input: Faber enjoyed the greatest success of his career in the early 1920s. The live-ball era was beginning, but he was among the pitchers who made the most successful transition. The spitball was phased out after the 1920 season, with Faber one of the 17 pitchers permitted to use it for the remainder of their careers. He took advantage of Comiskey Park's spacious dimensions, surrendering only 91 home runs--barely one homer per month--from 1920 to 1931. He was one of only six pitchers to win 100 or more games in both the "dead ball" (through 1920) and live ball eras. Faber finished the 1920 season with 23 wins and led the league in games started.  During the summer of 1921, Faber and several other players had to leave a road trip in Washington after receiving subpoenas for the Black Sox trial in Chicago. Faber made the trip but was not asked to testify and he returned to the White Sox without missing a start. In 1921 and 1922, he posted win totals of 25 and 21, respectively, leading the league in ERA (1921-1922), innings (1922) and complete games (1921-1922). He was also among the league leaders in strikeouts each year, while pitching at least 25 complete games and over 300 innings.  In the wake of the Black Sox scandal, winning on a consistent basis became increasingly difficult. After being one of the top teams in the league with a powerful offense in the late 1910s, the White Sox had only two winning seasons in his last 13 years, never finishing above fifth place. In the 1921 season, he earned a 25-15 win-loss record for the post-scandal team that limped to a 62-92 finish; from 1921 to 1929 his record was 126-103. In 1927, Ty Cobb had a 21-game hitting streak which was broken when he faced Faber. Despite the widespread hitting of the era, he did not post an ERA over 3.88 until he was 41. Perhaps his last great performance was a one-hitter at age 40 in 1929.

Answer this question "they started losing?"
output: the White Sox had only two winning seasons in his last 13 years, never finishing above fifth place.

input: Keaton signed with Metro-Goldwyn-Mayer in 1928, a business decision that he would later call the worst of his life. He realized too late that the studio system MGM represented would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage, as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton some creative participation on his last originally developed/written silent film The Cameraman, 1928, which was his first project under contract with them, but hired Edward Sedgwick as the official director.  Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment. "Stuntmen don't get laughs," Keaton had said. Some of his most financially successful films for the studio were during this period. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber, Speak Easily, and What! No Beer? The latter would be Keaton's last starring feature in his home country. The films proved popular. (Thirty years later, both Keaton and Durante had cameo roles in It's a Mad Mad Mad Mad World, albeit not in the same scenes.)  In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. This is discussed in the TCM documentary Buster Keaton: So Funny it Hurt, with Keaton complaining about having to shoot lousy films not just once, but three times.  Keaton was so demoralized during the production of 1933's What! No Beer? that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Elysees. During this period, he made another film, in England, The Invader (released in the United States as An Old Spanish Custom in 1936).

Answer this question "Were any of these films critical acclaimed?"
output: 

input: On November 26, 2014, following termination by the CBC, Ghomeshi turned himself in to Toronto Police and was charged with four counts of sexual assault and one count of overcoming resistance by choking, after an investigation that began on October 31, 2014. The charges concern three separate women. He appeared in court on the same day and was released on $100,000 bail on the conditions that he surrender his passport, stay within Ontario and live with his mother.  Ghomeshi appeared in court again on January 8, 2015, and was charged with three additional counts of sexual assault related to three more women. In a court appearance on February 26, 2015, a judicial pretrial was set for March 27, 2015, and was later put over to April 28, 2015. His lawyer, Marie Henein, stated that he would plead not guilty to all charges. On October 1, 2015, Ghomeshi pleaded not guilty to one count of choking and four counts of sexual assault.  The trial of Ghomeshi began on February 1, 2016, and lasted eight days. On March 24, 2016, the judge acquitted Ghomeshi of all charges on the basis that there was insufficient evidence to establish proof beyond a reasonable doubt. The inconsistency and "outright deception" of the witness' testimony had irreparably weakened the prosecution's case. Judge William Horkins accused the complainants of "lying or trying to conceal evidence from the court".  A second trial for one additional charge was scheduled for June 2016. On May 11, 2016, however, the Crown withdrew the last remaining charge, re: the alleged sexual assault against Borel, after Ghomeshi signed a peace bond which does not include an admission of guilt. (The publication ban as to the name of the victim, Borel, was lifted on May 11, 2016.) According to Borel, Henein approached Borel's representation to ask for an alternative to a trial, and after several exchanges Ghomeshi agreed to apologize to Borel and did so formally.  Afterwards, Borel issued a formal statement to the media, maintaining that Ghomeshi was guilty of sexual assault but that "a trial would have maintained his lie, the lie that he was not guilty, and would have further subjected me to the very same pattern of abuse that I am currently trying to stop".

Answer this question "What happened to his career after the trial?"
output: