[Q]: Given the below context:  In New York City, a middle-aged black insurance salesman named Doyle Gipson is a recovering alcoholic who is attending Alcoholics Anonymous meetings to stay sober. On the same morning that Gipson drives to a hearing to try to regain custody of his children, a successful, white, young Wall Street attorney, Gavin Banek, is distracted while driving and collides his new Mercedes CLK320 with Gipson's older Toyota Corolla. Banek was in a rush to get to court to file a power of appointment document, which will prove a dead man signed his foundation over to Banek's law firm. Gipson was also in a rush to get to a hearing to argue for joint custody of his sons with his estranged wife. Banek tries to brush Gipson off with a blank check, rather than exchanging insurance information, thereby disobeying the law. Gipson refuses to accept the check and voices his desire to "do this right", but Banek, whose car is still drivable, insists upon leaving immediately.  He leaves Gipson stranded, telling him, "better luck next time". After arriving to the court late, Gipson learns that the judge ruled against him in his absence, giving sole custody of the boys to Gipson's wife and allowing her to proceed with a plan to move to Oregon, never knowing that Gipson was about to buy a house locally and give it to his wife and children as part of his effort to make joint custody workable for everyone.  Guess a valid title for it!
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[A]: Changing Lanes


[Q]: Given the below context:  By the time of the third plate, Tom Nero has progressed from the mistreatment of animals to theft and murder. Having encouraged his pregnant lover, Ann Gill, to rob and leave her mistress, he murders the girl when she meets him. The murder is shown to be particularly brutal: her neck, wrist, and index finger are almost severed. Her trinket box and the goods she had stolen lie on the ground beside her, and the index finger of her partially severed hand points to the words "God's Revenge against Murder" written on a book that, along with the Book of Common Prayer, has fallen from the box. A woman searching Nero's pockets uncovers pistols, a number of pocket watches—evidence of his having turned to highway robbery (as Tom Idle did in Industry and Idleness),  and a letter from Ann Gill which reads: Dear TommyMy mistress has been the best of women to me, and my conscience flies in my face as often as I think of wronging her; yet I am resolved to venture body and soul to do as you would have me, so do not fail to meet me as you said you would, for I will bring along with me all the things I can lay my hands on. So no more at present; but I remain yours till death. Ann Gill. The spelling is perfect and while this is perhaps unrealistic, Hogarth deliberately avoids any chance of the scene becoming comical. A discarded envelope is addressed "To Thos Nero at Pinne...". Ronald Paulson sees a parallel between the lamb beaten to death in the Second Stage and the defenceless girl murdered here. Below the print, the text claims that Nero, if not repentant, is at least stunned by his actions: Various features in the print are meant to intensify the feelings of dread: the murder takes place in a graveyard, said to be St Pancras but suggested by John Ireland to resemble Marylebone; an owl and a bat fly around the scene; the moon shines down on the crime; the clock strikes one for the end of the witching hour. The composition of the image may allude to Anthony van Dyck's The Arrest of Christ. A lone Good Samaritan appears...  Guess a valid title for it!
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[A]: The Four Stages of Cruelty


[Q]: Given the below context:  The Italian composer Claudio Monteverdi (1567–1643), in addition to a large output of church music and madrigals, wrote prolifically for the stage. His theatrical works were written between 1604 and 1643 and included ten operas, of which three—L'Orfeo (1607), Il ritorno d'Ulisse in patria (1640) and L'incoronazione di Poppea (1643)—have survived with their music and librettos intact. In the case of the other seven operas, the music has disappeared almost entirely, although some of the librettos exist. The loss of these works, written during a critical period of early opera history, has been much regretted by commentators and musicologists. Opera, as a musical and theatrical genre, began to emerge during the early part of Monteverdi's career, initially as a form of courtly entertainment. With other composers, he played a leading part in its development into the main form of public musical theatre. His first opera, L'Orfeo, written in 1607 for the Mantuan court, which employed him, was a major success. In the years that followed, at Mantua and in his later capacity as maestro di cappella (director of music) at St Mark's Basilica in Venice, Monteverdi continued to write theatrical music in various genres, including operas, dances, and intermedi (short musical interludes inserted into straight plays). Because in Monteverdi's times stage music was rarely thought to have much utility after its initial performance, much of this music vanished shortly after its creation. Most of the available information relating to the seven lost operas has been deduced from contemporary documents, including the many letters that Monteverdi wrote. These papers provide irrefutable evidence that four of these works—L'Arianna, Andromeda, Proserpina rapita and Le nozze d'Enea con Lavinia—were completed and performed in Monteverdi's lifetime, but of their music, only the famous lament from L'Arianna and a trio from Proserpina are known to have survived. The other three lost operas—Le nozze di Tetide, La finta pazza Licori and Armida...  Guess a valid title for it!
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[A]:
Lost operas by Claudio Monteverdi