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: Clark and McCullough are Flash and Blodgett, a pair of "alibi photographers" operating a studio in Atlantic City, New Jersey. The pair cater to a clientele who require fraudulent tourist photographs using fake backdrops, which can later be used as evidence that the person in the photograph was at any location in the country. One day, a married couple (Bud Jamison and Constance Bergen) turn up separately in need of alibi photographs: the man wants evidence of being on a Maine moose hunt while the woman needs photographic proof of being in Washington, D.C. The photographers, unaware that the man and woman are married, decide to play matchmaker with the pair. By coincidence, the man and woman have rooms opposite each other in the same hotel. The hotel's manager and the staff detective become suspicious of what is transpiring when the photographers and the couple zigzag between the rooms. Eventually, the husband and wife discover the truth of their activities and leave the hotel together. The photographers, however, attempt to leave the hotel disguised as a moose, only to be chased amidst gunfire from the hotel manager.
[A]: What is the full name of the person who wants evidence of being on a Maine moose hunt?


[Q]: Passage: In part because he was overlooked until the mid-19th century, Velázquez found no followers and was not widely imitated. In particular, his visual and structural innovations in this portrayal of Venus were not developed by other artists until recently, largely owing to the censorship of the work. The painting remained in a series of private rooms in private collections until it was exhibited in 1857 at the Manchester Art Treasures Exhibition, along with 25 other paintings at least claimed to be by Velázquez; it was here that it became known as the Rokeby Venus. It does not appear to have been copied by other artists, engraved or otherwise reproduced, until this period. In 1890 it was exhibited in the Royal Academy in London, and in 1905 at Messrs. Agnews, the dealers who had bought it from Morritt. From 1906 it was highly visible in the National Gallery and became well-known globally through reproductions. The general influence of the painting was therefore long delayed, although individual artists would have been able to see it on occasion throughout its history.
Velázquez's portrait is a staging of a private moment of intimacy and a dramatic departure from the classical depictions of sleep and intimacy found in works from antiquity and Venetian art that portray Venus. However, the simplicity with which Velázquez displays the female nude—without jewellery or any of the goddess's usual accessories—was echoed in later nude studies by Ingres, Manet, and Baudry, among others. In addition, Velázquez's depiction of Venus as a reclining nude viewed from the rear was a rarity before that time, although the pose has been painted by many later artists. Manet, in his stark female portrayal Olympia, paraphrased the Rokeby Venus in pose and by suggesting the persona of a real woman rather than an ethereal goddess. Olympia shocked the Parisian art world when it was first exhibited in 1863. Olympia gazes directly out at the viewer, as does Velázquez's Venus, only through the reflection of the mirror.
[A]: What is the title of that which was exhibited at Messrs in 1905??


[Q]: Passage: In the early 1990s, retired entertainer Dixie Leonard has a commitment to attend a Hollywood ceremony being televised live to honor her and her longtime show-biz partner Eddie Sparks. When a young man from the TV show comes to pick her up, Dixie balks and explains what brought Eddie and her together, as well as what drove them apart. The majority of the film is an extended flashback.
Dixie's story begins during World War II when she receives an offer to entertain the troops overseas as part of Eddie's act. Dixie is an instant hit with the boys in uniform, but Eddie wants her gone, ostensibly because he finds her kind of humor too coarse, but in actuality because she stole the show by topping his jokes. Dixie doesn't care for him much, either, but fellow entertainers and her joke-writer uncle Art persuade her to stay.
Eddie wins her over, particularly by reuniting Dixie with her soldier husband on stage. However, later in the war, Dixie's husband dies in battle.
Despite her distaste for Eddie, she continues working with him back in the U.S. to support herself and her son. Eddie is married with daughters, but treats Dixie's son as if he were his own.
As the Korean War breaks out, Eddie announces on stage that he and Dixie will be performing for the US troops there, without having told Dixie of his plans first. In revenge, Dixie announces that Eddie made a $100,000 donation to the Red Cross. Reluctantly, she travels to Korea with him. On their way to the camp, they encounter a unit of soldiers which has been ambushed. Dixie cares for a wounded soldier but cannot save him: he is pronounced dead on arrival at the field hospital. Dixie and Eddie appear to spend the night together. At the Christmas dinner, a fight ensues after Art announces to everybody that Eddie has fired him for being a communist sympathizer.
[A]:
What is the full name of the character with a daughter?