Please answer this: What are the names of the cats who had a relationship? Answer the above question based on the context below: Mammy Two Shoes is preparing a fancy dinner, with both Tom and Jerry observing. Jerry starts eating the cracker spread, but Tom knocks Jerry out by whacking him with a spoon and calls Toots, his love interest, to invite her to dinner. Jerry is forced to perform menial duties for the cats, such as carrying food and blowing on Tom's soup. Annoyed, Jerry drinks the soup and spits it into Tom's face, causing Tom to put the spoon Jerry is standing on over a burning candle to make him hop on both feet and yelp in pain. As Toots offers Tom bread, Jerry sandwiches Tom's tail between it. Unaware, Tom pours ketchup onto it and bites it, causing him to leap up in pain. Tom is then unaware again, trying to stay cool for his date, as Jerry puts a pineapple slice, cream and cherry onto it, and Tom leaps up after biting it again. Tom grabs Jerry and twists his tail into a champagne-cork opener to make two drinks, launching Jerry into a glass of water. Tom then tries to hug and kiss his girlfriend, but Toots impressively dodges each attempt. When Tom finally hugs Toots, she takes out a "wolf pacifier" (a mallet) and wallops him with it. As Jerry mocks Tom, Tom puts a cigar into Jerry's mouth, whacks him and lights a cigar onto him, causing Jerry to launch a pie into Tom's face. Tom throws a pie in return, but Jerry ducks and the pie hits Toots, effectively ending the relationship between the two cats.
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Answer: Jerry

Please answer this: What is the modern name of the photograph by the commercial photographer that inspired an 1888 oil painting? Answer the above question based on the context below: Farsari and other 19th-century commercial photographers generally concentrated on two types of subject matter: the scenery of Japan and the "manners and customs" of its inhabitants. Such subjects, and the ways in which they were literally and figuratively framed, were chosen to appeal to foreign taste; and the reason for this, apart from the photographer's individual aesthetics, vision and preconceptions, had much to do with economics. Photographs were expensive to make and accordingly expensive to buy. In 1870s Japan, a portrait photograph usually cost half a ryo "per head", about a month's pay for an artisan. Given such pricing, few Japanese could afford photographs and a photographer's clientele was largely drawn from the foreign residents of the European and American enclaves: colonial administrators, missionaries, merchants and the military. By the early 1870s, tourists had joined their number. To appeal to this clientele, photographers often staged and contrived the scenes they photographed, particularly the portraits depicting "manners and customs".In 1885, Charles J. S. Makin used some of Farsari's views to illustrate his travel account Land of the Rising Sun, Being a Short Account of Japan and the Japanese. As photomechanical printing was still in its infancy, it was common for artists and illustrators to create works derived from photographs. For example, Charles Wirgman's numerous engravings for the Illustrated London News were made from views by Wirgman's friend and sometime partner Felice Beato. Occasionally the link between a work of art and its photographic source material was less overt: Louis-Jules Dumoulin's 1888 oil painting Boys' Festival from the Bluff, Yokohama [sic] (now called Carp Banners in Kyoto) draws heavily from Farsari's photograph Gionmachi, Kioto (now often called View of Shijo-dori, Kyoto); although the painted image strongly resembles the photographic source, the location of the subject has been changed in the title. During the era of the collodion process, before the...
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Answer: View of Shijo-dori, Kyoto

Please answer this: Who does the person that arranged the underground stay have feelings for? Answer the above question based on the context below: Preparatory school student Liz resurfaces, disheveled and bloody, after disappearing 18 days prior along with her peers Mike, Geoff, and Geoff's girlfriend, Frankie. Liz is interviewed by a psychiatrist, Dr. Phillipa Horwood. Liz recounts how her friend Martyn arranged for the four to spend the weekend in an abandoned underground nuclear fallout shelter to avoid a school field trip. Liz portrays herself as being unpopular but as Frankie is her friend, she was able to convince the others to go down into the shelter. When Martyn fails to return for them, the four belatedly realize they are trapped, and begin to turn on one another. They discover hidden microphones in the shelter which were placed there by Martyn. Attempting to get Martyn's attention, Frankie pretends to be ill, while Mike and Liz feign hatred for one another; Martyn has had unrequited romantic feelings for her since their childhood. Liz claims they woke up one morning and found the hatch opened, allowing them all to finally escape. Phillipa is skeptical of Liz's story. Martyn is subsequently taken into police custody, where he tells an entirely different story: He claims Liz and Frankie orchestrated the scheme in order for Liz to get to know Mike better, and for Frankie to spend time with Geoff. Liz is not the unpopular loner she has portrayed herself as, in fact it is Martyn who is the loner while Liz and Frankie are the popular girls. Meanwhile, Liz returns home, where she experiences disturbing flashbacks about what happened. An enraged Martyn goes to visit Liz, believing she is framing him. She runs from him through the garden and approaches a weir. Martyn cries, and Liz hysterically says that she knew they would let him go because they could not prove anything.
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Answer:
Liz