Given a paragraph about movies and a set of conversational questions and answers about the paragraph, say whether the passage contains sufficient information to answer the follow-up question. Say Yes if it is answerable; otherwise, say No. The paragraph has the prefix 'CONTEXT:'. Each conversation question has a prefix `Q:` followed by the answer prefix `A:`, and the follow-up question has a prefix `FOLLOWUP_Q:`.
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Question: CONTEXT: The "Joey room" isn't intended as a permanent residence for Joey. At his own surprised reaction you can already see that there was never a plan to have Joey living with them in their house. That would be a stetch even for Joey's and Chandler's relationship to have him living with Chandler and Monica in their house. Rather than that, the room is likely intended as a guest room dedicated specifically for Joey whenever he visits them and stays at their house. Either that or a kind of "hobby room" for Chandler and Joey to hang out in whenever he visits. The comment is rather tongue-in-cheek to begin with, so it's likely not a room only for Joey. It's a reminiscence to the good times Joey and Chandler had and a reassurance for him that those times, while maybe getting fewer, won't stop just because he got his own house to live in with Monica, a reminder that there will always be someone to play foosball with.  <sep>  Q: Did Joey get to live with Chandler and Monica? A: The "Joey room" isn't intended as a permanent residence for Joey  Q: How long did he stay there? A: At his own surprised reaction you can already see that there was never a plan to have Joey living with them in their house  Q: How did Joey feel about this? A: It's a reminiscence to the good times Joey and Chandler had and a reassurance for him that those times, while maybe getting fewer, won't stop just because he got his own house to live in with Monica  <sep> FOLLOWUP_Q: Did Joey resent Monica?

Answer: Yes


Question: CONTEXT: Elgar's Enigma variations - and Nimrod, in particular - have long been a part of the British consciousness. Interestingly, Elgar ended up writing 14 variations (Nimrod being number 9). Zimmer is trying to instil the patriotism that the variations have done for the British over the past century. Calling his own composition Variation 15 implies a continuation of Elgar's original works.  <sep>  Q: What is the significance of Nimrod to Dunkirk's original score?

Answer: Yes


Question: CONTEXT: It is a common fact on TV that combat and injuries are stylized to make it look good rather than realistic. Have a look at pretty much any film fight where someone knows a martial art and compare that to someone who knows a martial art fighting for real. They are worlds apart. Even if you look at American Wrestling and BJJ you can see the difference. Knocking someone out with one punch is extremely difficult, especially if they are used to combat. I have taken an unpulled hit from a quarter staff on the top of my head which caused me to blackout later but I still didn't go down at the time. After almost 20 years of martial arts and living in rough areas I have only been knocked unconscious with one punch once, when I was 17 by the European Kickboxing champion. I was punched to the ground by a bouncer in Portsmouth when I was 20 but was still conscious until he stamped on my head. Most of the people in the Walking Dead would have starved or succumb to injuries by now if they were suffering this scenario for real. Not to mention being struck down by illness. It is just a convention of the media that people are routinely knocked out in one hit and recover completely when the plot demands it and don't when the plot demands that instead.  <sep>  Q: Are there a lot of head injuries in the Walking Dead? A: It is just a convention of the media that people are routinely knocked out in one hit and recover completely when the plot demands it and don't when the plot demands that instead  <sep> FOLLOWUP_Q: Who is one of the characters that has a lot of head injuries?

Answer:
No