In this task, you will be presented with a context passage, a question about that paragraph, and a possible answer to that question. The task is to check the validity of the answer. Answer with "Yes" or "No".

[EX Q]: Coleco Industries Inc., a once high-flying toy maker whose stock peaked at $65 a share in the early 1980s, filed a Chapter 11 reorganization plan that provides just 1.125 cents a share for common stockholders. Under the plan, unsecured creditors, who are owed about $430 million, would receive about $92 million, or 21 cents for each dollar they are owed. In addition, they will receive stock in the reorganized company, which will be named Ranger Industries Inc. After these payments, about $225,000 will be available for the 20 million common shares outstanding. The Avon, Conn., company's stock hit a high in 1983 after it unveiled its Adam home computer, but the product was plagued with glitches and the company's fortunes plunged. But Coleco bounced back with the introduction of the Cabbage Patch dolls, whose sales hit $600 million in 1985. But as the craze died, Coleco failed to come up with another winner and filed for bankruptcy-law protection in July 1988. The plan was filed jointly with unsecured creditors in federal bankruptcy court in New York and must be approved by the court. <sep>Which products resulted in stock growth for Coleco in the 1980s?<sep>Action figure toys
[EX A]: No

[EX Q]: Captured Moments by Will Shetterly I remember Papa's stopbox, a teal blue Tiempo Capturado that Mama brought home for his birthday. It was huge and inefficient, and she should never have spent so many pesos on a toy, but Papa would not let her return it. He used it to preserve baby tomatoes, cucumbers, and strawberries in translucent cubes that he stored in the pantry for spring-time meals in the middle of winter. Mama kept her mink jacket, a family hand-me-down, safe from time in a stopbox, and lent the capturador to my uncle for his stamp collection. Sometimes they would let us little ones to seal a treasured toy or a last piece of birthday cake until we begged them for its release, usually a few hours after enclosing it. When my father died, a year after my mother, my sisters and I cleaned out their apartment. We found our baby shoes protected in stopboxes. I took mine home, where they sat above my computer while I worked on my first play. One night when I did not believe love had ever existed for anyone, I used my own capturador, a sleek titanium Sanyo Tardar Ahora, to undo the stopbox. Bringing my face close to the shoes, I breathed deeply of air that my parents had trapped while closing up that symbol of their love for me. The instant would have been improved had my baby shoes been cleaned before they were encased. But as soon as I coughed, I laughed, and I did not try to kill myself that night. <sep>What did Papa use his birthday present for?<sep>To spend so many pesos on a toy
[EX A]: No

[EX Q]: LONDON, England (CNN) -- British filmmaker, screenwriter and playwright, Mike Leigh has been in the movie business for over 35 years. Leigh on screenwriting: "I don't make a conventional screenplay ... it's a whole organic process." In that time, he has been nominated for five Oscars, as well as winning the Best Director award at Cannes Film Festival for "Naked" in 1993, the Palme d'Or there for "Secrets & Lies" in 1996 and the Leono d'Oro at Venice Film Festival in 2004 for "Vera Drake." Famous for his fierce independence (read refusal to work in Hollywood), Leigh's work is known for gritty realism and a focus on underprivileged sections of British society. Another of Leigh's calling cards is an unconventional approach to screenwriting. "The Screening Room" caught up with the veteran director at the International Screenwriters' Festival in the UK earlier this year to ask him more about his approach to making films. The Screening Room: Why is this festival so important to you? Mike Leigh: I am a filmmaker who is both a writer and director and I have this way of making films where the writing and the actors and the shooting is all combined together. I don't make a conventional screenplay ... it's a whole organic process. TSR: What do you think other scriptwriters can learn from you? ML: I think screenwriters who, because of the politics and economics of the film industry, are forced to work in a much more conventional way, are always fascinated to discuss with me how I work. TSR: There is this romantic idea that screenwriting has to be a painful, solitary experience. That's not what you experience, though. <sep>Does The Screenroom interview international icons of the film industry such as screenwriter Mike Leigh?<sep>No interview
[EX A]:
No