the great gods and they have answered."
    "And what is the will of the gods?"
    A cavalry detachment, led by Titus Maccius Plautus, emerges from the forest upstream. They cut across the sandy flood plain toward a narrow ford in the river. Titus surveys the valley and points toward the granite hill where Brutus stands. He spurs his black Parthian horse and crosses back across the plain toward the trees. The cavalry rides along the verge of the forest and enters the Roman encampment.
    "At dawn the gods compel us to cross the river," Brutus says.
    "The soldiers are terrified of what will happen."
    "They will forget their fear before they even cross the river."
    Brutus steps down from the rocky outcrop and marches through the scrubby gorse to the pine wood. He reaches the forest edge and crosses the sandy plain toward the encampment, stopping at the ditch that encircles the camp perimeter. Inside, a group of soldiers gathers around a hearth dug in the ground, filled with ashen remains of poppies.
    "The barbarians are indolent when not at war."
    "The murmuring Lethe lulls them to sleep."
    "They made an expedition with another tribe and once they crossed the River Lethe they forgot their friendship and fought among themselves."
    "They did not fight each other," Gaius Veturia Calvinus says, "Once across the river the barbarians forgot why they had crossed, so they went separately into the forest to find a home. These are the abodes of the dead, as they have no memory of their previous life."
    "They forget even death," Tacitus Flavius Drusus says.
    Brutus crosses the camp threshold.
    "Perhaps these barbarians are already dead," Brutus says. "If it is indeed the River Lethe, then we must be in the underworld."
    The soldiers around the hearth jump to their feet. Brutus enters the circle formed by the soldiers and stands between them and the hearth. The other soldiers in camp gather around the hearth, including Titus Maccius Plautus.
    "I do not remember dying," Brutus says. "I also do not recall sending the cavalry upstream."
    "You did no such thing." Titus Maccius Plautus says.
    Titus walks through the crowd of soldiers to meet Brutus.
    "I wanted to survey the river to find a way around it," Titus says.
    "That was not necessary, Titus. Tomorrow we shall cross the river at that ford."
    Brutus motions upstream toward the ford on sandy flood plain where the Titus Maccius Plautus and his cavalry stopped.
    "You will be alone in this endeavor."
    "It is not so. The gods command it."
    "They have spoken to you?"
    "It has been observed."
    "In what way?"
    "A bird," Brutus says. "It bathed in the river and returned to its nest."
    "Yet it did not cross the river."
    "You miss the point."
    "Do tell, what is the importance of this bird?"
    "The bird did not forget from where it came."
    "Decimus Junius Brutus, you are a consul and general of Rome, an augur you are not."
    "It is not necessary that I be one, Titus."
    "Yet you insist the gods speak to you."
    "It is true. Jupiter has shown me that a bird drinks from this river as any other."
    "Let them drink if they are thirsty." Titus turns to the soldiers behind him.
    "Titus Maccius Plautus, do not be unmindful of your duty to Rome," Lucius Domitius Cato says.
    "I am free to do as I wish," Titus says.
    "No one is free but Jupiter," Brutus says, pacing along the soldiers surrounding him. He turns around walks toward Titus. "At dawn the gods compel us to cross the river."

    Cloudy vapors rise from the river valley in a doubtful dawn. A procession of soldiers drifts across the flood plain toward the riverbank. The cavalry detachment lingers in the encampment as Titus Maccius Plautus tends to his black Parthian horse, oblivious of the watchful gaze of Decimus Junius Brutus from the hill above the River Limia.
    "Beyond the Lethe is a river so large its waters extinguish the fires of the sun," Brutus says. "It must be a terrible sight."
    "Sir, have you awakened fearing the same superstitions as your soldiers?" Lucius Domitius Cato asks.
    "No, but I must think like them if I wish to conquer their doubt."
    The sun rises from behind the hills, lifting the blanket of fog from the river valley. Brutus and Cato descend the wooded hill and join the army marching upstream to the narrow ford in the river. The cavalry has left the encampment and brings up the rear of the column. The soldiers file into three lines parallel to the river. Brutus and Cato stand in front of the formation with their backs to the river. Brutus steps toward the soldiers.
    "Each soldier that has no fear of this river, step forward and we will cross," Brutus says.
    There is silence and stillness. Brutus approaches the front line and faces Marcus Aquilia Florus.
    "Marcus Aquilia Florus, take the standard of Rome across this river."
    Marcus Aquilia Florus stands silent and motionless.
    "Do you refuse to cross?" Brutus asks.
    "Sir, I am afraid that I will forget I am a Roman if I cross this river," Marcus Aquilia Florus says.
    Brutus walks down the front line and stops at Gaius Veturia Calvinus.
    "Tell me, Gaius Veturia Calvinus, why do you fear this river?" Brutus asks.
    "I fear that I will forget my wife and marry a wild barbarian woman and grow my hair as long as hers."
    "And you, Tacitus Flavius Drusus, you will not cross even though the gods tell us to do so?"
    Tacitus nods his head.
    Brutus continues down the front line of the soldiers. He stops at Titus Maccius Plautus.
    "And why do you fear this river, Titus?" Brutus asks.
    "For my part, I fear nothing but the immortal gods."
    "The gods are not to be feared."
    "Yet you insist we cross this river for fear of the gods."
    "We are not the playthings of the gods," Brutus says. "I observed a bird enter this river and return to where it came. If this means that the gods give us favor to cross, then so be it. But I will cross not out of fear but because I choose to."
    "You do not choose, Brutus. The gods control you."
    "The gods compel us, condemn us, consecrate us, but they do not control us," Brutus says. "We choose, and it is by our action, not of the gods, that the world is made better."
    "Then I choose not to cross," Titus says.
    Decimus Junius Brutus turns around and marches back along the front line. He takes the standard from Marcus Aquilia Florus and walks to the edge of the river. He pauses at the water's edge, raises the standard above his shoulders, then digs in his right heel--leaving his footprint in the spongy grey sand--and enters the river. Brutus descends down the gently sloping riverbed before ascending to a shoal in the middle of the river. He crosses the narrow shoal and descends again into a deep channel along the opposite riverbank. Brutus walks diagonally against the strong current, raising the standard above his head as the water rises to his chest. He reaches the opposite shore and climbs out of the water up the steep bank, planting the standard on the crest of the riverbank. Brutus turns around to face his army.
    "Marcus Aquilia Florus, come retrieve the standard of the Republic of Rome," Brutus shouts.
    There is silence and stillness. Brutus waits next to the standard. Marcus Aquilia Florus walks forward from the first line of soldiers and stops at the river's edge. He looks down at the water, raises his head to look at Brutus, then enters the river. His pace is slow in the shallow water and he struggles to cross the deep channel. He reaches the steep bank and climbs up the muddy slope several yards upstream from where Brutus stands. Marcus Aquilia Florus looks across the river toward the army, then walks next to Brutus and the standard.
    "Gaius Veturia Calvinus, cross this river so that your hair may grow long," Brutus says.
    There is silence but not stillness. Gaius Veturia Calvinus strides to the shore and wades into the river. His pace is quicker than Standard Bearer's as he crosses the channel with little effort. He emerges from the river in front of Brutus.
    "Soon your hair will be long and lay across the bosom of a barbarian bitch," Brutus says.
    Gaius Veturia Calvinus laughs. "That will not happen. My wife would kill me and then I would really have to cross the Lethe."
    "Tacitus Flavius Drusus, your general Decimus Junius Brutus commands that you cross the river and join us."
    Tacitus Flavius Drusus enters the river as a murmur rises among the soldiers. Tacitus Flavius Drusus crosses the river and climbs up the bank to join Brutus and the other two soldiers. Brutus commands the remaining soldiers to cross the river one by one. The murmur from the soldiers increases as each one is called by Brutus using their full Latin name. Finally, Titus Maccius Plautus remains alone opposite Decimus Junius Brutus.
    "Titus Maccius Plautus, cross the river at once," Brutus says.
    Titus unsheathes his sword and lifts it above his head as he steps into the water.
    "Lucius, tell Gaius Veturia Calvinus he will lead the soldiers up the hill. Adrian Vulcanus Palacius is to remain with us," Brutus says. "Bring the shackles."
    Titus reaches the shoal and enters the channel. The sun glints off his sword as he raises it above his head in the chest-deep channel. The soldiers begin to climb the wooded hill as Titus pulls himself up from the riverbank on to his feet and sheaths his sword.
    "Titus Maccius Plautus, do you remember my name?" Brutus asks as he puts one hand on Titus's shoulders and his other hand on Titus's sword.
    "Decimus Junius Brutus," Titus replies.
    "Correct, I am Decimus Junius Brutus."
    Brutus stops in front of several boulders at the foot of the fog-wreathed hillock. He swings in front of Titus and unsheathes his sword in one motion. Brutus places the tip of the sword on Titus's chest and pushes his back against a granite boulder. Brutus turns and looks at the pine wood across the river.
    "Yesterday, the birds were thirsty," Brutus says. He turns back to Titus. "Today, I am afraid, they will be hungry."
    Lucius Domitius Cato and Adrian Vulcanus Palacius grab Titus's wrists and stretch out his arms against the rock. Adrian places an iron band around the right wrist of Titus and hammers a wedge into the boulder to fasten the bond. He does the same to the left wrist and then clamps shackles to Titus's ankles and drives a rivet for each shackle deep in the granite. Cato and Palacius leave Titus chained upright against the rock. Decimus Junius Brutus follows his army's trail up the wooded hill, beneath which drifts the River Limia.

title: [HF] Oblivion (1977)

question: Summarize the context of Brutus and the bathing bird.

text: This should mention that the bird flew out of the river and back to where it came from, showing the river doesn't have the same effect of the Lithe. It's this aspect that convinces Brutus it's a sign from the gods.

answer: When pondering crossing the River Limia, Brutus sees a bird of prey enter the river's water. Brutus sees this as a sign that the gods are compelling he and his soldiers to cross this river. This goes against the fears of the soldiers, who fear the river will have the same effect as the River Lithe. Brutus refutes this by talking about the bird in the water. Brutus uses this to convince Titus that crossing the river is safe.

text: The answer should mention that the bird is a metaphor for the soldiers.

text: The answer should mention that the bird is a sign from the gods.

text: The answer should mention that the bird returns to its nest.

text: The answer should mention that the bird returns to its nest, which is evidence that it doesn't forget where it came from.

text: The answer should mention that Brutus uses the bird as an example of how the soldiers will not forget where they came from if they cross the river.

text: The answer misstates the name of the river as "Lithe" instead of "Lethe".

text: The response should include that the bird is crossing the river and returning to its nest, which Brutus uses as a metaphor for the soldiers.

text: The name of the river isLethe.

text: The answer should mention what is the effect of Lethe: once people crossed the River Lethe they forgot their friendship and fought among themselves.

answer: When pondering crossing the River Limia, Brutus sees a bird of prey enter the river's water. Brutus sees this as a sign that the gods are compelling he and his soldiers to cross this river. This goes against the fears of the soldiers, who fear the river will have the same effect as the River Lithe. Brutus refutes this by talking about the bird in the water. Brutus uses this to convince Titus that crossing the river is safe.

text: The name of the river is Limia not Lithe.

text: The second sentence has a minor grammatical error. It should say "him and his soldiers."

answer: The bird Brutus sees is a bird of prey that alights on the riverbank and enters the water. It bathes its wings in the river and then returns to the pine wood. Brutus sees this as a sign from the gods that they should cross the river.

answer: When pondering crossing the River Limia, Brutus sees a bird of prey enter the river's water. The bird bathes itself and the returns to the wood. Brutus sees this as a sign that the gods are compelling he and his soldiers to cross this river. This goes against the fears of the soldiers, who fear the river will have the same effect as the River Lithe. Brutus notes that unlike the River Lithe, the bird did not forget itself and returned to where it came from. Brutus uses this to convince Titus that crossing the river is safe.

text: The river is Lethe, not Lithe.

text: The bird does not bathe itself. It bathes its wings.

text: The bird does not return to the wood. It returns to the pine wood.

text: The answer should mention that the bird is also a metaphor for Brutus and his army.

text: The answer should mention that the bird's ability to return to its nest is evidence that the river is not the Lethe.

text: "Lit" - change to "Lethe"

text: no need for a period after "its" in the phrase "the wood"

text: The river is Lethe, not Lithe.


text:
Showrunning director and executive producer Mimi Leder breaks down what changed between seasons of "The Leftovers."

“Mimi Leder can direct the shit out of anything.”

That’s Justin Theroux describing his showrunning director on “The Leftovers,” but it’s also as close as an opinion can come to being factual — and one supported by this critic. A helmer of giant blockbusters (like “Deep Impact”) and intimate dramas (like “The West Wing”), Leder expertly transformed Damon Lindelof’s wild words — “He has a lot of huevos,” Leder said — into a unique vision that brought them to life like no one else could. And she did it with incredible insight into everything from what makes each character tick to what the audience needed to see in order to access those characters.

Speaking to Indiewire shortly before starting production on Season 3, Leder dug into how the series developed over its first two seasons, what she brought to the table as a director and why one big scene didn’t make the cut for the brilliant — and nearly feature-length — finale.

READ MORE: ‘The Leftovers’: An Oral History of the Finale’s Karaoke Scene, from Damon Lindelof & Justin Theroux

YOU CAME ONBOARD “THE LEFTOVERS” AS A DIRECTOR AND THEN YOU MOVED INTO THE ROLE OF CO-EP, CORRECT?

Damon asked me to come direct an episode, and I directed “Gladys” how I thought the show should be. It was a brand new show, so — when I came on — I felt very close to it. I felt like I somehow understood it on a much deeper level. Then, while I was editing it, they asked me to stay. There were some growing pains in the beginnings of “The Leftovers.” That’s no secret.

THERE’S BEEN A LOT OF TALK ABOUT WHAT CHANGED AND WHAT DIDN’T CHANGE BETWEEN SEASON 1 AND SEASON 2.

My perspective is that Damon and Tom Perrotta were really discovering what the show was about. You write a story and then your story starts to speak to you, and I believe that they had some growing pains in the beginning. “Who’s point of view is this?” They started doing point of view stories, which they discovered were very successful — which it always is because it’s from your character’s point of view. You immediately, as an audience, get sucked in.

[Damon Lindelof & Mimi Leder on the set of "The Leftovers" Season 3]
I think that these point of views became stronger. The visual language — that maybe I brought to it, especially in the second season — helped to define what that was. The first season was very muted, very claustrophobic. And in the second season, we were moving to Austin, Texas, to this little town called Miracle. And I thought it was really important to expand the color palette, to find rich, deep colors to help express our characters’ emotions. I also thought opening up the show visually was important: wider shots, showing the environment more because the environment was very pertinent to the story. So, that’s what I think I helped bring to the show.

IT’S THOSE DETAILS THAT ELEVATE THINGS IN SUCH A BIG WAY, BUT IT’S HARD TO JUST POINT TO IT AND SAY, “WELL HEY, THIS IS WHAT REALLY HELPED IT EVOLVE.”

You know, it ultimately is a show about family and what it’s like to lose your family — to lose everything in your life that is special to you. And so, how do you visually explore that? How do you dive deep into someone’s soul? We use close-ups very regularly. We get in there, but we also drop back to see the body language. For me, it’s really important to really dig deep into a character’s heart and try and find what’s between those lines. What are those moments when the actor isn’t speaking? What are those moments that help express and take you to the next level? It’s a real privilege to work on this show because of Damon’s writing, and his team of writers are an extraordinary group of thinkers who attach meaning to everything. I am on the continual search for the right look, the right light, the right environment to express that.

DIRECTING THE SEASON 2 PREMIERE, DID YOU FEEL IT WAS IMPORTANT FOR YOU TO BE THE ONE TO SET THAT TONE WHEN YOU’RE STARTING OVER, IN A WAY, FOR SEASON 2?

Oh, absolutely. I mean, I started to open up the show at the end of the first season. I didn’t want it to look like a whole new show. I just wanted it to breathe more, and I think we did that. We had the camera breathe more. We did bigger and bolder things. The most successful shots are ones that you feel and not ones that you are watching. It’s better when you just feel them, and they speak to you.

WHEN YOU WERE GETTING READY TO SHOOT OR WHEN YOU WERE ON SET SHOOTING “I LIVE HERE NOW,” THE SEASON 2 FINALE, WERE YOU AT ALL CONSIDERING THAT THIS COULD BE THE SERIES FINALE? THAT THIS COULD BE THE END?

You know, I personally did not think it would be the end, but if it was the end, I felt it was very satisfactory in terms of a man’s journey — Kevin’s journey home to his family. And it certainly could’ve been the end, but I never felt like it was resolved. Personally, I felt there were so many great moments in the finale — I’m sounding egotistical, I don’t mean to — and so many heartbreaking moments.

That one scene, for example, when Kevin is in the infirmary and John Murphy comes in and finds him and he looks at him and he goes, “I killed you.” And he goes, “Nope.” That scene, to me, was so much about how we live and get through life. Oftentimes, we never know what’s happening. We just don’t know how we’re going to get through life’s challenges.

[THE LEFTOVERS SEASON 2 MIMI LEDER & CAST JUSTIN THEROUX]
THE FINALE IS JUST PACKED FULL OF VITAL SCENES. THERE’S NOTHING EXTRANEOUS. THERE’S NO FAT ON IT WHATSOEVER. AND YET, IT’S ALMOST FEATURE LENGTH. IT’S ABOUT 73 MINUTES LONG.

And I shot it in 13 days.

THAT’S CRAZY.

It was so challenging, but we were so organized and so in tune with each other. Just that bridge sequence — the charging of the bridge was obviously emotional, but it was a physically difficult scene to do. That was one of the most heartbreaking scenes to film with hundreds of extras around you, but was that really what is was about? The scene was about Nora saving her baby’s life and holding onto the only thing that felt real to her. So, the scenes for me are always about what the characters are feeling and what they’re expressing.

DID YOU HAVE TO CUT ANYTHING FROM THE FINALE?

There was one scene we cut, but I knew we were going to cut it before I even shot the scene. [laughs] I don’t know if I’m supposed to tell you these things.

I’LL MAKE SURE HBO IS COOL WITH IT. [THEY ARE.]

After that scene in the infirmary, Kevin and John come out and we had a scene where people had tied the pillar to a truck and were trying to pull it down. And so basically, it was John and Kevin saving the pillar-man from fighting those guys — kind of saving him together.

Emotionally, it just didn’t feel right. I knew it on the page. They need to go from the infirmary to walking up the street [as they do at the end of the episode]. And that’s how I presented it. I mean, I shot the scene, but I presented my cut to Damon without the fight scene in it. He saw the fight scene and he agreed. But rarely does that happen. We do not do reshoots. We never did a reshoot on this second season, and not much is ever cut.

And you know, by the way, when we’re filming, we are crying! We are so into it. I look next to me, to my director of photography, Michael Grady — who’s this beautiful big burly guy, tough as can be — and he has tears coming out of his eyes. It’s the most gratifying show to work on because it’s really about something. It really is about something that matters. It’s been a privilege to be a part of it.

_[Editor’s Note: Indiewire’s Consider This campaign is an ongoing series meant to raise awareness for Emmy contenders our editorial staff and readership find compelling, fascinating and deserving. Running throughout awards season, Consider This contenders may be underdogs, frontrunners or somewhere in between. More importantly, they’re making damn good television we all should be watching, whether they’re nominated or not.]_

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question: What does the story say about the changes Mimi Leder made?

text: The cut scene was a rarity, but the article doesn't say it was the first.

answer: She contributed to the visual language of the show, which made the point of view episodes stronger. She expanded the color palette to express the characters' emotions, established wider shots that showed the environment since that was important to the story. She says she wanted the show to breathe more, do bigger and bolder things. She wanted both close-ups and wide shots to show the characters' emotions and body language. Apart from the larger changes, she also cut a scene from the final episode, which was novel, but it was the correct decision.

text: The last sentence is unnecessary.

text: "She says she wanted the show to breathe more, do bigger and bolder things. She wanted both close-ups and wide shots to show the characters' emotions and body language. Apart from the larger changes, she also cut a scene from the final episode, which was novel, but it was the correct decision." - this is redundant and should be removed.

text: The final sentence is unnecessary.

text: The answer omits that Leder also directed the season 2 premiere to set the tone of the season. It should state this.

text: "a" shouldn't be at the beginning of the last sentence

answer: No answer

text: There is an answer to this question. Leder mentions changes she made for season two when they moved to Austin. These changes include wider shots, showing the environment, and finding a richer way to express characters' emotions. She also cut a scene from the finale.

answer: No answer

text: The answer should mention the changes Leder made.

text: The response misses to provide an answer to the instruction in the task.

text: The article does discuss the changes Leder made.

text: Provide a response

text:
- The answer should mention the changes Leder made to the show. For example, the visual language, especially in the second season, helped to define what it was because the first season was very muted and very claustrophobic.
- It should also mention that Leder thought it was really important to expand the color palette, to find rich, deep colors to help express the characters’ emotions.
- It should state that in opening up the show, it was visually important using wider shots and showing the environment more because the environment was very pertinent to the story.
- It should mention that after the scene in the infirmary, they had a scene where people had tied the pillar to a truck and were trying to pull it down. Emotionally, it didn’t feel right. So, Leder felt Kevin and John needed to go from the infirmary to walking up the street [as they do at the end of the episode]. Leder also presented her cut to Damon Lindelof without the fight scene, which he agreed to. And that rarely happens.
- It should also state that they never did a reshoot on the second season, and not much was cut.

answer: She contributed to the visual language of the show, which made the point of view episodes stronger. She expanded the color palette to express the characters' emotions, established wider shots that showed the environment since that was important to the story. She says she wanted the show to breathe more, do bigger and bolder things. She wanted both close-ups and wide shots to show the characters' emotions and body language. Apart from the larger changes, she also cut a scene from the final episode, which was novel, but it was the correct decision.

text: The last sentence is extraneous and should be removed.

answer: She contributed to the visual language of the show, which made the point of view episodes stronger. She expanded the color palette to express the characters' emotions, established wider shots that showed the environment since that was important to the story. She says she wanted the show to breathe more, do bigger and bolder things. She wanted both close-ups and wide shots to show the characters' emotions and body language. Apart from the larger changes, she also took out a scene from the final episode, which was rare, but it was the correct decision.

answer: She contributed to the visual language of the show, which made the point of view episodes stronger. She expanded the color palette to express the characters' emotions, established wider shots that showed the environment since that was important to the story. She says she wanted the show to breathe more, do bigger and bolder things. She wanted both close-ups and wide shots to show the characters' emotions and body language. Apart from the larger changes, she also took out a scene from the final episode, which was rare, but it was the correct decision.

text: The answer should mention the changes Leder made to the show's visual language.

text: The last sentence is unnecessary.

text: It's omitted that the show is "The Leftovers."

text: The article does not mention that Leder also wanted both close-ups and wide shots to show the characters' emotions and body language.

text: It's omitted that Leder shot the finale in 13 days.

text: "She says she wanted the show to breathe more, do bigger and bolder things. She wanted both close-ups and wide shots to show the characters' emotions and body language. Apart from the larger changes, she also took out a scene from the final episode, which was rare, but it was the correct decision." - this is irrelevant and can be deleted.

text: She removed the scene that worked