Problem: Background: Twinkle Khanna (born Tina Jatin Khanna on 29 December 1974) is an Indian author, newspaper columnist, film producer, former film actress and interior designer. Her first book Mrs Funnybones sold over one hundred thousand copies, making her India's highest-selling female writer of 2015. She repeated the success with her second book, The Legend of Lakshmi Prasad, which also went on to sell over 100,000 copies by August 2017. She won the Crossword Book Award 2016 for Mrs Funnybones.
Context: Khanna made her screen debut opposite Bobby Deol in Rajkumar Santoshi's romance Barsaat (1995). She was cast by Dharmendra and before the film's release Khanna signed for two more projects. It performed well at the box office and became the sixth-highest-grossing film of the year, and she received the Filmfare Award for Best Female Debut for her performance. The following year she played lead roles in Raj Kanwar's action film Jaan and Lawrence D'Souza's romance Dil Tera Diwana opposite Ajay Devgn and Saif Ali Khan respectively. K.N. Vijiyan of the New Straits Times wrote that "Khanna does not look like a typical Hindi actress". While reviewing Dil Tera Diwana, Vijiyan wrote about Khanna: "Unlike her previous movies, she looks really good in all her scenes and she can act well."  In 1997, two films featuring her; Uff! Yeh Mohabbat and Itihaas were released. Both of these films were poor box office performers. Her only release in 1998 was Jab Pyaar Kisise Hota Hai, which featured her as Salman Khan's love interest.  Khanna acted opposite Akshay Kumar in two action films: International Khiladi and Zulmi (both 1999). In the former she played a news reporter who falls in love with a criminal whom she interviews. Both performed poorly at the box office. She was paired with Daggubati Venkatesh in the Telugu film Seenu (1999). Khanna played the lead role in Baadshah (1999), featuring Shah Rukh Khan as a detective. In the same year, she acted opposite Saif Ali Khan in Yeh Hai Mumbai Meri Jaan, a romantic comedy directed by Mahesh Bhatt. She was paired opposite Aamir Khan in Dharmesh Darshan's Mela (2000). Similar to The Seven Samurai in story, it was an average grosser at the box office.  In October 1999, along with Juhi Chawla, Shah Rukh and Salman Khan, she performed at Awesome Foursome concert held as Shah Alam Outdoor Stadium, Malaysia. Chal Mere Bhai (2000) featured her in a special appearance beside a leading role in the comedy Joru Ka Ghulam, opposite Govinda. She also acted in the David Dhawan-directed comedy Jodi No.1 (2001). Her acting in the film met with poor reviews. Film director Karan Johar admitted in an interview that Khanna was in his mind for the role of Tina in Kuch Kuch Hota Hai, but she refused it, and thus Rani Mukerji was signed. She left the industry after her marriage to Kumar in 2001, citing that she did not enjoy the acting profession anymore. Her last film was Love Ke Liye Kuch Bhi Karega (2001), a remake of the Telugu movie Money (1993). It featured her opposite Fardeen Khan and was an average grosser at the box office.  Twinkle Khanna recently launched her production house Mrs. Funnybones Movies. As per reports, her venture will produce both off-beat and mainstream movies.
Question: How did this film do?
Answer: It performed well at the box office and became the sixth-highest-grossing film of the year,

Problem: Background: Tosca (Italian pronunciation: ['toska; 'toska]) is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900. The work, based on Victorien Sardou's 1887 French-language dramatic play, La Tosca, is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples's control of Rome threatened by Napoleon's invasion of Italy. It contains depictions of torture, murder and suicide, as well as some of Puccini's best-known lyrical arias.
Context: The French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.  Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."  Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.  In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti. Illica wrote a libretto for Franchetti, who was never at ease with the assignment.  When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini. One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, "He has more talent than I do." American scholar Deborah Burton contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project.
Question: What happened after that?
Answer:
When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini.