Problem: Background: Keibler was born on October 14, 1979, in Rosedale, Maryland, the daughter of Patricia and Gary Keibler. Beginning at the age of three, Keibler took ballet, jazz, and tap dancing classes at Jean Kettell Studio of Dance in Dundalk, Maryland. She went to St. Clement Mary Hofbauer School in Rosedale for her early schooling. In 1990, Stacy won the title of Miss Maryland Pre-Teen, after competing for the title in Timonium, MD, and went on to win the National Miss Pre-Teen Crown.
Context: Keibler was chosen to record a track on the album WWE Originals. She and WWE music producer Jim Johnston recorded the song "Why Can't We Just Dance?" for the album. She was then placed in a feud involving Torrie Wilson and then-babyface, Sable, both of whom had recently posed for a Playboy cover. Keibler aligned with Miss Jackie, neither of whom had posed for the magazine, claiming that they deserved to be in Playboy over Sable and Wilson. Keibler and Jackie challenged Sable and Wilson to a Tag Team Evening Gown match at WrestleMania XX, which they lost when Jackie was pinned by Wilson, and the feud was dropped afterward. Before the feud was dropped, all the performers were playing face characters at the time.  In October, 2003, Keibler appeared in the ring with Steve Austin. She was offered a beer, which she politely refused. However, at the urging of Austin, she took a sip of the Miller Lite. Her disgust was apparent, which displeased Austin. As a result, she received a Stone Cold Stunner.  She took over the 2004 Raw Diva Search for a few weeks, which led to several tag matches against the heel gimmicks of Gail Kim, Trish Stratus, and Molly Holly and with partners Nidia and the face gimmick of Victoria. Keibler got upset victories over Kim, Stratus, and Holly. She earned a Women's Championship title match on October 11, 2004, but she was defeated by Stratus, who retained the title. Keibler also competed in the first-ever Fulfill your Fantasy Diva Battle Royal for the WWE Women's Championship at Taboo Tuesday along with Victoria, Nidia, Gail Kim, Molly Holly, Jazz, and then-champion Stratus. She was eliminated second to last after jumping over the top rope to avoid hitting the turnbuckle, followed by Holly knocking her off the apron to eliminate her.  In February 2005, Keibler began appearing in backstage segments with then-babyface, Randy Orton, and eventually became his on-screen girlfriend. When Orton challenged The Undertaker to a match at WrestleMania 21, Orton ended the relationship by hitting Stacy with an RKO, incapacitating her. He justified it by claiming he was demonstrating how ruthless he could be in order to defeat The Undertaker.
Question: Who won the search?
Answer: She earned a Women's Championship title match on October 11, 2004, but she was defeated by Stratus, who retained the title.

Problem: Background: A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
Context: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie.  Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s.  Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque.  Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.
Question: What were some elements of these shows?
Answer:
parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play,