input: In 2007 New York magazine noted that [former Apatow associate] Mike White ... was "disenchanted" by Apatow's later films, "objecting to the treatment of women and gay men in Apatow's recent movies", saying of Knocked Up: "At some point it starts feeling like comedy of the bullies, rather than the bullied." In a highly publicized Vanity Fair interview, lead actress Katherine Heigl admitted that though she enjoyed working with Apatow, she had a hard time enjoying Knocked Up herself, calling the movie "a little sexist", saying that the film "paints the women as shrews, as humorless and uptight". In response to accusations of sexism, Apatow told an interviewer that the characters in the film Knocked Up "are sexist at times... but it's really about immature people who are afraid of women and relationships and learn to grow up."  Kristen Wiig, in a speech presenting Apatow with the Herb Sargent Award for Comedy Excellence in February 2012 said that he was an "incredible collaborator and supporter" and in a 2011 interview with Elle, television actress and writer Lena Dunham, who has collaborated often with Apatow said of his work, "Knocked Up is really about love. ... His movies are about people trying to get closer to themselves. He's the perfect match for a story about being 25, because that's all 25-year-olds are interested in. The other problems they encounter--money issues, conflicts at work--don't matter."  Alyssa Rosenberg of ThinkProgress praised Apatow for his "wonderfully refreshing" approach to women and comedy, quoting Apatow as saying "I got bored of penises. I said, 'enough of that.' No, I just like immaturity, I like to show people struggle and try to figure out who they are. I'm a guy and so it leaned guy for a while. But one of the projects I'm most proud of is Freaks and Geeks, which is about a woman in high school struggling to figure out which group she wants to belong to, so for me, it goes back and forth. ..."

Answer this question "Which movies were in question?"
output: Knocked Up:

Problem: Background: Lemon Henry "Blind Lemon" Jefferson (September 24, 1893 - December 19, 1929) was an American blues and gospel singer, songwriter, and musician. He was one of the most popular blues singers of the 1920s and has been called the "Father of the Texas Blues". Jefferson's performances were distinctive because of his high-pitched voice and the originality of his guitar playing. His recordings sold well, but he was not a strong influence on younger blues singers of his generation, who could not imitate him as easily as they could other commercially successful artists.
Context: Largely because of the popularity of artists such as Jefferson and his contemporaries Blind Blake and Ma Rainey, Paramount became the leading recording company for the blues in the 1920s. Jefferson's earnings reputedly enabled him to buy a car and employ chauffeurs (this information has been disputed); he was given a Ford car "worth over $700" by Mayo Williams, Paramount's connection with the black community. This was a common compensation for recording rights in that market. Jefferson is known to have done an unusual amount of traveling for the time in the American South, which is reflected in the difficulty of placing his music in a single regional category.  Jefferson's "old-fashioned" sound and confident musicianship made it easy to market him. His skillful guitar playing and impressive vocal range opened the door for a new generation of male solo blues performers, such as Furry Lewis, Charlie Patton, and Barbecue Bob. He stuck to no musical conventions, varying his riffs and rhythm and singing complex and expressive lyrics in a manner exceptional at the time for a "simple country blues singer." According to the North Carolina musician Walter Davis, Jefferson played on the streets in Johnson City, Tennessee, during the early 1920s, at which time Davis and the entertainer Clarence Greene learned the art of blues guitar.  Jefferson was reputedly unhappy with his royalties (although Williams said that Jefferson had a bank account containing as much as $1500). In 1927, when Williams moved to Okeh Records, he took Jefferson with him, and Okeh quickly recorded and released Jefferson's "Matchbox Blues", backed with "Black Snake Moan". It was his only Okeh recording, probably because of contractual obligations with Paramount. Jefferson's two songs released on Okeh have considerably better sound quality than his Paramount records at the time. When he returned to Paramount a few months later, "Matchbox Blues" had already become such a hit that Paramount re-recorded and released two new versions, with the producer Arthur Laibly. In 1927, Jefferson recorded another of his classic songs, the haunting "See That My Grave Is Kept Clean" (again using the pseudonym Deacon L. J. Bates), and two other uncharacteristically spiritual songs, "He Arose from the Dead" and "Where Shall I Be". "See That My Grave Is Kept Clean" was so successful that it was re-recorded and re-released in 1928.
Question: When did he begin with Paramount records?
Answer: Paramount became the leading recording company for the blues in the 1920s.

Question: Daniel Irvin Rather, Jr.  was born on October 31, 1931, in Wharton County, Texas, the son of Daniel Irvin Rather, Sr., a ditch digger, and the former Byrl Veda Page. The Rathers moved to Houston, where Dan attended Love Elementary School and Hamilton Middle School. He graduated in 1950 from John H. Reagan High School in Houston. In 1953, he earned a bachelor's degree in journalism from Sam Houston State University where he was editor of the school newspaper, The Houstonian.

On September 8, 2004, Rather reported on 60 Minutes Wednesday that a series of memos critical of President George W. Bush's Texas Air National Guard service record had been discovered in the personal files of Lt. Bush's former commanding officer, Lt. Col. Jerry B. Killian. Once copies of the documents were made available on the Internet, their authenticity was quickly called into question. Much of this was based on the fact that the documents were proportionally printed and displayed using other modern typographic conventions usually unavailable on military typewriters of the 1970s. The font used on the documents has characteristics that exactly match standard font features of Microsoft Word. This led to claims that the memos were forgeries. The accusations then spread over the following days into mainstream media outlets including The Washington Post, The New York Times, and the Chicago Sun-Times.  Rather and CBS initially defended the story, insisting that the documents had been authenticated by experts. CBS was contradicted by some of the experts it originally cited, and later reported that its source for the documents - former Texas Army National Guard officer Lt. Col. Bill Burkett - had misled the network about how he had obtained them.  On September 20, CBS retracted the story. Rather stated, "If I knew then what I know now, I would not have gone ahead with the story as it was aired, and I certainly would not have used the documents in question." The controversy has been referred to by some as "Memogate" and "Rathergate."  Following an investigation commissioned by CBS, CBS fired story producer Mary Mapes and asked three other producers connected with the story to resign. Many believe Rather's retirement was hastened by this incident. On September 20, 2007, Rather was interviewed on Larry King Live commenting "Nobody has proved that they were fraudulent, much less a forgery. ... The truth of this story stands up to this day."

Using a quote from the above article, answer the following question: What were the Killian documents?
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Answer:
a series of memos critical of President George W. Bush's Texas Air National Guard service record