Given a question and a context passage, generate the answer having the word or phrase from the context passage. Here, the answer should be a shortest continous span from the passage.

Q: Context: The direct thrombin inhibitor dabigatran and the anti-Xa agents rivaroxaban, edoxaban, and apixaban are a new generation of oral anticoagulants. Their advantage over the vitamin K antagonists is the lack of the need for monitoring and dose adjustment. Their main disadvantage is currently the absence of a specific reversal agent. Dabigatran's, unlike the anti-Xa agents, absorption can be reduced by activated charcoal if administered shortly after ingestion and it can be removed from the blood with hemodialysis. Prothrombin complex concentrate, activated prothrombin complex concentrate, and recombinant factor VIIa all show some activity in reversing the anticoagulant effect of these drugs but this is based on ex vivo, animal, and volunteer studies. It is unclear, which, if any, of these drugs is the most suitable for emergency reversal. Three novel molecules (idarucizumab, andexanet, and PER977) may provide the most effective and safest way of reversal. These agents are currently in premarketing studies. 
 Question: Idarucizumab is an antidote of which drug?

A: dabigatran
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Q: Context: We have dreams almost every night. Do you ever notice the colors of your dreams? Do you dream in black and white or do you dream in yellow, red and green? New research suggests that the type of television you watched as a child has a great effect on the color of your dreams. While almost all people under 25 dream in color, thousands of people over 55, all of whom were brought up with black and white TV sets, often dream in monochrome . "It suggests there could be a critical period in our childhood when watching films has a big impact on the way dreams are formed", said Eva Murzyn, a psychology student at Dundee University in Britain who carried out the study. Research from 1915 through the 1950s suggested that the vast majority of dreams are in black and white. But the tide turned in the sixties, and later results suggested that up to 83 percent of dreams contain some color. Since this period also marked the transition between black-and-white film and TV and Technicolor ,an obvious explanation was that the media had been painting people's dreams. However, there weren't any firm conclusions. But now Miss Murzyn believes she has proven the link. She made a survey of more than 60 people, half of whom were over 55 and half of whom were under 25. She asked the volunteers to answer a questionnaire on the color of their dreams and their childhood exposure to film and TV. She then analyzed her own data. Only 4.4 percent of the under-25s' dreams were black and white. The over-55s who had had access to color TV and film during their childhood also reported a very low proportion of just 7.3 percent. But the over-55s who only had access to black-and -white media reported dreaming in black and white about a quarter of the time. Even though they would have spent only a few hours a day watching TV or films, their attention and emotion would have been heightened during this time, leaving a deeper imprint on their mind, Miss Murzyn told the New Scientist. "The crucial time is between three and ten when we all begin to have the ability to dream", she said. 
 Question: In which magazine can you find the article?

A: new scientist
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Q: Context: Set on the campus of a small New England college, the film focuses on the volatile relationship of a middle-aged couple: associate history professor George (Richard Burton) and his hard-drinking wife Martha (Elizabeth Taylor), the daughter of the college president.It's 2:00 a.m. on a Sunday morning, and they have returned from one of her father's gatherings. Martha announces she has invited a young couple--Nick (George Segal), a young, good-looking, newly appointed instructor, and his mousey wife Honey (Sandy Dennis)--to join them for late-night drinks. George is disturbed because she did so without consulting him first, prompting Martha to launch into the first of many loud and lengthy tirades during which she taunts and criticizes him. Knowing his wife is drunk and quite lewd, he asks her to behave herself when they arrive, and when the doorbell rings, he warns her to refrain from mentioning their child to their company.Overhearing Martha's crude retort as the door opens, Nick and Honey immediately feel ill at ease and quickly find themselves caught in the middle of a verbal war zone when their efforts to engage in small talk set off a volley of insults between their hosts. Martha begins to flirt lewdly with Nick while his meek wife tries to pretend she is unaware of what is happening.While Martha is showing Honey where the bathroom is, George tests Nick's verbal sparring skills, but the young man is no match for his host. Realizing he and his wife are becoming embroiled in the middle of marital warfare, he suggests they depart, but George cajoles him into staying.Upon returning to the living room alone, Honey innocently mentions to George she was unaware he and Martha had a son on the verge of celebrating his 16th birthday. Martha reappears in a new outfit--form-fitting slacks and a revealing blouse--and when her husband makes a snide remark about the ensemble, she begins to demean his abilities as a teacher, then escalates her seduction of Nick, complimenting him on the body he developed as both a quarterback and an intercollegiate state boxing champion while criticizing George's paunch. She informs their guests about a past incident when George refused to engage in a friendly outdoor boxing match with his father-in-law and Martha put on a pair of gloves and punched him in the jaw, knocking him into the bushes. As she relates the story, George aims a shotgun at the back of her head, causing Honey to scream. He pulls the trigger, which releases an umbrella, while he tells his wife she's dead.Honey again raises the subject of George and Martha's son, prompting the couple to engage in a conversation Martha quickly tries to end without success. To counterattack George's relentless comments about the boy, she tells their guests her husband is unsure the child is his own, although he most assuredly is. They argue about the color of the boy's eyes until George threatens to expose the truth about the boy. Furious, Martha accuses him of being a failure whose youthful, idealistic plans for the future slowly deteriorated as he came to realize he wasn't aggressive enough to follow in his father-in-law's footsteps, leaving her stuck with a flop. George cuts the diatribe short by spinning Honey around and mockingly singing, "Who's afraid of Virginia Woolf?", a joke the shrewed Martha had made herself during the party earlier that evening.Inebriated and on the verge of throwing up from George's spinning, Honey rushes from the room. Martha goes to the kitchen to make coffee, and George and Nick go outside. The younger man confesses he was attracted to Honey more for her family's money than passion, and married her only because she mistakenly believed she was pregnant. George describes his own marriage as one of never-ending accommodation and adjustment, then admits he considers Nick a threat. George also tells a story about a boy he grew up with. This boy had accidentally killed his mother. Years later, George claims the boy was driving with his father. He swerved to "miss a porcupine" in the road, 
 Question: Who suggestively dances with Martha?

A:
nick
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