Some context: Belinda Jo Carlisle was born in Hollywood, Los Angeles, California on August 17, 1958 to Harold Carlisle, a gas station employee, and his wife, Joanne (nee Thompson), a homemaker. Her mother met her father, who was twenty years her senior, at age eighteen, and Carlisle was born nine months later. She was named after her mother's favorite film, Johnny Belinda (1948). Carlisle was the first of seven siblings, with three brothers and three sisters.
In 2001, The Go-Go's reunited again and released an album of new material, God Bless The Go-Go's. Green Day's lead singer Billie Joe Armstrong co-wrote the only released single "Unforgiven".  God Bless The Go-Go's received mixed reviews from critics. Peter Fawthrop of AllMusic wrote "Every bit as Go-Go's, that is, as their non-hits and less remarkable material. While The Go-Go's sound is intact, there is not a "We Got the Beat" or a "Head Over Heels" to be found. It is feasible that in this age of pop rebirth, The Go-Go's decided it was now or never ... The album doesn't attempt to update the band's sound with hip-hop moves or electronic frippery, for which God should bless 'em, indeed. The girls' hold on the current pop world remains so strong that Green Day's Billie Joe Armstrong co-writes a song ("Unforgiven") in impeccable Go-Go's drag".  In spite of the mixed reviews, the album charted in the US Billboard 200, peaking at number No. 57. Around the time of The Go-Go's definitive reunion tour, Carlisle appeared nude for the cover feature and a full pictorial of the August 2001 edition of Playboy.  In 2007, Carlisle released her seventh album, Voila, which was her first full-length solo studio album in more than ten years. The album was produced by John Reynolds and included Brian Eno on keyboards. Consisting of a mix of French pop tunes and chanson standards, including covers of Francoise Hardy and Edith Piaf classics, Voila was released via Rykodisc in the UK on February 5 and in the United States the following day, February 6, 2007.  In early 2009, Carlisle was on the eighth season of Dancing with the Stars, paired with Jonathan Roberts. She was the first star to be eliminated from the competition, on March 17. In October 2009, Carlisle took over the role of Velma Von Tussle in London's West End production of Hairspray at the Shaftesbury Theatre. She remained with the show till late January 2010 and was replaced by Siobhan McCarthy.
Did they win?
A: She was the first star to be eliminated from the competition, on March 17. In October 2009, Carlisle took over

Some context: Gilliam was born in Minneapolis, Minnesota, the son of Beatrice (nee Vance) and James Hall Gilliam. His father was a travelling salesman for Folgers before becoming a carpenter. Soon after, they moved to nearby Medicine Lake, Minnesota. The family moved to the Los Angeles neighbourhood of Panorama City in 1952.
Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it - I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world.' And it's not the world. The world is a million possible things.  As for his philosophical background in screenwriting and directing, Gilliam said on the TV show First Hand on RoundhouseTV, "There's so many film schools, so many media courses which I actually am opposed to. Because I think it's more important to be educated, to read, to learn things, because if you're gonna be in the media and if you'll have to say things, you have to know things. If you only know about cameras and 'the media', what're you gonna be talking about except cameras and the media? So it's better learning about philosophy and art and architecture [and] literature, these are the things to be concentrating on it seems to me. Then, you can fly...!"  His films are usually imaginative fantasies. His long-time co-writer Charles McKeown commented, "the theme of imagination, and the importance of imagination, to how you live and how you think and so on ... that's very much a Terry theme." Most of Gilliam's movies include plotlines that seem to occur partly or completely in the characters' imaginations, raising questions about the definition of identity and sanity. He often shows his opposition to bureaucracy and authoritarian regimes. He also distinguishes "higher" and "lower" layers of society, with a disturbing and ironic style. His movies usually feature a fight or struggle against a great power which may be an emotional situation, a human-made idol, or even the person himself, and the situations do not always end happily. There is often a dark, paranoid atmosphere and unusual characters who used to be normal members of society. His scripts feature black comedy and often end with a dark tragicomic twist.  Gilliam is fascinated with the Baroque period because of the pronounced struggle between spirituality and rationality in that era. There is often a rich baroqueness and dichotomous eclecticism about his movies, with, for instance, high-tech computer monitors equipped with low-tech magnifying lenses in Brazil and a red knight covered with flapping bits of cloth in The Fisher King. He also is given to incongruous juxtapositions of beauty and ugliness or antique and modern. Regarding Gilliam's theme of modernity's struggle between spirituality and rationality whereas the individual may become dominated by a tyrannical, soulless machinery of disenchanted society, the film critic Keith James Hamel observed a specific affinity of Gilliam's movies with the writings of the economic historian Arnold Toynbee and the sociologist Max Weber, specifically the latter's concept of the "iron cage" of rationality.
What themes did he use?
A:
I love the term magic realism,