input: Prior to this, Nation had declined an offer from scriptwriter David Whitaker to write for a new science-fiction programme that was entering production at the BBC; Whitaker had been impressed by a script that Nation had written for the ABC anthology series Out of this World. Now unemployed, and with a young family to support, Nation contacted Whitaker and accepted the offer, writing the second Doctor Who serial, The Daleks (also known as The Mutants and The Dead Planet). The serial introduced the eponymous extraterrestrial villains that would quickly become the series' most popular and enduring monsters, and resulted in a major merchandising success for the BBC.  Having risen in the public consciousness, Nation went on to contribute further scripts to Doctor Who. In 1965, Nation and Dennis Spooner co-wrote the 12-part serial The Daleks' Master Plan, after which Nation, who still held the copyright to the Daleks, attempted to launch a Dalek spin-off TV series in the United States. Various other Dalek tie-in material appeared, including comic strips in the children's weekly TV Century 21 and annuals; such material was frequently credited to Nation, even when written by others. Between 1966 and 1972, appearances by the Daleks in Doctor Who became less frequent and were written for the series by other authors.  In 1973, following an eight-year absence from scriptwriting for the series, Nation returned to writing for the Daleks on Doctor Who with the Third Doctor serial Planet of the Daleks. In 1998, readers of Doctor Who Magazine voted Nation's 1975 serial Genesis of the Daleks the greatest Doctor Who story of all time. In the story, Nation introduced the character of Davros, the creator of the Daleks, who went on to appear in further storylines.  Nation also wrote two non-Dalek scripts for Doctor Who, The Keys of Marinus in 1964, which introduced the Voord and The Android Invasion in 1975, which introduced the Kraal. During this time, Nation also worked in commercial TV, contributing scripts to series such as The Avengers, The Baron, The Champions, Department S, The Persuaders! and The Saint.  Nation's work on Doctor Who was the subject of the documentary Terror Nation, a special feature on the BBC DVD release of the serial Destiny of the Daleks.

Answer this question "Did he create anything else for the series?"
output: Having risen in the public consciousness, Nation went on to contribute further scripts to Doctor Who. In 1965,

input: Murdoch found a political ally in Sir John McEwen, leader of the Australian Country Party (now known as the National Party of Australia), who was governing in coalition with the larger Menzies-Holt-Gorton Liberal Party. From the very first issue of The Australian Murdoch began taking McEwen's side in every issue that divided the long-serving coalition partners. (The Australian, 15 July 1964, first edition, front page: "Strain in Cabinet, Liberal-CP row flares.") It was an issue that threatened to split the coalition government and open the way for the stronger Australian Labor Party to dominate Australian politics. It was the beginning of a long campaign that served McEwen well.  After McEwen and Menzies retired, Murdoch threw his growing power behind the Australian Labor Party under the leadership of Gough Whitlam and duly saw it elected on a social platform that included universal free health care, free education for all Australians to tertiary level, recognition of the People's Republic of China, and public ownership of Australia's oil, gas and mineral resources. Rupert Murdoch's backing of Whitlam turned out to be brief. Murdoch had already started his short-lived National Star newspaper in America, and was seeking to strengthen his political contacts there.  Asked about the Australian federal election, 2007 at News Corporation's annual general meeting in New York on 19 October 2007, its chairman Rupert Murdoch said, "I am not commenting on anything to do with Australian politics. I'm sorry. I always get into trouble when I do that." Pressed as to whether he believed Prime Minister John Howard should continue as prime minister, he said: "I have nothing further to say. I'm sorry. Read our editorials in the papers. It'll be the journalists who decide that - the editors." In 2009, in response to accusations by Australian Prime Minister Kevin Rudd that News Limited was running vendettas against him and his government, Murdoch opined that Rudd was "oversensitive". Murdoch described Howard's successor, Labor Party Prime Minister Kevin Rudd, as "...more ambitious to lead the world [in tackling climate change] than to lead Australia..." and criticised Rudd's expansionary fiscal policies in the wake of the financial crisis of 2008 as unnecessary. Although News Limited's interests are extensive, also including the Daily Telegraph, the Courier-Mail and the Adelaide Advertiser, it was suggested by the commentator Mungo MacCallum in The Monthly that "the anti-Rudd push, if coordinated at all, was almost certainly locally driven" as opposed to being directed by Murdoch, who also took a different position from local editors on such matters as climate change and stimulus packages to combat the financial crisis.  Murdoch is a supporter of an Australian republic, having campaigned for one during the 1999 referendum.

Answer this question "Did he have any other political activities?"
output: took a different position from local editors on such matters as climate change and stimulus packages to combat the financial crisis.

input: Price's career climaxed on September 16, 1966, when she sang Cleopatra in Antony and Cleopatra by American composer Samuel Barber and conducted by Thomas Schippers, commissioned to open the Met's new house at Lincoln Center. The role of Cleopatra was written especially for Price. Since their early collaborations, Price and Barber had remained close friends and colleagues, and the composer tailored Cleopatra's music to Price's warm middle register and soaring top.  In the performances, although Price's singing was praised, especially in a powerful death scene, the opera as a whole was widely considered a failure. Director Franco Zeffirelli was blamed for burying the music under heavy costumes and huge scenery. Bing admitted he had underestimated the challenge of mounting nine new productions that season (three in the first week), and relying heavily on untested high-tech equipment. (In rehearsals, an expensive turntable broke down and, in the dress rehearsal, another mechanical failure left Price trapped briefly inside a giant pyramid.) The pressures and many of the glitches were chronicled by cameras for a Bell Telephone Hour special documentary, directed by Robert Drew.  Still others complained that Barber's score was difficult to grasp because of the dense Shakespearean verse, and lacked satisfying set pieces (apart from the death scene). The opera was never revived at the Met. However, with the help of Gian Carlo Menotti, Barber later reworked the score for successful productions at the Juilliard School and the Spoleto Festival in Charleston, where it received praise. Barber also prepared a concert suite of Cleopatra's arias, which Price premiered in Washington in 1968 and subsequently recorded. Price lobbied Kurt Herbert Adler to have it produced in San Francisco, but did not succeed.

Answer this question "What did Price say about revision?"
output:
Barber also prepared a concert suite of Cleopatra's arias, which Price premiered in Washington in 1968 and subsequently recorded.