Background: Browning was born as Charles Albert Browning, Jr., in Louisville, Kentucky, the second son of Charles Albert and Lydia Browning, and the nephew of baseball star Pete Browning. As a young boy, he put on amateur plays in his backyard. He was fascinated by the circus and carnival life, and at the age of 16 he ran away from his well-to-do family to become a performer. Changing his name to "Tod", he traveled extensively with sideshows, carnivals, and circuses.
Context: Browning's feature film debut was Jim Bludso (1917), about a riverboat captain who sacrifices himself to save his passengers from a fire. It was well received.  Browning moved back to New York in 1917. He directed two films for Metro Studios, Peggy, the Will O' the Wisp and The Jury of Fate. Both starred Mabel Taliaferro, the latter in a dual role achieved with double exposure techniques that were groundbreaking for the time. He moved back to California in 1918 and produced two more films for Metro, The Eyes of Mystery and Revenge.  In the spring of 1918 he left Metro and joined Bluebird Productions, a subsidiary of Universal Pictures, where he met Irving Thalberg. Thalberg paired Browning with Lon Chaney for the first time for the film The Wicked Darling (1919), a melodrama in which Chaney played a thief who forces a poor girl (Priscilla Dean) from the slums into a life of crime and possibly prostitution. Browning and Chaney would ultimately make ten films together over the next decade.  The death of his father sent Browning into a depression that led to alcoholism. He was laid off by Universal and his wife left him. However, he recovered, reconciled with his wife, and got a one-picture contract with Goldwyn Pictures. The film he produced for Goldwyn, The Day of Faith, was a moderate success, putting his career back on track.  Thalberg reunited Browning with Lon Chaney for The Unholy Three (1925), the story of three circus performers who concoct a scheme to use disguises to con and steal jewels from rich people. Browning's circus experience shows in his sympathetic portrayal of the antiheroes. The film was a resounding success, so much so that it was later remade in 1930 as Lon Chaney's first (and only) talkie shortly before his death later that same year. Browning and Chaney embarked on a series of popular collaborations, including The Blackbird and The Road to Mandalay. The Unknown (1927), featuring Chaney as an armless knife thrower and Joan Crawford as his scantily clad carnival girl obsession, was originally titled Alonzo the Armless and could be considered a precursor to Freaks in that it concerns a love triangle involving a circus freak, a beauty, and a strongman. London After Midnight (1927) was Browning's first foray into the vampire genre and is a highly sought-after lost film which starred Chaney, Conrad Nagel, and Marceline Day. The last known print of London After Midnight was destroyed in an MGM studio fire in 1967. In 2002, a photographic reconstruction of London After Midnight was produced by Rick Schmidlin for Turner Classic Movies. Browning and Chaney's final collaboration was Where East is East (1929), of which only incomplete prints have survived. Browning's first talkie was The Thirteenth Chair (1929), which was also released as a silent and featured Bela Lugosi, who had a leading part as the uncanny inspector, Delzante, solving the mystery with the aid of the spirit medium. This film was directed shortly after Browning's vacation trip to Germany (arriving in the Port of New York, November 12, 1929).
Question: Did he work with Irving Thalberg on other films later on?
Answer: Thalberg paired Browning with Lon Chaney for the first time for the film The Wicked Darling (1919),

Background: James Lawrence Levine (; born June 23, 1943) is an American conductor and pianist. He is primarily known for his tenure as Music Director of the Metropolitan Opera (the "Met"), a position he held for 40 years (1976-2016). He was formally terminated by the Met from all his positions and affiliations with the company on March 12, 2018 over sexual misconduct allegations which he denies.
Context: Levine made his Metropolitan Opera (the "Met") debut at age 28 on June 5, 1971, leading a June Festival performance of Tosca. Following further appearances with the company, he was named principal conductor of the Metropolitan Opera in February 1972. He became the Met's principal conductor in 1973, and its Music Director in 1975. In 1983, he served as conductor and musical director for the Franco Zeffirelli screen adaptation of La Traviata, which featured the Met orchestra and chorus members. He became the company's first artistic director in 1986, and relinquished the title in 2004. In 2005, Levine's combined salary from the Boston Symphony Orchestra and the Met made him the highest-paid conductor in the country, at $3.5 million.  During Levine's tenure, the Metropolitan Opera orchestra expanded its activities into the realms of recording, and separate concert series for the orchestra and chamber ensembles from The Met Orchestra at Carnegie Hall. Levine led the Metropolitan Opera on many domestic and international tours. For the 25th anniversary of his Met debut, Levine conducted the world premiere of John Harbison's The Great Gatsby, commissioned especially to mark the occasion. On his appointment as general manager of the Met, Peter Gelb emphasized that Levine was welcome to remain as long as he wanted to direct music there. Levine was paid $2.1 million by the Met in 2010.  Following a series of injuries that began with a fall (see below), Levine's subsequent health problems led to his withdrawal from many Metropolitan Opera conducting engagements. Following a May 2011 performance of Die Walkure, Levine formally withdrew from all conducting engagements at the Met. After two years of physical therapy, Levine returned to conducting with a May 2013 concert with the Metropolitan Opera Orchestra at Carnegie Hall. On September 25, 2013, Levine conducted his first Met performance since May 2011, in a revival production of Cosi fan tutte. Levine was scheduled to conduct three productions at the opera house and three concerts at Carnegie Hall in the 2013-14 season. On April 14, 2016, Met management announced that Levine would step down from his position as Music Director at the end of the 2015-16 season. Levine was paid $1.8 million by the Met for the 2015/16 season. He assumed the new title of Music Director Emeritus, which he held until December 2017, when in the wake of allegations that Levine had sexually abused four young men, the Met suspended its relationship with him and cancelled all his future scheduled performances with the company.
Question: What injuries came with his fall?
Answer:
when in the wake of allegations that Levine had sexually abused four young men,