Some context: Stewie Griffin: The Untold Story is a 2005 direct-to-DVD animated comedy film set in the Family Guy fictional universe. Released on September 27, 2005, the film's main plot point concerns Stewie Griffin trying to find who he thinks is his real father after seeing the man on TV. He travels to San Francisco, only to find that the man is him from the future.
When the Griffins go swimming at the Quahog Community Pool, Peter tries teaching Stewie to swim and attempts to toss him into the pool, despite Stewie begging to be put down. Lois takes Stewie to swimming lessons, where Stewie meets Brad, a child about his age who is the "Star Swimmer." In jealousy, Stewie does everything he can to steal Brad's glory. As a last resort he tries to kill him by rigging a lifeguard chair with dynamite and luring Brad beneath it with marzipan; however, Stewie's detonator malfunctions, blowing up the legs of chair and causing it to fall on Stewie himself. He ends up in hell with Steve Allen. When Stewie is revived by Lois, he believes it is a sign for him to be a good boy. After Peter learns that the new video store will not let him rent pornography, he vents his frustration in front of newscaster Tom Tucker, who gives him a job at Quahog 5 hosting a segment called "What Really Grinds My Gears," in which he rants about things that bother him. Peter becomes extremely popular, overshadowing Tucker, who is fired after attempting to distract Peter during filming. Stewie attempts to be a good boy by smothering Brian with affection. Brian finally goads Stewie into reverting to his old, violent ways by crushing a spider web and eating the spider. Stewie starts drinking heavily, following Brian's way of coping. Brian attempts to cure Stewie of his alcoholism by taking him out for a night of drinking at the Drunken Clam. While drunk, Stewie crashes Brian's car through the wall of the bar. Knowing Stewie is Peter's son, Tom takes advantage of the situation and presents footage of the accident at the news station. Peter is fired and Tom is rehired as the anchor. The next morning, Stewie has a hangover and realizes his lonely existence in the world, wishing that there were someone else to whom he could relate. At the end Stewie says it is good that he stopped drinking now, so that it would not have any repercussions later in life.
So did Stewie change his behavior after thinking the incident was a sign to be a good boy?
A: Stewie attempts to be a good boy by smothering Brian with affection.
Some context: Judy Chicago (born Judith Sylvia Cohen, July 20, 1939) is an American feminist artist, art educator, and writer known for her large collaborative art installation pieces about birth and creation images, which examine the role of women in history and culture. By the 1970s, Chicago had founded the first feminist art program in the United States. Chicago's work incorporates a variety of artistic skills, such as needlework, counterbalanced with labor-intensive skills such as welding and pyrotechnics. Chicago's most well known work is The Dinner Party, which is permanently installed in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum.
In 1970, Chicago decided to teach full-time at Fresno State College, hoping to teach women the skills needed to express the female perspective in their work. At Fresno, she planned a class that would consist only of women, and she decided to teach off campus to escape "the presence and hence, the expectations of men." She taught the first women's art class in the fall of 1970 at Fresno State College. It became the Feminist Art Program, a full 15-unit program, in the spring of 1971. This was the first feminist art program in the United States. Fifteen students studied under Chicago at Fresno State College: Dori Atlantis, Susan Boud, Gail Escola, Vanalyne Green, Suzanne Lacy, Cay Lang, Karen LeCocq, Jan Lester, Chris Rush, Judy Schaefer, Henrietta Sparkman, Faith Wilding, Shawnee Wollenman, Nancy Youdelman, and Cheryl Zurilgen. Together, as the Feminist Art Program, these women rented and refurbished an off-campus studio at 1275 Maple Avenue in downtown Fresno. Here they collaborated on art, held reading groups, and discussion groups about their life experiences which then influenced their art. All of the students and Chicago contributed $25 per month to rent the space and to pay for materials. Later, Judy Chicago and Miriam Schapiro reestablished the Feminist Art Program at California Institute of the Arts. After Chicago left for Cal Arts, the class at Fresno State College was continued by Rita Yokoi from 1971 to 1973, and then by Joyce Aiken in 1973, until her retirement in 1992. Chicago is considered one of the "first-generation feminist artists," a group that also includes Mary Beth Edelson, Carolee Schneeman, and Rachel Rosenthal. They were part of the Feminist art movement in Europe and the United States in the early 1970s to develop feminist writing and art. Chicago became a teacher at the California Institute for the Arts, and was a leader for their Feminist Art Program. In 1972, the program created Womanhouse, alongside Miriam Schapiro, which was the first art exhibition space to display a female point of view in art. With Arlene Raven and Sheila Levrant de Bretteville, Chicago co-founded the Los Angeles Woman's Building in 1973. This art school and exhibition space was in a structure named after a pavilion at the 1893 World's Colombian Exhibition that featured art made by women from around the world. This housed the Feminist Studio Workshop, described by the founders as "an experimental program in female education in the arts. Our purpose is to develop a new concept of art, a new kind of artist and a new art community built from the lives, feelings, and needs of women." During this period, Chicago began creating spray-painted canvas, primarily abstract, with geometric forms on them. These works evolved, using the same medium, to become more centered around the meaning of the "feminine". Chicago was strongly influenced by Gerda Lerner, whose writings convinced her that women who continued to be unaware and ignorant of women's history would continue to struggle independently and collectively.
Did she work with any other women?
A:
Arlene Raven and Sheila Levrant de Bretteville,