[Q]: The following article contains an answer for the question: What are the full names of the team that thwarts a terrorist attack? , can you please find it? In the near future, humans are augmented with cybernetic improvements to traits such as vision, strength, and intelligence. Augmentation developer Hanka Robotics establishes a secret project to develop an artificial body, or "shell", that can integrate a human brain rather than an AI. Mira Killian, the sole survivor of a cyberterrorist attack which killed her parents, is chosen as the test subject after her body is damaged beyond repair. Over the objections of her designer Dr. Ouelet, Hanka's CEO, Cutter, decides to use Killian as a counter-terrorism operative. A year later, Killian has attained the rank of Major in the anti-terrorist bureau Section 9, working alongside operatives Batou and Togusa under Chief Daisuke Aramaki. Killian, who experiences hallucinations that Ouelet dismisses as glitches, is troubled by how little she remembers of her past. The team thwarts a terrorist attack on a Hanka business conference, and Killian destroys a robotic geisha after it murders a hostage. After learning that the geisha was hacked by an unknown entity known as Kuze, Killian breaks protocol and "dives" into its AI for answers. The entity attempts a counter-hack, and Batou is forced to disconnect her. They trace the hacker to a yakuza nightclub, where they are lured into a trap. The explosion destroys Batou's eyes and damages Killian's body. Cutter is enraged by Killian's actions, and threatens to have Section 9 shut down unless Aramaki keeps her in line.
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[A]: Mira Killian

[Q]: The following article contains an answer for the question: What album was Wilson credited as the executive producer of? , can you please find it? The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby".Zappa uniquely contributed to the avant-garde, anti-establishment music scene of the 1960s, sampling radio tape recordings and incorporating his own philosophical ideals to music and freedom of expression in his pieces. Bands such as AMM and Faust also contributed to the radio sampling techniques of the 1960s. Situated in New York, and only interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. He sampled plundered surf music in We're only in It for the Money, as well as the Beatles' tape work from their song Tomorrow Never Knows. The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The cover art was provided by Cal Schenkel whom Zappa met...
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[A]: We're Only in It for the Money

[Q]: The following article contains an answer for the question: Who acts like an animal? , can you please find it? The film takes place in two different times: the present and 11 years earlier. The two plot lines are told in parallel through flashbacks. In 2002, software engineer Alan Russell moves into a new house with his wife Marie, 10-year-old son Tim, and 12-year-old daughter Kaylie. Alan purchases an antique mirror to decorate his office. Unbeknownst to them, the mirror supernaturally induces hallucinations. Marie is haunted by visions of her own body decaying, while Alan is seduced by a ghostly woman named Marisol, who has mirrors in place of eyes. Over time, the parents become psychotic; Alan isolates himself in his office, and Marie becomes withdrawn and paranoid. All of the plants in the house die, and the family dog disappears after being shut in the office with the mirror. After Kaylie sees Alan with Marisol, she tells her mother, and the parents fight. One night, Marie goes insane and attempts to kill her children, but Alan locks her away. When the family runs out of food, the children realize that their father is under the influence of the mirror, so Kaylie goes to seek help from their mother, and finds her chained to the wall, acting like an animal. Kaylie and Tim try going to their neighbors for help, but the neighbors disbelieve their stories. When Kaylie attempts to use the phone, she discovers that all of her phone calls are answered by the same man.
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[A]: Marie

[Q]: The following article contains an answer for the question: What college did Lancaster attend between school and university? , can you please find it? At the age of seventeen Lancaster passed his final school examinations and gained entrance to Lincoln College, Oxford, to study history. He persuaded his mother to allow him to leave Charterhouse at once, giving him several months between school and university, during which he enrolled on a course of life classes at the Byam Shaw School of Art in London. In October 1926 he started at Oxford. There, as at Charterhouse, he found two camps in which some students chose to group themselves: the "hearties" presented themselves as aggressively heterosexual and anti-intellectual; the "aesthetes" had a largely homosexual membership. Lancaster followed his elder contemporary Kenneth Clark in being contentedly heterosexual but nonetheless one of the aesthetes, and he was accepted as a leading member of their set. He cultivated the image of an Edwardian dandy, with large moustache, a monocle and check suits, modelling his persona to a considerable degree on Beerbohm, whom he admired greatly. He also absorbed some characteristics of the Oxford don Maurice Bowra; Lancaster's friend James Lees-Milne commented, "Bowra's influence over Osbert was marked, to the extent that he adopted the guru's booming voice, explosive emphasis of certain words and phrases, and habit in conversation of regaling his audiences with rehearsed witticisms and gossip." Lancaster's undergraduate set included Stephen Spender, Randolph Churchill, and most importantly John Betjeman, who became a close friend and lifelong influence.Lancaster tried rowing with the Oxford University Boat Club, but quickly discovered that he was no more suited to that than he had been to field games at school. He joined the Oxford University Dramatic Society (OUDS), acted in supporting roles, designed programme covers, wrote, and choreographed. He contributed prose and drawings to Isis and Cherwell magazines, engaged in student pranks, staged an exhibition of his pictures, attended life classes, and became established as a major figure in the Oxonian social scene. All...
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[A]:
Byam Shaw School of Art