Given the below context:  Inside the church of Sant'Andrea della Valle Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds. The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving. Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place. Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world"). After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using...  Guess a valid title for it!
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Answer: Tosca


Given the below context:  White Lies is a story about the nature of identity: those who deny it and those who strive to protect it. Paraiti is a medicine woman. She is the healer and midwife of her rural, tribal people - she believes in life. But new laws are in force prohibiting unlicensed healers. On a rare trip to the city, she is approached by Maraea, the servant of a wealthy woman, Rebecca, who seeks her knowledge and assistance in order to hide a secret which could destroy Rebecca's position in European settler society. If the secret is uncovered a life may be lost, but hiding it may also have fatal consequences. So Paraiti, Maraea and Rebecca become players in a head on clash of beliefs, deception and ultimate salvation.In the Extras of the DVD, Witi Ihimaera, tells how his mother took him to Paraiti, a tohunga/healer who cured him of a breathing problem. In writing the story, he wanted to honour the various tohunga in Maori life.   In 1907, the New Zealand government brought in  The Tohunga Suppression Act, thus outlawing natural healing for Maori. Some people believe the author of the book drew on the life of Anglo-Indian actress Merle Oberon, and the hiding of her true ethnic origin.  Guess a valid title for it!
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Answer: White Lies (2013 New Zealand film)


Given the below context:  At Birmingham, Oliphant's team had reached a different conclusion. Oliphant had delegated the task to two German refugee scientists, Rudolf Peierls and Otto Frisch, who could not work on Oliphant's radar project because they were enemy aliens and therefore lacked the necessary security clearance. Francis Perrin had calculated the critical mass of uranium to be about 40 tonnes (39 long tons; 44 short tons). He reckoned that if a neutron reflector were placed around it, this might be reduced to 12 tonnes (12 long tons; 13 short tons). Peierls attempted to simplify the problem by using the fast neutrons produced by fission, thus omitting consideration of moderator. He too calculated the critical mass of a sphere of uranium in a theoretical paper written in 1939 to be "of the order of tons".Peierls knew the importance of the size of the critical mass that would allow a chain reaction to take place and its practical significance. In the interior of a critical mass sphere, neutrons are spontaneously produced by the fissionable material. A very small portion of these neutrons are colliding with other nuclei, while a larger portion of the neutrons are escaping through the surface of the sphere. Peierls calculated the equilibrium of the system, where the number of neutrons being produced equalled the number escaping.Niels Bohr had theorised that the rare uranium-235 isotope, which makes up only about 0.7% of natural uranium, was primarily responsible for fission with fast neutrons, although this was not yet universally accepted. Frisch and Peierls were thus able to revise their initial estimate of critical mass needed for nuclear fission in uranium to be substantially less than previously assumed. They estimated a metallic sphere of uranium-235 with a radius of 2.1 centimetres (0.83 in) could suffice. This amount represented approximately 1 kilogram (2.2 lb) of uranium-235. These results led to the Frisch–Peierls memorandum, which was the initial step in the development of the nuclear arms programme in Britain. This...  Guess a valid title for it!
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Answer:
Tube Alloys