Problem: Given the below context:  Gloria is an unemployed writer struggling with alcoholism. Her errant behavior prompts her frustrated boyfriend Tim to break up with her and evict her from their New York City apartment. Forced to move back to her hometown in New England (the fictional Mainhead), Gloria reunites with her childhood friend Oscar, who now runs his late father's bar. Oscar is warm and welcoming to Gloria; he brings her an old television set for her unfurnished house and offers her a job at the bar to help her, which Gloria accepts. Working at the bar aggravates Gloria's alcohol problem. Each shift, she hangs out and drinks until morning with Oscar and his friends, Garth and Joel, while sleeping it off on a bench near a children's playground. At the same time, a giant reptilian monster appears in Seoul, leaving death and destruction in its wake. Gradually, Gloria realizes that when she walks through the playground at exactly 8:05 am, she causes the monster to manifest and is able to remotely control the monster's movements, which mirror her own. Gloria reveals her secret to Oscar and his friends; however, when Oscar steps onto the playground, he causes a giant robot to appear in Seoul. Gloria ultimately tries to make amends by having the monster spell out an apology in Korean, to the delight of the South Koreans and the media, and begins to avoid both the playground and alcohol. After spending the night with Joel, Gloria discovers that a drunken Oscar is using the robot to taunt South Korea. After a tense confrontation, Gloria manages to make him leave. Oscar is jealous, believing that something happened between Gloria and Joel. Later that night at the bar, he drunkenly insults his friends and demands that Gloria drinks, then orders her to do so by threatening to return to the playground if she does not. The next morning, a sobered-up Oscar confesses his remorse and pleads with Gloria to forgive him. Gloria accepts his apology, but Oscar's controlling attitude becomes clear.  Guess a valid title for it!

A: Colossal (film)


Problem: Given the below context:  Medical researchers Frank and his fiancée, Zoe, have developed a serum, code-named "Lazarus". It was intended to assist coma patients but is shown to actually be able to bring the dead back to life. With the assistance of their friends, Niko, Clay,  and videographer Eva, they run a successful trial on a recently deceased dog. However, they notice that the dog is behaving differently than it did when it was alive: its cataracts disappear, it loses its appetite, and it demonstrates other strange abilities. Tests reveal that the serum, instead of dissipating, is constructing strange new synapses within the dog's brain. When the dean of their university learns of their underground experiments, their project is shut down. They are also informed that a major pharmaceutical corporation has bought out the company that funded their research. The company and their attorneys confiscate everything associated with the project. Frank and his team sneak back into their lab to duplicate the experiment so that they can prove that they created the serum. During this attempt, things go horribly wrong and Zoe is fatally electrocuted. Unwilling to let her go, Frank uses the serum to resurrect her. Initially, the procedure appears to be a success, but the team soon realizes that something is wrong with Zoe. She claims that when she died, she went to her version of Hell, which was a nightmare originating from her childhood: during a fire in her apartment building, she witnessed trapped neighbors burning to death. She also begins to demonstrate unusual psychic abilities.  Guess a valid title for it!

A: The Lazarus Effect (2015 film)


Problem: Given the below context:  L'Orfeo (SV 318) (Italian pronunciation: [lorˈfɛːo]), sometimes called La favola d'Orfeo [la ˈfaːvola dorˈfɛːo], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's Dafne is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed. By the early 17th century the traditional intermedio—a musical sequence between the acts of a straight play—was evolving into the form of a complete musical drama or "opera". Monteverdi's L'Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Its score was published by Monteverdi in 1609 and again in 1615. After the composer's death in 1643 the opera went unperformed for many years, and was largely forgotten until a revival of interest in the late 19th century led to a spate of modern editions and performances. At first these performances tended to be concert (unstaged) versions within institutes and music societies, but following the first modern dramatised performance in Paris, in 1911, the work began to be seen in theatres. After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it. In 2007, the quatercentenary of the premiere was celebrated by performances throughout the world. In his published score Monteverdi lists around 41 instruments to be deployed, with distinct groups of instruments used to depict particular scenes and characters....  Guess a valid title for it!

A: L'Orfeo


Problem: Given the below context:  Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the Opéra-Comique in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act opéra comique, La grand'tante,  presented in April 1867. At around the same time he composed a Requiem, which has not survived. In 1868 he met Georges Hartmann, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation.In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the Franco-Prussian War of 1870–71, during which he served as a volunteer in the National Guard alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the Siege of Paris but managed to get out before the horrors of the Paris Commune began; the family stayed for some months in Bayonne, in southwestern France.After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts, Don César de Bazan (Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy  Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.  Guess a valid title for it!

A:
Jules Massenet