Given a paragraph about movies, and a set of conversational question answers about the paragraph, generate a relevant question to the topic of the paragraph. The paragraph has the prefix 'CONTEXT:'. Each conversation question has a prefix `Q:` followed by the answer prefix `A:`.

Example Input: CONTEXT: She was a fighter, giving in and commiting suicide was not in her nature. Have a look at her in Aliens, insisting on being taught how to use the grenade launcher, returning the loader to fight the queen etc. The alien moved around the ship and although it was blocking her way out at the moment it would probably move, it was just a matter of her not getting caught. If nothing else she might be able to hold it off with the flame thrower until she got out, there were several options other than just giving up. I am guessing that at that point she was going to turn off the self destruct, get in the pod and blast off and then just broadcast a warning about the ship's contents.  <sep>  Q: Why did Ripley try to deactivate the self-destruct sequence at the end of Alien? A: I am guessing that at that point she was going to turn off the self destruct, get in the pod and blast off and then just broadcast a warning about the ship's contents 
Example Output: Why would she want to do that though if he was dead anyway?

Example Input: CONTEXT: It basically emotionally connects the viewer to the action or event in question. I guess that viewers these days want to feel as though they're in the thick of the action instead of feeling somewhat isolated from it. The camera lens (or glass in front of the lens) getting dirty tells the viewer that the camera is right up close and that you (as the viewer) are involved in this.  <sep>  Q: Why do you see blood on the camera lens so much in movies now? A: It basically emotionally connects the viewer to the action or event in question  Q: but doesn't it break the suspension of disbelief? A: I guess that viewers these days want to feel as though they're in the thick of the action instead of feeling somewhat isolated from it 
Example Output: Is it a meta thing to convince the viewer the producers can't control it?

Example Input: CONTEXT: Ada buys back the piano one key at a time by playing for him. Making love to him counts for ten times playing for him. At this point the relation between Ada and Baine is highly asymmetric: Baine desires Ada, Ada desires her piano. Only later does Ada fall in love with Baine.  <sep>  Q: Who plays the piano, Ada or Baine? A: Ada buys back the piano one key at a time by playing for him 
Example Output:
Are Ada and Baine married?