input: Please answer the following: Given the below context:  Young married couple Andrew Hinklin and Clara Hinklin née Fields, who were college sweethearts, are well matched: both are unexciting and unmotivated, only wanting to carve out a plain, simple uninteresting life for themselves. Their marriage is not helped by Clara's opinionated mother living with them in their small one bedroom apartment. However, Clara does wish that their life would be a little more exciting as Andrew said on their honeymoon that their married life would be, least of all by Andrew acknowledging their latest wedding anniversary, their fifth. Clara's wish takes an unexpected turn when Andrew, at work, is assigned to show the visiting Mr. Battingcourt Jr. - the younger half of the head of their London office and who is majority shareholder of their accounting firm - a good time while he's in the US. "Batty" as he is affectionately called by his friends is a party animal, and Andrew, who Batty rechristens "Hinky", feels he has to party along all in the name of job security. Clara feels that she is losing her stable husband Andrew to Hinky the party animal. Feeling he is partly to blame for the Hinklins' marital problems, Batty advises Clara that she can make herself more exciting to Hinky by changing her demeanor and appearance, more like Mercedes Vasquez, a beautiful and exciting woman who Clara could resemble if made up correctly. Clara agrees to Batty's plan to come to one of their parties masquerading as exotic Latina Dolores Alvaradez, to woo Hinky and thus ultimately show him that she can be exotic like he probably now wants. Complications ensue when others find out about Batty's scheme and when Mercedes Vasquez also attends that party leading to a few mistaken identities.  Guess a valid title for it!
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output: You Can't Fool Your Wife


Please answer this: Given the below context:  Portrait Diptych of Dürer's Parents (or Dürer's Parents with Rosaries) is the collective name for two late-15th century portrait panels by the German painter and printmaker Albrecht Dürer. They show the artist's parents, Barbara Holper (c. 1451–1514) and Albrecht Dürer the Elder (c. 1427–1502), when she was around 39 and he was 63 years. The portraits are unflinching records of the physical and emotional effects of ageing. The Dürer family was close and Dürer may have intended the panels either to display his skill to his parents or as keepsakes while he travelled soon after as a journeyman painter. They were created either as pendants, that is conceived as a pair and intended to hang alongside each other, or diptych wings. However this formation may have been a later conception; Barbara's portrait seems to have been executed some time after her husband's and it is unusual for a husband to be placed to the viewer's right in paired panels. His father's panel is considered the superior work and has been described as one of Dürer's most exact and honest portraits. They are among four paintings or drawings Dürer made of his parents, each of which unsentimentally examines the deteriorating effects of age. His later writings contain eulogies for both parents, from which the love and respect he felt toward them is evident. Each panel measured 47.5 cm x 39.5 cm (18.7 in x 15.6 in), but the left hand panel has been cut down. They have been separated since at least 1628, until Barbara's portrait—long considered lost—was reattributed in 1977. The panels were reunited in the Germanisches Nationalmuseum's 2012 exhibition "The Early Dürer".  Guess a valid title for it!
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Answer: Portrait Diptych of Dürer's Parents


input question: Given the below context:  The current entrance in the north-east occupies the approximate location of the main gatehouse constructed by Gundulf and then rebuilt during 1249–1250. It was pulled down in the 1870s when the enclosure was converted into a municipal garden. An engraving from 1735 by the Buck brothers gives some indication of the gatehouse's form: the gate was an archway between two towers projecting from the curtain wall. It was reached by a stone causeway across a ditch, rather than a drawbridge. A tower containing a postern gate was located in the north-west corner of the enclosure, built at the close of the 14th century to guard the bridge over the Medway. The tower and postern no longer stands, but 19th-century antiquary and engineer G. T. Clark made some notes on the structure while it was still standing and commented that it had mechanisms to lift supplies for the castle from the river. The western part of the stone outer wall, a stretch facing the river, dates from when Gundulf built the first wall enclosing the castle. In the 19th century a revetment was added to strengthen the decaying wall. Like the keep, it was constructed using Kentish Ragstone. This part of Gundulf's wall was 4.5 feet (1.4 m) thick at the base, narrowing to 2 feet (0.61 m) at the top; it rose to a height of around 22 feet (6.7 m). Four embrasures were added to this part of the wall in the 13th century, although the builders imitated Norman design. At the northern end of the 12th-century stretch of western wall are the remains of a building, probably a hall, dating from the 13th century. Although no longer standing, it is known it had a vaulted undercroft.In the south Gundulf's wall survived into the modern period, although has now been dismantled. The current wall is a 19th-century replacement. At the eastern end of this wall, near the southern corner of the castle, is a two-storey rounded tower 30 feet (9.1 m) in diameter dating from the early 13th century. It was built to fill the breach in the curtain wall caused when John's army besieged...  Guess a valid title for it!???
output answer:
Rochester Castle