Q: Given the below context:  Sylvester (who lives in an apartment building next to Tweety's yard) hears Tweety Bird singing and looks through the window with his telescope. Tweety sees him, grabs a towel, exclaims "I taw I taw a peeking tom cat!", and shuts the door after saying "That nasty old peeking tom cat!". Sylvester sees Hector the Bulldog (called Spike in this film) sleeping next to the pole that holds Tweety's birdhouse. He sneaks and climbs the pole. Spike awakens and pulls him down. Sylvester smiles and pushes Spike's straight face into a happy face, but Spike changes his face to furious and chases him back to his apartment. Sylvester uses a grabber to grab Tweety. Tweety avoids it until Spike climbs up a ladder and uses the grabber to knock Sylvester repeatedly against the wall, while Tweety scolds Sylvester saying, "Bad Old Puddy Tat!". Sylvester builds a robot dog, but it attacks him, so he destroys it with a baseball bat. Sylvester makes a smoke bomb and dashes into the smoke-covered yard, bumping into Spike, who then pounds him before sending him out of the yard. Sylvester uses a pogo stick to approach Tweety's birdhouse, passing Spike and grabs Tweety. As he is about to pogo away, Spike opens a manhole. Sylvester falls in and he nicely makes Tweety escape but, Spike drops the lid with 4 holes on Sylvester's head. Sylvester makes a storm cloud formula to prevent Spike from coming, but he trips, creating a storm in his room instead. Sylvester makes himself invisible using vanishing cream, hits Spike with a brick and grabs Tweety. As Sylvester climbs down the pole, Tweety wonders why he is floating. Spike sprays Sylvester with green paint, forces him to give him Tweety and punches the cat out of the yard. In a final attempt to get ride of Spike, Sylvester makes a bomb camera, but Sylvester trips down the stairs causing it to explode. Sylvester appears with angel wings, saying "Hmph! It's a good thing pussycats have got 9 lives".  Guess a valid title for it!
A: Tweet and Lovely

Q: Given the below context:  The Wrestlers is an oil painting on millboard by English artist William Etty, painted around 1840 and currently in the York Art Gallery, in York, England. It depicts a wrestling match between a black man and a white man, both glistening with sweat and under an intense light emphasising their curves and musculature. While little documentation of the painting exists prior to 1947, it is likely that it was painted over a period of three evenings at the life class of the Royal Academy. The Royal Academy had moved to new premises in Trafalgar Square in 1837, and the studio used by the life class was cramped and hot, a fact thought to account for the sweatiness of the central figures. Etty was best known for his painting of nude or near-nude women in historical and mythological settings but had also painted men involved in various forms of combat. In the period in which The Wrestlers was painted, sports were becoming increasingly popular, and the painting is both a reflection of this trend and a part of the English tradition of copying poses from classical Hellenistic works. It was also a time of change in the British attitude to race relations. Etty in this period was generally making a conscious effort to illustrate moral lessons in his work, and it is not clear whether he chose the topic as a form of social commentary or simply because the contrast between the black and white flesh tones was visually striking. Although The Wrestlers was probably exhibited as part of a major retrospective of Etty's work in 1849, it then went into a private collection and was not publicly exhibited again for almost a century. In 1947 it was put on sale; with little interest from commercial galleries owing to its subject, it was bought for the bargain price of 30 guineas by the York Art Gallery, where it remains. The painting formed a part of major exhibitions in 2002 and 2011–12.  Guess a valid title for it!
A: The Wrestlers (Etty)

Q: Given the below context:  Peter Denver is a renowned Broadway producer attending a party — hosted by the viciously haughty and celebrated actress Carlotta "Lottie" Marin and her quiet husband Brian Mullen — when he meets Nancy "Nanny" Ordway. Ordway is a seemingly naïve, 20-year-old, aspiring writer, who hopes to make it big in New York. She convinces a reluctant Denver to let her use his apartment to work during the day, while his wife, Iris, also a famous actress, is away, but with her permission. After the Denvers return from the airport and find Nancy hanging dead in their bathroom, a variety of people Ordway has recently met in New York begin to reveal deeper and darker connections with her. Lt. Bruce, the detective assigned to the case, soon discovers that this apparent suicide was in fact a homicide and believes that Denver, who is suspected of having an affair with Ordway, is the murderer. Denver evades arrest and seeks clues to discover the real murderer. The case becomes cluttered when he and Lt. Bruce independently realize that Ordway's dealings in New York were not as innocent as her superficial personality.  Guess a valid title for it!
A: Black Widow (1954 film)

Q: Given the below context:  After the breakup of the Pixies, Santiago went into a depression for the first couple of years but remained on good terms with bandmate Black Francis (who soon adopted the name Frank Black). Black, who was recording his 1993 debut album, Frank Black, contacted Santiago to ask whether he would contribute lead guitar. Santiago agreed, and he and Mallari drove from their home in Florida to Los Angeles. The couple ended up moving into Black's old apartment in L.A. on a whim. Santiago played lead guitar on a number of Frank Black's solo albums, including Teenager of the Year (1994), and contributed lead guitar to Steve Westfield's 1994 album Mangled. He also formed The Martinis a year later with Mallari. Their recorded output by the end of the 1990s comprised a single song, the self-recorded "Free" (1995), which appeared on the film soundtrack of Empire Records. The band played live only occasionally until 2001.In the mid-1990s, Santiago began to explore audio editing software. After composing for several independent films, including Crime and Punishment in Suburbia in 2000 (where he collaborated again with Black), Santiago co-scored the Fox Network TV series Undeclared with Michael Andrews. He continued to contribute lead guitar to albums, collaborating with Charles Douglas on his 2004 album Statecraft. He scored the 2003 film The Low Budget Time Machine and wrote two songs, "Birthday Video" and "Fake Purse," for the Showtime television series Weeds in 2005. Mallari and Santiago continued to write new material as part of the Martinis, but no longer played live. Their debut album, Smitten, took two years to write and was released in 2004; the pair collaborated with a number of musicians, including drummer Josh Freese, during the recording. Santiago described the album as "a lot poppier and quirkier" than the band's previous material. The band simultaneously released The Smitten Sessions, a limited edition EP.  Guess a valid title for it!
A:
Joey Santiago