Problem: What is inside of Dave Ming Chang?  Answer the above question based on the context below:  In his New York City apartment, a young boy named Josh Morrison stares through his telescope at an object falling from the sky. It is a golf-ball-sized metal ball which flies through the window and lands in his fishbowl, quickly draining the water along with the goldfish. He decides to show it at his school's science class presentation. Some months later a massive fireball crashes into the water near Liberty Island. It is revealed to be a spaceship which resembles a human, controlled by 100 tiny humanoid aliens. Its Captain (also played by Murphy) pilots the spaceship from the command deck located in its head, with the help of his second-in-command Number 2 (Ed Helms), and researcher Number 3 (Gabrielle Union). The spaceship looks very human, and displays numerous superpowers, but the aliens don't know how to make the "ship" act like a human. A superstitious cop named Dooley desperately searches for the alien. The aliens need to save their planet, Nil, from an energy crisis. They need salt, which they plan to take by draining the Earth's oceans using the metal ball, so they have to recover the ball. After the spaceship is hit by Josh's single mother, Gina Morrison, while driving, the Captain decides to befriend Gina and Josh. He tells them his name is Dave Ming Chang, based on a quick scan of common Earth names. At Gina's home the crew see their missing ball in a photograph taken at the science presentation. After having breakfast with Gina, "Dave" goes to Josh's school where he pretends to be a substitute teacher and eventually is able to talk to Josh alone. Josh tells him that the ball was taken from him by a bully (Nicholas Berman). With Josh's help, Dave takes the metal ball back from the bully.

A: 100 tiny humanoid aliens


Problem: What are the names of the people who bought a town house in the newly fashionable Southampton Square in Bloomsbury?  Answer the above question based on the context below:  The Brownlow family, a dynasty of lawyers, began accumulating land in the Belton area from approximately 1598. In 1609 they acquired the reversion of the manor of Belton itself from the Pakenham family, who finally sold the manor house to Sir John Brownlow I in 1619. The old house was situated near the church in the garden of the present house and remained largely unoccupied, since the family preferred their other houses elsewhere. John Brownlow had married an heiress but was childless. He became attached to two of his more distant blood relations: a great-nephew, also called John Brownlow, and a great-niece, Alice Sherard. The two cousins married each other in 1676 when both were aged 16; three years later, the couple inherited the Brownlow estates from their great-uncle together with an income of £9,000 per annum (about £1.35 million in present-day terms) and £20,000 in cash (equivalent to about £3.01 million now). They immediately bought a town house in the newly fashionable Southampton Square in Bloomsbury, and decided to build a new country house at Belton.Work on the new house began in 1685. The architect thought to have been responsible for the initial design is William Winde, although the house has also been attributed to Sir Christopher Wren, while others believe the design to be so similar to Roger Pratt's Clarendon House, London, that it could have been the work of any talented draughtsman. The assumption popular today, that Winde was the architect, is based on the stylistic similarity between Belton and Coombe Abbey, which was remodelled by Winde between 1682 and 1685. Further evidence is a letter dated 1690, in which Winde recommends a plasterer who worked at Belton to another of his patrons.

A: John Brownlow


Problem: What is the last name of the person who warned that other composers were interested in adapting La Tosca?  Answer the above question based on the context below:  The French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti.  Illica wrote a libretto for Franchetti, who was never at ease with the assignment. When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini.  One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand...

A:
Sardou