Q: Given the below context:  The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's...  Guess a valid title for it!
A: Gianni Schicchi

Q: Given the below context:  A new wing at Britannia Hospital is to be opened, and the Queen Mother—referred to as HRH—is due to arrive. The administrator of the hospital, Potter, is confronted with demonstrators protesting against an African dictator who is a VIP patient, striking ancillary workers (opposed to the exotic gastronomic demands of the hospital's private patients) and a less-than-cooperative Professor Millar, the head of the new wing. Rather than cancel the royal visit, Potter decides to go out and reason with the protestors. He strikes a deal with the protest leader—the private patients of Britannia Hospital are to be ejected and, in return, the protestors allow a number of ambulances into the hospital. However, unbeknown to the protestors, these ambulances actually contain the Queen Mother and her entourage. Mick Travis is a reporter who is shooting a clandestine documentary about the hospital and its dubious practices. He manages to get inside and starts to investigate Millar's sinister scientific experimentation, including the murder of a patient, Macready. As mayhem ensues outside, Travis is also murdered and his head used as part of a grim Frankenstein-like experiment which goes hideously wrong. Eventually, the protestors break into the hospital and attempt to disrupt Millar's presentation of his Genesis Project, in which he claims he has perfected mankind. In front of the assembled audience of Royalty and commoners, Genesis is revealed—a brain wired to machinery. Genesis is given a chance to speak and, in a robotic voice, utters the "What a piece of work is a man" speech from Hamlet, until it continuously repeats the line "How like a God".  Guess a valid title for it!
A: Britannia Hospital

Q: Given the below context:  News anchor Barry Baron discovers that a drug smuggling ring is operating out of the building where he works, and is chased down and eventually shot dead by the drug dealers. His co-anchor, Dulcie Niles finds Barry's body, calls the police and prepares to film the investigation, but before the police can arrive Barry's body is stolen by the building's cleaner, Chafuka, who uses her voodoo powers to reanimate Barry's corpse as a zombie, allowing her to take over Barry's luxury apartment. In order to keep up appearances, Chafuka has Barry, who is otherwise unable to speak, continue performing his news broadcasts by controlling him with a voodoo doll, while Dulcie continues to investigate the drug ring with the help of incompetent police detective Jordan Penrose. Meanwhile, the head of the drug ring, Nolan sees one of Barry's news broadcasts and assumes that his henchmen bungled Barry's murder, and sends them to finish the job off. When they arrive at the station however, they end up being killed in a series of mishaps, and Chafuka turns them into more zombies. On seeing his zombified former henchmen, Nolan panics and takes refuge with the station's owner, Alex Cavanaugh, who it turns out is the mastermind behind the drug ring. He takes Dulcie and Jordan hostage and has Nolan drive them to safety, while Barry, Chafuka and the zombie henchmen give chase. During the course of the chase Dulcie and Jordan are rescued, and then Nolan loses control of the car, with both he and Cavanaugh being killed in the resulting crash. Chafuka turns Cavanaugh and Nolan into zombies and then takes full control of the station, with Barry continuing as lead anchor after his original personality fully returns, and Jordan quitting the police to become the station's head of security, with the zombie Nolan and his henchmen becoming security guards.  Guess a valid title for it!
A:
Dead Men Don't Die