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:`.

Example Input: CONTEXT: Yes. This Doral is amongst the Cylons who want the genocide of humanity. This is much before the Cylons vote to give humanity a chance, ending their all out attacks for alternative motives. Doral is doing everything he can to ensure that the humans are in-fighting so that the Cylons can get an upper hand.  <sep>  Q: Why was Doral opposing Roslin? A: Doral is doing everything he can to ensure that the humans are in-fighting so that the Cylons can get an upper hand  Q: Why does Roslin try to take charge on the ship she is on? A: This Doral is amongst the Cylons who want the genocide of humanity  <sep> FOLLOWUP_Q: Was Lee Adama trying to prevent some semblance of order?
Example Output: No

Example Input: CONTEXT: For a perfect clone, down to the quantum level, both would be the real Angier. That is the essence of his fear. The real Angier will be killed every time. When you download a movie what you are doing is actually making a perfect copy of the movie. Which is the real movie? They all are. This is very different from making copies of film reels where only the original have the quality of the original (each copy adds a little imperfection). Now, the question The Prestige asks is what if you can make a perfect clone of a person the way you can perfectly copy digital data? In one sense, if we don't want to get too uncomfortable we can always say the remaining copy is now the real data and the deleted copy is not real anymore. But if you really think about it and get out of your comfort zone you will realize that both people are real and what you have done is murdered yourself. In The Prestige this point is much more clearly made as the old copied Angier becomes the one who is killed. Not the newly created clone. Every time the clone will have only the memory of the surviving Angier. But every time Angier experiences death, only the Angier that experienced death has no way of passing that memory to the surviving Angier so the survivor can never know what dying feels like.  <sep>  Q: How does it work that the clones are sentient paradox?
Example Output: Yes

Example Input: CONTEXT: This is one aspect of what is called the Anti-Hero. In Juno, he's just a "normal guy" and, potentially chosen because he is not someone people expect a fictional teenage girl in a movie would fantasize about. Also, they were going for a semblance of reality here rather than some weird hyper-perfect version we often see in a teenage movie. In action movies the anti-hero is quickly relatable, makes the danger seem even more dangerous. The anti-hero has a potential for growth, which is crucial for building a character. It is tiresome to see the perfect person become even more perfectly perfecter. As far as identifying with them etc. that's in the casting, writing and delivery. I am certain you can find more examples of failure in this regard.  <sep>  Q: What makes the nervous and anxious character model of Michael Cera, Jesse Eisenerg etc... so successful? A: This is one aspect of what is called the Anti-Hero  Q: Why do we view these characters as non-masculine? A: he is not someone people expect a fictional teenage girl in a movie would fantasize about  <sep> FOLLOWUP_Q: Like Eisenberg in Adventureland?
Example Output:
No