input question: Given the below context:  On the 16th floor, a restaurant named Sixteen opened in early February 2008, and an outdoor patio terrace, named The Terrace at Trump, opened on June 25, 2009 following the completion of construction. The restaurant opened to favorable reviews for its cuisine, decor, location, architecture, and view. Sixteen, which was designed by Joe Valerio, is described architecturally as a sequence of spaces that do not reveal themselves at once, but rather in "procession". The restaurant's foyer is T-shaped, and a passageway to the hotel is lined with floor-to-ceiling architectural bronze wine racks in opposing red and white wine rooms. The passageway leads to views—praised by Kamin—that showcase the Wrigley Building clock tower and the Tribune Tower's flying buttresses. Kamin notes that these views are "more intimate" than the panoramic ones of the Signature Room, a restaurant near the top of the Hancock Center. The views are described as equally impressive by day and by night. The main part of the procession is the Tower Room, a dining room with a  30-foot (9.1 m) dome-shaped ceiling made of West African wood. The dome is furnished with Swarovski chandeliers and incorporates mirrors so that all diners can experience the view.The Terrace, which opened on June 25, 2009, has views of the Chicago River and Lake Michigan as well as Navy Pier's seasonal Wednesday and Saturday evening fireworks, and was designed for outdoor or "al fresco" dining.Located on the mezzanine level, Rebar—the hotel bar—opened on April 18, 2008.On June 5, 2018, it was announced that Terrace 16 Restaurant & Bar would replace Sixteen. The newly themed dining space was expected to debut during the summer of 2018.  Guess a valid title for it!???
output answer: Trump International Hotel and Tower (Chicago)


Given the below context:  Bacon did not seek to illustrate the narrative of the tale, however. He told the French art critic Michel Leiris, "I could not paint Agamemnon, Clytemnestra or Cassandra, as that would have been merely another kind of historical painting ... Therefore I tried to create an image of the effect it produced inside me." Aeschylus' phrase "the reek of human blood smiles out at me" in particular haunted Bacon, and his treatments of the mouth in the triptych and many subsequent paintings were attempts to visualise the sentiment. In 1985, he observed that Aeschylus' phrase brought up in him "the most exciting images, and I often read it ... the violence of it brings up the images in me, 'the reek of human blood smiles out at me', well what could be more amazing than that."Bacon was introduced to Aeschylus through T. S. Eliot's 1939 play The Family Reunion, in which the protagonist Harry is haunted by "the sleepless hunters / that will not let me sleep". In Eliot's play, the Furies serve as embodiments of the remorse and guilt felt by Harry, who harbours a dark family secret, shared only with his sister. Bacon was captivated by Aeschylus' play, and keen to learn more about Greek tragedy, although he said many times that he regretted being unable to read the original in Greek. In 1942, he read the Irish scholar William Bedell Stanford's Aeschylus in his Style, and found the theme of obsessive guilt in The Oresteia to be highly resonant. In 1984, Bacon told Sylvester that although his painting's subject matter did not have a direct relationship with the poet's work, for him Eliot's work "opened the valves of sensation".The mouth of the triptych's central figure was also inspired by the nurse's scream in film director Sergei Eisenstein's Odessa Steps massacre sequence in The Battleship Potemkin (1925). In 1984, the broadcaster Melvyn Bragg confronted Bacon with a reproduction of the centre panel during the filming of a South Bank Show documentary, and observed that in his earlier career the artist seemed preoccupied with...  Guess a valid title for it!
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Answer: Three Studies for Figures at the Base of a Crucifixion


Problem: Given the question: Given the below context:  The film starts off with a scene from the novel Moby Dick, with a whaler on a stormy sea in the 19th century, chasing "the white whale". It turns out that the scene comes from the imagination of Dot, while she is sitting with the book. She goes out to play with Nelson the dolphin in his pool, and he teaches her how to stay underwater for long periods of time and to communicate underwater, as well as the history and evolution of sea creatures. While they play together, Nelson hears the wail of a beached whale named "Tonga" from the local coast, and jumps out of his pool, over the cliff beside, and dives into the ocean on the other side, to check what is going on, with Dot coming along. Dot walks up on land to talk with Tonga, but becomes upset as two boys, Alex and Owen, stand and throw sand on the whale. The boys say that they only want to push the whale back to the sea. Together, they try to push Tonga back to the water, but fail. They decide to gather as many kids as possible, in order to help the whale as much as they can. While Alex and Owen start to gather help, Dot sits beside Tonga, trying to converse. Tonga explains that her family has been killed by whalers, and she is the only survivor, but has lost the will to live. Dot explains that she and others want to help Tonga, and tries to by having Tonga placed in the same pool as Nelson to let her recover. Dot then realizes that they do not have a transport facility for a whale. Meanwhile, a crooked fishmonger becomes interested in Tonga as a possible "Fish" source.  Guess a valid title for it!
++++++++++++++++++++++++++++++++
The answer is:
Dot and the Whale