input: Please answer the following: Why did Dexter say Destruction Incorporated came to be?  Answer the above question based on the context below:  The opening scene is set at a wild teenage party in a small apartment. The kids suddenly turn against everything around them and trash the apartment to complete annihilation. The kids are called "Destruction Incorporated", a bunch of self-imposed derelicts who terrorize a sleepy Florida town. They are led by the near-psychotic Dexter, his pal Denny, Denny's girlfriend Bitsy, and their friend Lummox. Their reason for forming this so-called "destruction crew" is as Dexter states: "just for the hell of it." Dexter, Denny, Bitsy, and Lummox stop at a local neighborhood bar for a few drinks when the bartender becomes irritated with their shenanigans and orders them to be quiet to which they respond by beating up the owner. Afterwards, Dexter and a few of the Destruction crew pile into Dexter's 1967 white Mustang car and drive around town terrorizing and harassing the locals. One teenybopper steals a lady's newspaper and sets fire to it. A man is splashed painted when a few other youths throw paint at him. Also, a police officer is contemptuously taunted. At a corner coffee shop, the overly zealous teens engage in a bloody fist fight with another teenager, named Doug, who used to know Dexter and was part of his gang before walking away years ago. As result of the rumble, the group begins to trash the place. The proprietor threatens to call the police, but is cut short when one of the teenyboppers punches him in the face. Dexter and Denny, aided by other Destruction crew, cruelly drag the owner to the stove and they unmercifully burn his hands on the hot stove.
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output: just for the hell of it


input: Please answer the following: What are McKinney and May continuing alone to complete?  Answer the above question based on the context below:  The film, narrated primarily by McKinney herself and supplemented by other interviews with primary characters and experts, is presented by animated headlines, newspaper photos, and brief televised news reports from the time of the case. McKinney details her upbringing as a charismatic young beauty queen with a self-reported IQ of 168. In search of a "clean-cut, all-American boy" for a potential husband, McKinney is introduced to Kirk Anderson, a young Mormon man on the eve of his  religious mission. McKinney states that she and Anderson fell madly in love and that they were engaged to be married, but that she mistrusted the Mormon church and its hold over Anderson, declaring the church to be a "cult" that had "brainwashed" him. Former Mormon turned activist Troy Williams offers insight into Mormon practices, beliefs, and attitudes to explain how Mormonism might seem cult-like to one not raised in the religion. When Anderson was sent to England on his mission, McKinney, believing that the church elders deliberately separated them, recruited a pilot (Jackson Shaw, who appears in interviews) to fly her, her friend Keith "K.J." May, and a hired bodyguard named Gil Parker to England on a "rescue mission" McKinney framed in terms of a romantic caper. Upon arriving in England, McKinney allegedly revealed items such as handcuffs, chloroform, and a fake handgun, causing Shaw and Parker to fear they might be participating in something illegal. Both men immediately returned to America, leaving McKinney and May to continue alone.
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output: a "rescue mission"


input: Please answer the following: What is the name of Albrecht the Elder's son?  Answer the above question based on the context below:  Albrecht the Elder was 62 or 63  when his panel was painted early in 1490. Barbara's portrait may have been completed soon after, when she would have been around 39. Their son was around 18 and had just completed his apprenticeship with Michael Wolgemut, and would soon leave for Nuremberg to travel as a journeyman painter. The father panel was painted first; for aesthetic reasons Dürer may have waited a year or two until his mother looked older.The sitters are presented in three-quarter view before flat, nondescript lacquer-like green backgrounds, which although lushly coloured, are thinly layered. Each has a white ground and light red imprimatura with lead content. The sitter's form and pose echo and in many ways counterbalance each other. Brand Philip draws attention to the similarities of the panels' linear construction, especially the manner in which the folds and lines of their clothing form triangular shapes. The train of Barbara's headdress across her chest corresponds with the opening of Albrecht's fur-lined coat. It was more usual in pendant portraits of this type for the male to be on the left-hand side; the positioning here may be an indication that Dürer originally intended his father's panel to stand alone, given that Barbara's was painted some time later.Albrecht the Elder's panel is regarded as the superior of the two works. This may in part be attributed to differing contemporary treatments of male and female portraits; men were allowed more individuality, while female portraits were bound by stereotypes and were not as daring, for example showing evidence of ageing. In either case, the father painting is far more closely detailed, especially in the lining of clothing, which is summary in Barbara's panel, compared to the long seam of her husband's gown. This contrast in detail can also be seen in the treatment of the rosaries, which are given prominence and a glowing red colour in his panel, but are small and relegated in hers.Albrecht the Elder's panel is usually, but not always, thought to...
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output:
Dürer