Question: Given the below context: Police arrived at the embassy almost immediately after the first reports of gunfire, and, within ten minutes, seven DPG officers were on the scene. The officers moved to surround the embassy, but retreated when a gunman appeared at a window and threatened to open fire. Deputy Assistant Commissioner John Dellow arrived nearly 30 minutes later and took command of the operation. Dellow established a temporary headquarters in his car before moving it to the Royal School of Needlework further down Princes Gate and then to 24 Princes Gate, a nursery school. From his various command posts, Dellow coordinated the police response, including the deployment of D11, the Metropolitan Police's marksmen, and officers with specialist surveillance equipment. Police negotiators made contact with Oan via a field telephone passed through one of the embassy windows, and were assisted by a negotiator and a psychiatrist. At 15:15 Oan issued the DRFLA's first demand, the release of 91 Arabs held in prisons in Khuzestan, and threatened to blow up the embassy and the hostages if this were not done by noon on 1 May.Large numbers of journalists were on the scene quickly and were moved into a holding area to the west of the front of the embassy, while dozens of Iranian protesters also arrived near the embassy and remained there throughout the siege. Shortly after the beginning of the crisis, the British government's emergency committee COBR, was assembled. COBR is made up of ministers, civil servants and expert advisers, including representatives from the police and the armed forces. The meeting was chaired by William Whitelaw, the Home Secretary, as Margaret Thatcher, the Prime Minister, was unavailable. The Iranian government accused the British and American governments of sponsoring the attack as revenge for the ongoing siege of the US Embassy in Tehran. Given the lack of co-operation from Iran, Thatcher, kept apprised of the situation by Whitelaw, determined that British law would be applied to the embassy, despite the Vienna... Guess a valid title for it!
Answer: Iranian Embassy siege

Question: Given the below context: In 1865, Burges met John Patrick Crichton-Stuart, 3rd Marquess of Bute. This may have resulted from Alfred Burges's engineering firm, Walker, Burges and Cooper, having undertaken work on the East Bute Docks in Cardiff for the second Marquess. The 3rd Marquess became Burges's greatest architectural patron; both were men of their times; both had fathers whose industrial endeavours provided the means for their sons' architectural achievements, and both sought to "redeem the evils of industrialism by re-living the art of the Middle Ages".On his succession to the Marquessate at the age of one, Bute inherited an income of 300,000 a year, and, by the time he met Burges, he was considered the richest man in Britain, if not the world. Bute's wealth was important to the success of the partnership: as Burges himself wrote, "Good art is far too rare and far too precious ever to be cheap." But, as a scholar, antiquarian, compulsive builder and enthusiastic medievalist, Bute brought more than money to the relationship and his resources and his interests allied with Burges's genius to create what McLees considers to be "Bute's most memorable overall achievement." However occasioned, the connection lasted the rest of Burges's life and led to his most important works. To the Marquess and his wife, Burges was the "soul-inspiring one". The architectural writer Michael Hall considers Burges's rebuilding of Cardiff Castle and the complete reconstruction of the ruin of Castell Coch, north of the city, as representing his highest achievements. In these buildings, Crook contends that Burges escaped into "a world of architectural fantasy" which Hall describes as "amongst the most magnificent the Gothic Revival ever achieved." Guess a valid title for it!
Answer: William Burges

Question: Given the below context: Otto Phocus is a haughty photographer hellbent on taking a formal portrait of a terrified Spanky. The little guy has been told by the gang that Phocus plans to "shoot" him; thinking the camera is a cannon. This leads Spanky to avoid having his picture taken, and his habit of punching Phocus in the face with regularity. Phocus serves as Spanky's foil in other ways as well. He tries to get Spanky to pose with an exaggerated sweet smile on his face; when Spanky sees Phocus' ridiculous grimace he turns to his Dad and says, "Hey Pop, do you see what I see?" Later, when Spanky's friends have filled the rubber shutter bulb with water, and Phocus squeezes it, squirting Spanky's Dad with water, his Mom tells Spanky, "That's how they take watercolor pictures." Finally, after having successfully taken Spanky's picture, Phocus discovers the gang exposed his photographic plates, rendering "all my lovely work for nothing!". Spanky manages to give him one more "buss" before his family leaves the studio in disgust. Guess a valid title for it!
Answer:
Wild Poses