input: Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire.  In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio.  In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good.  She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."

Answer this question "had she done other performances before that?"
output: she played Viola in a Shakespeare-inspired number

input: Carl Gustav Jung was born in Kesswil, in the Swiss canton of Thurgau, on 26 July 1875 as the second and first surviving son of Paul Achilles Jung (1842-1896) and Emilie Preiswerk (1848-1923). Their first child, born in 1873, was a boy named Paul who survived only a few days. Being the youngest son of a noted Basel physician of German descent, also called Karl Gustav Jung (1794-1864), whose hopes of achieving a fortune never materialised, Paul Jung did not progress beyond the status of an impoverished rural pastor in the Swiss Reformed Church; his wife had also grown up in a large family, whose Swiss roots went back five centuries. Emilie was the youngest child of a distinguished Basel churchman and academic, Samuel Preiswerk (1799-1871), and his second wife. Preiswerk was antistes, the title given to the head of the Reformed clergy in the city, as well as a Hebraist, author and editor, who taught Paul Jung as his professor of Hebrew at Basel University.  When Jung was six months old, his father was appointed to a more prosperous parish in Laufen, but the tension between his parents was growing. Emilie Jung was an eccentric and depressed woman; she spent considerable time in her bedroom where she said that spirits visited her at night. Although she was normal during the day, Jung recalled that at night his mother became strange and mysterious. He reported that one night he saw a faintly luminous and indefinite figure coming from her room with a head detached from the neck and floating in the air in front of the body. Jung had a better relationship with his father.  Jung's mother left Laufen for several months of hospitalization near Basel for an unknown physical ailment. His father took the boy to be cared for by Emilie Jung's unmarried sister in Basel, but he was later brought back to his father's residence. Emilie Jung's continuing bouts of absence and often depressed mood influenced her son's attitude towards women--one of "innate unreliability". This was a view that he later called the "handicap I started off with". He believed it contributed to his sometimes patriarchal views of women, but these were common in the society of his time. After three years of living in Laufen, Paul Jung requested a transfer; he was called to Kleinhuningen, next to Basel in 1879. The relocation brought Emilie Jung closer into contact with her family and lifted her melancholy. When he was nine years old, Jung's sister Johanna Gertrud (1884-1935) was born. Known in the family as "Trudi", she later became a secretary to her brother.

Answer this question "how did his family treat him?"
output:
Jung had a better relationship with his father.