In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

[Q]: Passage: Set in a future 1970, the United States is considering building bases on the Moon. Colonel Briteis, Major Bill Moore, and Doctor Wernher are sent to orbit the Moon to survey landing sites for future lunar missions. However, Dr. Wernher is an impostor whose mission is to destroy the US's Earth-orbiting space station, which he plans to do by colliding the rocket with the station on the way back from the Moon.
While on the way out, however, Wernher inadvertently gives his identity away. In the ensuing struggle for the control of the rocket, Col. Briteis has to make an emergency landing on the Moon. With them all marooned, Dr. Wernher redeems himself by helping establish communications with Earth, although an accident results in his untimely death. In response to the unexpected turn of events, the US authorities decide to make the immobilized spaceship the core of a new moon base. To avoid a scandal, their commander, General Greene, cajoles Major Moore into proposing to Colonel Briteis (so as not to have an unmarried male and female astronaut alone in close quarters for weeks). Briteis accepts, but requests that Major Moore be promoted to Brigadier General after they are married so that he will outrank her.  Compared to later science fiction movies and TV shows, where women are full-fledged professionals, this film portrays the main female protagonist, Col. Briteis, as a nice but incompetent female who is easily frightened and turns to Major Moore as soon as things become dangerous.
[A]: Which of the people sent to orbit the moon is not who they claim to be?


[Q]: Passage: In "Me and Veronica," a tempestuous little drama set in a dingy area of the New Jersey shoreline, Elizabeth McGovern and Patricia Wettig play sisters whose lives are approaching dead ends. Fanny, the "good" sister, is a divorced part-time waitress with artistic leanings who lives in a bungalow in one of those desolate seaside towns of packed-together houses that look like they could be washed away at any moment. 
One day her "bad" sister, Veronica, from whom she has been estranged for five years, comes to visit. Veronica informs Fanny that she is about to go to jail for welfare fraud. An unmarried mother of two, she was caught collecting checks from two states at once and has to serve time on Rikers Island.
Fanny and Veronica share a desperately buoyant night on the town, getting drunk in fishermen's bars and playing a dangerous game called Jersey Chicken, in which they grab the girders of a lifting drawbridge and jump into the inky water. Although they share an edgy affection, there has been bad blood between them ever since Fanny caught Veronica in bed with her husband.
After Veronica goes to jail, Fanny, posing as a state investigator, rescues her sister's children from the trailer park in Netcong, New Jersey where Veronica left them with Michael, the latest in a string of lovers. While visiting Veronica in jail, Fanny also begins to realize that her sister is not just down and out but mentally ill and possibly suicidal. From here the story takes an inevitably grim turn in which Fanny is left to pick up the pieces.
[A]: Who is an unmarried mother?


[Q]: Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.
[A]:
What is the title of the work within whose thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow?