Please answer this: Given the following context:  Set in 2003, Huck Cheever is a young and talented poker player in Las Vegas haunted by his relationship with his estranged father, L.C. Cheever, a two-time World Series of Poker Champion. Huck is a regular in Vegas poker rooms but needs $10,000 to get a seat in the World Series of Poker Main Event. After a good night at the Bellagio hotel's poker room, Huck goes to a party and meets aspiring singer Billie Offer, who has just arrived in town. Billie's older sister Suzanne warns her that Huck is "hustle 10, commitment zero." Back at the Bellagio, Huck is doing well at the tables before L.C. returns to town from the South of France. Huck greets his father coldly. The two play heads-up. Loan shark Roy Durucher tells Huck that he plays poker as well as anybody, except for his reputation as a "blaster" (not patient enough) who always goes for broke. Roy proposes to stake Huck in the $10,000 main-event with a 60% — 40% split of any winnings, but Huck refuses. After failing to borrow money from his friend Jack, Huck goes to Suzanne's place hoping for a loan. Instead he runs into Billie, who gets a call confirming that she has landed a job singing at a club. Huck proposes a celebration and at Binion's Horseshoe he shows her how to play poker. L.C. arrives and shows Huck a wedding ring of Huck's late mother's that Huck had pawned and that L.C. has redeemed. Huck loses his winnings. Over dinner, he explains to Billie that his father stole from his mother before leaving her. Huck says his father taught him how to play on the kitchen table with "pennies, nickels, and dimes." They make love after dinner. As Billie sleeps, Huck steals money from Billie's purse.  answer the following question:  What are the full names of the 2 characters who make love after eating dinner?
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Answer: Huck Cheever


Please answer this: Given the following context:  Young filmmaker Stevie Horowitz eagerly awaits a meeting with big shot Hollywood film producer J.P. Shelldrake. Shelldrake has been desperately searching for a way to avoid problems with the IRS and unpaid millions owed them in back taxes. His brilliant yet overpaid accountant devises a scheme to allow the producer to write off the expenses of his next movie release, but only if the film is a box office flop. Armed with his foolproof plan, Shelldrake agrees to meet with Stevie and screen his film "Lobster Man From Mars" (financed by Stevie's jailed con man Uncle Joey). The plot resembles the premise of The Producers by Mel Brooks. Inside Shelldrake's private screening room, the "film within the film" begins. They watch the weird plot unfold: Mars suffers from a severe air leakage. The King of Mars commands the dreaded Lobster Man and his assistant Mombo, a gorilla wearing a space helmet, to pilot his flying saucer to Earth then steal its air. Once landed, the Lobster Man wastes no time transforming hapless victims into smoking skeletons. On a lonely road, John and Mary, a young and innocent couple discovers the hiding place of the flying saucer in a dark and mysterious cave. They attempt to warn the authorities but are ignored. Successfully contacting Professor Plocostomos, a plan is created to lure the Lobster Man to Mr. Throckmorton's Haunted House that just happens to be surrounded by boiling hot springs.  Once lured, it is simply a matter of pushing the Lobster Man into the hot water where he will be boiled to death. The plan is interrupted by Colonel Ankrum and his troops. The house is shelled and destroyed, the Lobster Man flees to his cave, taking Mary with him.  answer the following question:  From what is Lobster Man instructed to steal air?
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Answer: Earth


Please answer this: Given the following context:  Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less...  answer the following question:  What is the full name of the person in whose view the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music?
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Answer:
Ronald Crichton