[Q]: Given the below context:  Andy Kaufman is a struggling performer whose act fails in nightclubs because, while the audience wants comedy, he sings children's songs and refuses to tell conventional jokes. As the audience begins to believe that Kaufman may have no real talent, his previously timid "foreign man" character puts on a rhinestone jacket and does a dead-on Elvis impersonation. The audience bursts into applause, realizing Kaufman had tricked them. He catches the eye of talent agent George Shapiro, who signs Kaufman as a client and immediately lands him a network TV series, Taxi, much to Kaufman's dismay, since he dislikes sitcoms. Because of the money, visibility, and a promise that he can do his own television special, Kaufman accepts the role, turning his foreign man into a mechanic named Latka Gravas. Secretly he hates doing the show and expresses a desire to quit. Invited to catch a different act at a nightclub, Shapiro witnesses a performance by a rude, loud-mouthed lounge singer, Tony Clifton, whom Kaufman wants to guest-star on Taxi. Clifton's bad attitude is matched by his horrible appearance and demeanor. But backstage, when he meets Shapiro in person, Clifton takes off his sunglasses and reveals that he is actually Kaufman. Clifton is a "villain character" created by Kaufman and his creative partner, Bob Zmuda. Once again, the gag is on the audience. Kaufman's profile increases with appearances on Saturday Night Live, but he has problems with his newfound fame. When performing live, audiences dislike his strange anti-humor and demand that he perform as Latka. At one show, he deliberately antagonizes attendees by reading The Great Gatsby aloud from start to finish. Kaufman shows up on the Taxi set as Clifton and proceeds to cause chaos until he is removed from the studio lot. He relates to Shapiro that he never knows exactly how to entertain an audience "short of faking my own death or setting the theater on fire."  Guess a valid title for it!
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[A]: Man on the Moon (film)


[Q]: Given the below context:  Gigolos in Europe are being terrorized by a serial killer. In Malibu, Deuce Bigalow's wife Kate has died from a shark attack, and Deuce is invited by his former pimp T.J. Hicks to Amsterdam. Deuce goes to take his mind off of Kate. After T.J. shows Deuce his boat, or "float crib," the pair go to a coffee shop where they get high and bump into Heinz Hummer, a German gigolo. After leaving the coffee shop, Deuce finds Hummer dead in an alley, but thinks he is merely stoned and takes the dead gigolo to T.J.'s float crib; when T.J. gets back, he immediately realizes that Hummer is dead. T.J. plans to dump the body, but skeptical of Hummer's reputation of being well-endowed, unzips his pants and examines his genitalia and is caught by a tour boat. Upon his release from the police station, Deuce finds T.J. at a restaurant and recalls that he saw the killer walking away from Hummer's body. Deuce says it was a woman, so they both figure it was a she-john, a former client of the murdered gigolo. T.J. convinces Deuce to find the killer by becoming a gigolo again, visiting the former clients and "rooting" out the killer. They attend a meeting of the Royal Order of European Man Whores, but fail to procure a list of the clients.  Guess a valid title for it!
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[A]: Deuce Bigalow: European Gigolo


[Q]: Given the below context:  The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded...  Guess a valid title for it!
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[A]:
Dresden Triptych