text:
y smearing margarine on their high-fiber whole-wheat toast, right?

But actually, butter has quite a few virtues, especially if the cows that produced the milk were raised on pastureand not in a factory farm. Grass-fed butter is rich in important nutrients like Vitamin K2, and it contains a type of fat called butyric acid, which helps maintain colon health. It’s also rich in conjugated linoleic acid, a type of fat that may actually help protect against weight gain. There’s no need to eat it if it doesn’t sit right with your particular digestive system, but it definitely doesn’t deserve its spot as the poster child for bad nutritional choices.

Potential Objections to Eating Butter

The problem with butter is that its reputation proceeds it. Before diving into the health benefits, here’s a look at some of the common reasons why people don’t want to eat butter or don’t consider it Paleo.

_But Butter Wasn’t Around in the Paleolithic!_

Technically, no. But if you’re only going to eat things that were around in the Paleolithic, you’d better also stop eating almost all meat you can buy at a supermarket (including beef, chicken, and pork), and most commonly available fruits and vegetables, because those weren’t around in the Paleolithic either.

IT’S LITERALLY IMPOSSIBLE TO RE-CREATE THE DIET OF PEOPLE IN THE PALEOLITHIC, because we don’t have the foods that they ate: when was the last time you had auroch steak? The point of Paleo is to learn from Paleolithic diets, isolate the parts that made them healthier, and imitate them with modern foods in the areas that matter. So the question about butter isn’t “was it around in the Paleolithic?” but “Does it fit into a healthy human diet, based on what we know about human nutritional needs from our evolutionary history?” Whether or not it was literally available in the Paleolithic isn’t important.

_But Butter is a Kind of Dairy!_

A more reasonable objection on the “butter isn’t Paleo” front is that butter is a dairy food. Dairy is a Paleo gray area because the proteins it contains don’t play nicely with everyone’s immune system, and the carbohydrates can cause digestive problems. Some variations on Paleo (like versions designed for autoimmune diseases) completely exclude it.

That’s all true, and some people do better with all dairy completely out of their diet. But even if they can’t eat other forms of dairy, many people can actually tolerate butter very well. Butter is almost entirely fat, with very low levels of the proteins and carbohydrates that make other dairy foods potentially problematic. And you can actually clarify it to make ghee (also called clarified butter) which has even fewer milk proteins and carbohydrates. Making ghee basically involves heating the butter at a very low heat until the water evaporates and the proteins float to the top, and then skimming off the protein to get the pure fat. Ghee is almost pure fat, like tallow or other animal fats.

Even ghee still won’t play nicely with everyone’s body, but a lot of people who can’t do milk or yogurt or other dairy foods can still eat ghee or butter without an issue.

_But What About the Saturated Fat and Cholesterol!_

Yes, butter is high in saturated fat and cholesterol. If you’re eating Paleo, you should already know that neither of those is a demon killer nutrient that will strike you dead of instant heart failure the moment you look sideways at a steak. In fact, cholesterol is actually very important – for example, it helps you synthesize Vitamin D from sunlight. Here’s more on saturated fat, and here’s a bunch of studies on cholesterol, if you don’t already know the Paleo take on those or need a refresher.

[Dairy products]

Nutritional Benefits of Butter

So maybe butter doesn’t actually deserve its reputation as a heart attack in a convenient 8-tablespoon stick. But having said all that, why would you want to eat this food? Actually, it has quite a few nutritional upsides.

_Vitamin K2/”Activator X”_

Once upon a time in Cleveland, Ohio, there was a dentist called Weston A. Price who was really interested in the nutritional underpinnings of health. To make a long story very short, he traveled all around the world and documented the diets of traditional cultures with very low rates of tooth decay and cavities. Then he came home and did experiments on his patients until he had isolated some of the foods he thought were particularly important for dental health.

One of the nutritional observations he made was the existence of some substance called “Activator X:” it sounds like a science project from the next Captain America movie, but it’s actually a nutrient that helps the body use other vitamins to strengthen bones and teeth. Weston A. Price determined that it was present in butter (among other foods, like bone marrow and fish eggs), but didn’t know much else about it.

Today, we think Activator X is probably Vitamin K2. You can read all about Vitamin K2 here, but here are the highlights:

-   Vitamin K2 helps your bones use calcium properly, so it ends up in your skeleton where they belong (and not, say, in your arteries where it doesn’t belong and where it causes dangerous plaques). Vitamin K2 is also important for other vitamins, like A and D – Dr. Price called it an “activator” because it helps your bones use those vitamins. So it’s important for BONE HEALTH AND FOR HEART HEALTH.
-   You can make it from Vitamin K1 (that’s the “vitamin K” in vegetables) but the conversion is inefficient.
-   Your gut flora can make it themselves, but most people can’t get enough just from that.

Instead of trying to convert K1 to K2 yourself, it’s much easier to let the cow do it. Unlike you, a cow has four stomachs – digesting tons of plant roughage is exactly what they were designed to do. The cow eats grass rich in K1 and converts it to K2, and the K2 is present in the milk. The fattier the dairy product, the more concentrated the K2, so butter is exactly what you want to be eating to get the full benefits.

_Butyric Acid_

Butyric acid is another area where eating butter helps support something useful that your gut flora do. Butyric acid is a short-chain fatty acid that a healthy person’s gut flora naturally produce from indigestible fiber (like the fiber in fruits and vegetables), but plenty of people have gut damage that can make fiber difficult or impossible to digest.

Butyric acid has anti-inflammatory and immune-regulatory benefits in the gut, and it can affect the permeability of the intestine (“leaky gut”). That’s important, because gut inflammation and permeability are huge in AUTOIMMUNE DISEASES (INCLUDING THE AUTOIMMUNE COMPONENTS OF OBESITY AND TYPE 2 DIABETES). Butyrate is also an energy source for the colon, which sounds boring until you realize that it may help prevent COLON CANCER. There’s also some evidence that it helps control feelings of hunger and fullness, through its effects on hormones produced in the gut.

_Conjugated Linoleic Acid_

Grass-fed (and only grass-fed!) butter is also rich in another type of fatty acid called conjugated linoleic acid (CLA). CLA may have significant ANTI-OBESITY BENEFITS, and you can read all about it here.

[Delicious butter]

_Fat Quality_

Butter is also just generally a great source of high-quality fat. Paleo in general is big on fat quality as much as fat quantity; nobody is advocating a high-fat diet based on canola oil! The calories in butter are almost entirely fat. Regular butter is about 82% fat and 18% water, proteins, and carbohydrates. Clarified butter is about 99% fat, with only a very tiny amount of anything else.

From a Paleo perspective, the fat in butter is a very high-quality food:

-   Low in potentially inflammatory Omega-6 PUFA
-   Moderately high in monounsaturated fat
-   High in saturated fat

Yes, “high in saturated fat” counts as a benefit: it makes the butter stable for high-heat cooking, and as discussed above, saturated fat isn’t actually the devil.  Butter also contains a notable amount of medium-chain triglycerides (MCTs), a type of fat particularly helpful for low-carb diets or anyone who has trouble digesting fat (like people with gallbladder problems).

Summing it Up

Butter is easier to tolerate than most other forms of dairy, and clarifying it into ghee makes it even easier. It’s a nice way to get the nutritional benefits of dairy foods with a very low dose of the carbohydrates and proteins that can make dairy problematic for some people. Of course, no one food is right for everyone and some people might still struggle even with ghee, but for most people, butter and ghee should be fine to cook with and eat.

And on top of being incredibly tasty, butter and ghee have some great health benefits. Clarified or not, butter is a high-quality cooking fat rich in Vitamin K2 and healthy fats that help reduce inflammation, improve gut health, and even protect against weight gain.

question: What does the text say about the narrator's perspective on butter?

text: The author believes butter is not completely unhealthy and can actually be incorporated in the Paleo diet.

answer: The author believes that Grass-fed butter is rich in nutrients like Vitamin K2, butyric acid, and conjugated linoleic acid. They believe the bad reputation that butter gets is unjustified and still think that it should be included in the Paleo diet. They also believe that it is easier to tolerate than most dairy. Clarified or not, butter is a high-quality cooking fat rich in Vitamin K2 and healthy fats that help reduce inflammation, improve gut health, and even protect against weight gain.

answer: The narrator believes that butter is a Paleo-friendly food. They also believe that butter has a lot of nutritional benefits. They also believe that butter is easier to tolerate than most other forms of dairy.

text: The answer should mention the narrator's view on the reputation of butter.

text: The answer should mention the benefits the narrator believes butter has.

text: The answer should mention the fact that the narrator believes butter has a bad reputation.

text: The answer could mention the narrator's belief about the nutritional benefits of butter.

text: The response is missing the fact that the narrator believes that butter is rich in nutrients like Vitamin K2 and conjugated linoleic acid, a type of fat that may actually help protect against weight gain.

text: Doesn't mention the vitamins found in butter.

text: "Easier to tolerate than most other forms of dairy" is the same points as the third one in this series of points. A unique point should be substituted.

text: The author doesn't necessarily believe butter is Paleo-friendly.

text: The answer should mention butyric acid.

text: The answer should mention the fat quality.

answer: The author believes that Grass-fed butter is rich in nutrients like Vitamin K2, butyric acid, and conjugated linoleic acid. They believe the bad reputation that butter gets is unjustified and still think that it should be included in the Paleo diet. They also believe that it is easier to tolerate than most dairy. Clarified or not, butter is a high-quality cooking fat rich in Vitamin K2 and healthy fats that help reduce inflammation, improve gut health, and even protect against weight gain.

text: The author is not a character in the story.

text: The author is not the narrator. The text does not say anything about the narrator's perspective.

text: The author is not the narrator. The narrator is the author.

text: The answer should mention the author's perspective on the cholesterol and saturated fat in butter.

text: The answer should mention the author's objection to the claim that butter isn't Paleo.

text: The author is not a character in the story, so the answer should not refer to the author using pronouns.

text: The answer makes up an author named "narrator" to make it less confusing

answer: The author believes butter is unhealthy.

text: This answer is inaccurate. The article discusses the benefits of eating butter.

text: The article says that butter is easier to tolerate than most other forms of dairy, and clarifying it into ghee makes it even easier. It is incredibly tasty and has some great health benefits. It should also state that butter is a high-quality cooking fat rich in Vitamin K2 and healthy fats that help reduce inflammation, improve gut health, and even protect against weight gain.

answer: The author believes butter is unhealthy.

text: The author believes butter is healthy.

text: The author believes butter is healthy, not unhealthy.

text: The author does not believe butter is unhealthy.

text: The author is not the narrator. The narrator is the author, who is not the author.

text: He believes with good reason that butter is healthy and can be included as a part of a high-fat diet. Clarified butter is made with ghee and is even healthier than regular butter.

answer: The narrator believes that butter is a Paleo-friendly food. They also believe that butter has a lot of nutritional benefits. They also believe that butter is easier to tolerate than most other forms of dairy.

text: The response should provide more details that support the narrator's beliefs.


text:
_DEBORAH_ (HWV 51) is an oratorio by George Frideric Handel. It was one of Handel's early oratorios in English and was based on a libretto by Samuel Humphreys. It received its premiere performance at the King's Theatre in London on 17 March 1733.

The story of the oratorio takes place in a single day and is based on the Biblical stories found in 4 and 5 Judges. The Israelites have been subjugated for 20 years by the Canaanites, when the prophetess Deborah foretells the death of the Canaanite commander Sisera at the hands of a woman. The Israelite commander Barak leads them into battle against the Canaanites. The Israelites are victorious and a woman, Jael, assassinates Sisera as he sleeps in her tent.

Handel reused music from numerous previous compositions for _Deborah_. The work, with large choruses and grand orchestral effects, was very successful and was revived by Handel in subsequent years.

Background

[London King's Theatre Haymarket, where “Deborah” was first performed] By 1733, Handel had spent nearly twenty years composing and presenting seasons of Italian opera in London. The great success of _Esther_ the previous year had shown Handel that there was potential for further works of “Sacred Drama”, performed in concert form in English. _Deborah_ reuses much music Handel had previously composed, including passages from the Brockes Passion, Il trionfo del tempo e del disinganno, the Dixit Dominus, and others.[1] _Deborah_ was performed as part of Handel's season at the King's Theatre in 1733, with the stars of the Italian opera singing in English, and the composer / impresario was so confident of the work's success that he doubled the price of admission for the first performance, causing some resentment and comment in the press.[2] A feature of the work is massive choruses, some in eight parts rather than the usual four, and grandiose orchestral effects featuring trumpets and drums. One witness to the first performances noted “It is very magnificent, near a hundred performers, among whom about twenty-five singers” while another remarked “'tis excessive noisy, a vast number of voices and instruments, who all perform at a time.”[3]_Deborah_ achieved considerable popularity and was revived by Handel in a number of subsequent seasons.[4]

Dramatis personae

[Painting from the 1730s of singer who created roles in Handel operas and oratorios, Anna Maria Strada, creator of the role of Deborah]

  |Role                                     |Voice           |1733 cast
  ----------------------------------------- ---------------- ---------------------
  |Deborah                                  |soprano         |Anna Maria Strada
  |Barak, commander of the Israelite army   |alto-castrato   |Senesino
  |Abinoam                                  |bass            |Antonio Montagnana
  |Sisera                                   |alto            |Francesca Bertolli
  | Jael                                    |soprano         |Celeste Gismondi
  |An Israelite Woman                       |soprano         |Celeste Gismondi
  | Chief Priest of Israelites              |bass            |Antonio Montagnana
  |Chief Priest of Baal                     |bass            |Gustavus Waltz
  |Herald                                   |tenor           |
  |Chorus of the Priests and Israelites     |                |
  | Chorus of the Priests of Baal           |                |

  :

Synopsis

[Gustave Dore, Deborah.] [Jael killing Sisera, by Artemisia Gentileschi] [Jael shows the slain Sisera to Barak, by James Tissot]

Act 1

The Israelites long for a leader who will deliver them from the oppression of the Canaanites. The prophetess and Judge, Deborah, exhorts Barak, head of the Israelite army, to save the country from subjugation and lead an army against General Sisera, commander of the Canaanite forces. Deborah prophesies that Sisera will meet death at the hands of a woman. Jael, presented in the oratorio as a female associate of Deborah, longs for security in her homeland. The father of Barak, Abinoam, adds his voice to those asking Barak to lead an army against their oppressors. A herald arrives from Sisera, announcing the General's arrival to explain the dire consequences that will fall on the Israelites should they attack, but Deborah, Barak and their people are confident that victory will be theirs.

Act 2

Sisera and priests of Baal arrive to counsel the Israelites not to attack but Deborah and Barak reject the possibility that the God of Israel will not conquer. Abinoam looks forward with pride to his son Barak's victory, and Deborah advises her friend Jael to retire to her tent during the upcoming battle. The Israelites are confident that God will aid their arms.

Act 3

The Israelites have defeated the greatly superior forces of the Canaanites. Abinoam joyfully welcomes his victorious son back from battle. Jael announces that Sisera is dead, and relates how the defeated general sought refreshment and rest in her tent. Jael brought him milk, and when he had fallen asleep, she took a hammer and drove nails through his skull. All acclaim her action and celebrate the nation's deliverance.[5][6]

Recordings

+-----------------+-----------------+-----------------+-----------------+
| Year            | Cast:Deborah,   | Conductor,      | Label           |
|                 | Barak,          | orchestra       |                 |
|                 | Abinoam,        | and chorus      |                 |
|                 | Sisera,         |                 |                 |
|                 | Jael            |                 |                 |
+=================+=================+=================+=================+
| 1993            | Yvonne Kenny,   | Robert King     | CD:Hyperion     |
|                 | James Bowman,   | The King's      | Records         |
|                 | Michael George, | Consort         | Cat:CDA66841-2  |
|                 | Catherine       | and Choir of    |                 |
|                 | Denley,         | New College,    |                 |
|                 | Susan Gritton   | Oxford          |                 |
+-----------------+-----------------+-----------------+-----------------+
| 2002            | Elisabeth       | Joachim Carlos  | CD: Naxos       |
|                 | Scholl,         | Martini         | Cat:8.554785-87 |
|                 | Lawrence Zazzo, | Barockorchester |                 |
|                 | Jelle           | Frankfurt and   |                 |
|                 | S.Draijer,      | the Junge       |                 |
|                 | Ewa Wolak,      | Kantorei        |                 |
|                 | Natacha Ducret  |                 |                 |
+-----------------+-----------------+-----------------+-----------------+

:

[1]

[2]

[3]

[4]

[5]

[6]

title: Deborah (Handel)

question: Summarize the story of "Deborah"

text: The response is missing the key detail about Jael assassinating Sisera as he sleeps.

category: coverage

answer: The story takes place in a single day and is based on the Biblical stories found in 4 and 5 Judges. The Israelites have been subjugated for 20 years by the Canaanites. The prophetess Deborah foretells the death of the Canaanite commander Sisera at the hands of a woman. The Israelite commander Barak leads them into battle against the Canaanites. The Israelites are victorious.

answer_source: Human misleading

text: The answer omits the part about Jael.

text: The answer omits the woman who assassinates Sisera.

text: The answer omits the part about Jael killing Sisera.

text: The response is missing the part where Jael assassinates Sisera.

text: The answer should mention Jael.

text: It is omitted that Jael assassinates Sisera after he sleeps in her tent.

answer: The story of the oratorio takes place in a single day and is based on the Biblical stories found in 4 and 5 Judges. The Israelites have been subjugated for 20 years by the Canaanites, when the prophetess Deborah foretells the death of the Canaanite commander Sisera at the hands of a woman. The Israelite commander Barak leads them into battle against the Canaanites. The Israelites are victorious and a woman, Jael, assassinates Sisera as he sleeps in her tent.

answer_source: Model

answer: The story takes place in a single day and is based on the Biblical stories found in 4 and 5 Judges. The Israelites have been subjugated for 20 years by the Canaanites. The prophetess Deborah foretells the death of the Canaanite commander Sisera at the hands of a woman. The Israelite commander Barak leads them into battle against the Canaanites. The Israelites are victorious and a woman, Jael, assassinates Sisera as he sleeps in her tent.

answer_source: Human

text: The answer should mention the Israelites' longing for a leader.

text: The answer could be more concise.

text: The answer should mention that the story is an oratorio by George Frideric Handel.

text: The answer should mention the characters.

text: The response is missing the part about Sisera's arrival to counsel the Israelites not to attack.

text: The answer could be more succinct

text: The answer could go in more depth about how the IsraeliteMilitary defeat the Canaanites.

answer: The story takes place in a single day and is based on the Biblical stories found in 4 and 5 Judges. The Israelites have been subjugated for 20 years by the Canaanites. The prophetess Deborah foretells the death of the Canaanite commander Sisera at the hands of a woman. The Israelite commander Barak leads them into battle against the Canaanites. The Israelites are victorious and a woman, Jael, assassinates Sisera as he sleeps in her tent.

answer: The story takes place in a single day and is based on the Biblical stories found in 4 and 5 Judges. The Israelites have been subjugated for 20 years by the Canaanites. The prophetess Deborah foretells the death of the Canaanite commander Sisera at the hands of a woman. The Israelite commander Barak leads them into battle against the Canaanites. The Israelites are victorious.

text: The response should mention who the assassin is (Jael).

answer: The story of the oratorio takes place in a single day and is based on the Biblical stories found in 4 and 5 Judges. The Israelites have been subjugated for 20 years by the Canaanites, when the prophetess Deborah foretells the death of the Canaanite commander Sisera at the hands of a woman. The Israelite commander Barak leads them into battle against the Canaanites. The Israelites are victorious and a woman, Jael, assassinates Sisera as he sleeps in her tent.

text: The answer could be more concise.

text: The answer should mention the names of the characters.

text: The answer is a copy of the input

text: Doesn't mention the plot of the oratorio.

text: The answer would more effective with a slight revision to make it past tense.

text: The answer is a copy of the input

category: coherence


text:
                                               I
	Annalee looked feverishly at the clock. Two hours. She had to leave before those two hours were up or she never would. Two hours until Shane came home from work. She had spent the day packing what little she had and if she wasn't gone by the time he came home he would know she meant to leave. Annalee had spent the last year and a half under the control of Shane and today was the day she would free herself from the confines of his wrath. She ran up stairs to make sure she had gotten her mother's pearls when she heard keys in the front door. She stopped. No. She still had time.
	Shane comes through the door, and sees her bag at the door. Annalee is rooted in the bedroom but all too aware that he is making his way up the stairs. No. He calmly opens the door and by the look on his face she knows there isn't a chance that she will be walking away from this. Today wasn't the day. She didn't have time.
	Shane, smelling like cheap whiskey, walks over to her and demanded to know why there is a suitcase by the sofa. Sarcastically,he asks if she was planning a trip for the two of them. He closes the door and begins to walk over to her. Still fixed in one spot like someone had put nails in her shoes. The questions still lingering in the air like a suffocating gas. Annalee starts to speak but he strikes her across the face, her mother's pearls sent flying under the bed.  What happens next occurs so fast that all she can see is the blur of the terrible blue wall paper. He's in front of her, hands around her neck. Shaking. Squeezing. Laughing.
Pop.
	Annalee reaches for something. Anything. In hopes of making herself steady. Instead her hand finds the silver lamp on the dresser. Something, shy of animal instinct, helps her bring the lamp swinging into Shane's left temple. The rage in his eyes goes out like a light as he falls to the ground. She hits him not once, but twice more until red beads of blood make a splash on the blue wall paper. Annalee slumps to her knees. Was he dead? Is this nightmare over? She reaches for his phone in the front pocket of his slacks. Shane groans on the floor, blood trickling from the tear in his skin. She presses three keys and waits until she hears a voice on the other end.
	After a moment Annalee tries to speak but no words come out, only a whisper of a scream. Assuming that was enough, she gets off the line and holds tight to the lamp. It felt like an eternity before she heard the sirens. Four men in uniforms entire the room, one speaks to her but she can only blink in response. He checks her pulse while another does the same to Shane. Their voices sounding like static as they report something over the walkies. More people show up, this time in white paramedic uniforms. Shane was taken some where but they hadn't tried to move Annalee. She's put on a stretcher, a brace around her neck.
	The bright lights of the ambulance is all she can see. The sound of the siren the only sound in her mind. Scared that she would be charged with assault or attempted murder. Surely they could see the scars that covered her body. Surely they would find the small attic space with her blood dried in the scratches on the door. She couldn't speak to tell them, they would have to come to the conclusion themselves. The fast beeping on a monitor seemed to worry the paramedic as he leaned over and picked up her arm. She felt a warmth spread through her body and the lights of the ambulance seemed to grow dim. Surely they would see the truth.

					II

	Annalee comes to in a hospital room. White. Sterile. Quiet. She calls for a nurse, and to her surprise a voice comes out. The nurse, grim look on her face, calls the doctor. Doctor Silverman introduces himself and looks much more pleasant than the nurse. He informs her that her neck may be sore for the next few days and her voice may sound hoarse but he has high hopes that she will be good as new. Continuing with the good news he states that she can leave as soon as they do one more check up and once the police question.
	Doctor Silverman is just finishing up his test when two police officers come into the room. Apprehension and terror wash over Annalee as they sit down. They have questions. What was her relationship to Shane? How long had she known him? What events led up to her muted call? The answers for those questions led to more. How long has the abuse been going on? Did she plan to hurt Shane that day? What attic was she talking about? Why didn't she leave sooner? It seemed as if they were putting her on trial for defending herself. Trying to save her own life. She became frantic. A nurse was called in to sedate her.
	When she awoke she found herself in a different room. Dark. Ominous. Cold. She could hear muffled yelling and even  more disturbing, whispering. Annalee got out of bed and moved to the door. There wasn't a knob.  Terrified, she began to bang on the door and call out to anyone that may be able to help her. She had fought so hard to escape Shane but now she was locked away again. The sense of urgency set her body on  fire. She was suppose to be free of control. The room seemed to be getting smaller. Closing inch by inch in on her. Back at the door she began kicking and screaming, hoping to at least get the attention of someone so she could tell them she didn't belong here. No one came.
	She must have fallen asleep at some point since she was jarred awake by the opening of her door. Doctor Silverman entered. Only he didn't wear the same hopeful expression as he had before.  Annalee tried to move from the bed. Tried to speak. Nothing happened. The doctor looked at her chart but didn't speak directly to her. A nurse entered behind him, whispering something in his ear. Annalee thought she heard the word sister but before she could try to ask what they were talking about they exited the room. Taking the chart with them.
	Alone again, but unable to move or speak. The minimal color palate in the room seemed to go in and out of focus. Like she was forgetting what the colors were. Not long after that the small desk and bolted down seat began to smear at the edges. The blankets feeling like they weighed as much as a small car pressed the air out of her lungs, making it difficult to breath. A new nurse entered her room accompanied by a woman that seemed familiar to Annalee. Where had she seen this person before?
	 Memories, floating like burning leaves in the wind came to her. A younger version of herself playing kitchen with this familiar stranger. Riding a yellow bus to a building filled with children around the same age. A flash of silver, followed by two loud bangs. Her and the stranger standing over two bodies. Weeping as if they had both lost something very important to them. The stranger came over to Annalee and dropped to her knees.
	The doctor came over and rested his hand on the shoulder of the woman. Tears began running down her face. Annalee had the urge to brush the tears away and reassure her that she was going to be okay. That she was free now. That Shane couldn't hurt her anymore. If only she could get out of the hospital, things would be okay. Sounds came from the doctors mouth, unable to comprehend them Annalee hoped it was good news but the look on the stranger's face it wasn't. The man in the white coat left the room, leaving Annalee and the woman alone.

						III

	Annalee looked so small and peaceful as her sister, Katie, held her hand. The news had come as shock. She had gotten a call from the police two days prior looking for the next of kin. She packed her bag as soon as she got off the phone and boarded a plane to take her from California to South Dakota. The news wasn't what she had hoped for. Her sister was alive but there was no brain function. Doctor Silverman sat her down with the police and recounted the events that had led up to the tragedy.
	Shane Price and Annalee Watts had been in a relationship just shy of two years. About the time Annalee ran away from college in California. The medical report revealed abuse going back over a years time. From badly healed broken bones, to deep scars running all over her back. Nails that had never grown back properly after being broken off from trying to claw her way out of the attic space. The police had gotten a call from an elderly man in Annalee's neighborhood. Saying he saw a young man putting what seemed to be a body in his passenger seat.
	The police arrived as an inebriated Shane was locking the door with a bag in his hand. Presumably the bag Annalee had packed for herself. When they got to the car they noticed an unconscious woman in the seat, her neck at a very peculiar angle. After arresting Shane and calling an ambulance for Annalee they finally were able to piece the events that led to this together.
	Shane came home early that day due to being laid of his job, but before coming home he stopped at a liquor store and bought a bottle of whiskey. After he arrived home he saw Annalee's suitcase by the door and went upstairs to confront her. In his mind she was betraying him, after all he had done for her she should be submissive and grateful. He charged into the room and began choking her before she ever had the chance to turn away or defend herself. He squeezed, shook and laughed while going on about what she owed him. Until her body wilted and he heard an audible pop. Which happened to be Annalee's neck breaking.
	It was then that he realized he would be charged for attempted murder if he took her to a hospital. So his plan was to dump her body in a bad part of town and make it look like a robbery gone amiss. Instead, Annalee was now in the hospital being kept alive by a machine. With no living will and no hope of improvement, Katie is faced with the option of taking her sister off life support or seeing if she improves in  time.
	Katie sits by her sister's bed and reads her "The Giving Tree" like she used to when they were growing up. Praying to God and anything else that might bring her sister back to her.  But Annalee couldn't tell her sister that she was there. Trapped inside her own mind. Each day more and more of reality slipping from her mind. She fades away. Never requiring her sister produce the decision.  Dark. Silent. Alone. Gone.

title: [RF] Fallacious Reverie

question: Summarize Annalee's fate.

text: The answer portrays Annalee's hallucination as if it's the real version. After her neck gets broken, she hallucinates when in reality, Shane is trying to load her into his car to ditch her body to make it look like a robbery gone wrong.

category: accuracy

answer: Annalee runs away with his boyfriend Shane, leaving her family and college life behind. However, Shane is abusive, and Annalee is stuck.  Almost two years after running away, she decides to escape. However, she can't get out of the house in time because Shane is home early since he got fired from his job. He gets angry after seeing her bag, realizing that she was about to leave him. He corners her in the bathroom and suffocates her until her neck is broken. He tries to put her into the car so that he can ditch her comatose body when the police (called by a worried neighbor) catch him. She hallucinates calling the police and being saved. She slowly fades away in the hospital under the watchful eye of her sister.

text: The answer is full of inaccuracies.

text: The answer is almost completely made up.

text: The first sentence is inaccurate

text: Annalee does not run away with Shane.

text: Annalee does not run away with Shane, she runs away from him.

text: There are some issues with the use of pronouns creating the wrong context in some parts of the response. Also, Annalee was trying to run away from Shane, not with him. Lastly, the final sentence seems to imply that she dies. The ending is that Annalee is in a comatose state.

answer: Annalee is in a coma. Her sister Katie is left with the decision of taking her off life support. Annalee fades away.

text: The answer should mention that Annalee is in a coma because Shane broke her neck.

text: The answer should mention that Annalee is in a coma because her neck was broken.

text: It is omitted that Annalee is in a coma because Shane broke her neck.

text: The answer is missing the part where Annalee is in the hospital after the attack.

text: Annalee fades away without her sister needing to make the choice.

text: Annalee fades away without Life Support being taken off.

text: Rephrase the second and third sentence that Katie never has to decide to take her off of life support because Annalee just fades away.

answer: Annalee runs away with his boyfriend Shane, leaving her family and college life behind. However, Shane is abusive, and Annalee is stuck.  Almost two years after running away, she decides to escape. However, she can't get out of the house in time because Shane is home early since he got fired from his job. He gets angry after seeing her bag, realizing that she was about to leave him. He corners her in the bathroom and suffocates her until her neck is broken. He tries to put her into the car so that he can ditch her comatose body when the police (called by a worried neighbor) catch him. She hallucinates calling the police and being saved. She slowly fades away in the hospital under the watchful eye of her sister.

text: He cornered her in the room, not in the bathroom.

answer: Annalee is in a coma. Her sister Katie is left with the decision of taking her off life support. Annalee fades away.

answer: Annalee runs away with his boyfriend Shane, leaving her family and college life behind. However, Shane is abusive, and Annalee is stuck.  Almost two years after running away, she decides to escape. However, she can't get out of the house in time because Shane is home early since he got fired from his job. He gets angry after seeing her bag, realizing that she was about to leave him. He corners her in the bathroom and suffocates her until her neck is broken. Just before then Annalee manages to hit him with a lamp, twice. Barely able to move, she calls 911. She can't speak as the paramedics carry her, hoping she won't be charged with attempted murder. However, she can't recover while in the hospital, falls comatose, and eventually withers and dies with her sister sitting vigil over her deathbed.

text: The answer has missed the point that Annalee actually dreamt up having fought back. Shane had broken her neck and carried Annalee out to the car with the intention of dumping her body but a neighbor saw him and called the cops

answer: Annalee runs away with his boyfriend Shane, leaving her family and college life behind. However, Shane is abusive, and Annalee is stuck.  Almost two years after running away, she decides to escape. However, she can't get out of the house in time because Shane is home early since he got fired from his job. He gets angry after seeing her bag, realizing that she was about to leave him. He corners her in the bathroom and suffocates her until her neck is broken. Just before then Annalee manages to hit him with a lamp, twice. Barely able to move, she calls 911. She can't speak as the paramedics carry her, hoping she won't be charged with attempted murder. However, she can't recover while in the hospital, falls comatose, and eventually withers and dies with her sister sitting vigil over her deathbed.

text: The story does not mention Annalee running away with Shane.

text: The story doesn't mention that Annalee runs away with Shane.

text: The story doesn't mention Annalee running away with Shane. It also doesn't mention she left her family and college life behind.

text: The story does not mention that Annalee runs away with his boyfriend Shane, leaving her family and college life behind.

text: Annalee is not running away with Shane. She is trying to leave him.

text: Inaccurate description of her leaving. Annalee wasn't running away from anything. Also, there is no mention of a college in the story.

text: The response never said anything about Annalee running away from her family.

text: "Just before then Annalee manages to hit him with a lamp, twice. Barely able to move, she calls 911. She can't speak as the paramedics carry her, hoping she won't be charged with attempted murder." - the response should clarify that this all happened in Annalee's head and not in real life.


text:
[Well-developed Diana's tree grown up over copper rod from silver/mercury amalgam placed in 0.1 M solution of silver nitrate - reaction time 2 hrs.] DIANA'S TREE ( or _Dianae_), also known as the PHILOSOPHER'S TREE (_Arbor Philosophorum_), was considered a precursor to the PHILOSOPHER’S STONE and resembled coral in regards to its structure.[1] It is a dendritic amalgam of crystallized silver, obtained from mercury in a solution of silver nitrate; so-called by the alchemists, among whom “Diana” stood for silver.[2][3] The arborescence of this amalgam, which even included fruit-like forms on its branches, led pre-modern chemical philosophers to theorize the existence of life in the kingdom of minerals.[4]

The Tree of Diana as an Alchemical Product

Alchemy is a category of science that makes assumptions about nature and involves the use of minerals, metals, and the synthesis of medications.[5] Although now considered a pseudoscience, the practice of alchemy has contributed experimental techniques to the chemistry world such as the process of distillation and sublimation.[6] Alchemy was an early version of chemistry combined with metal work; one of the main goals of early alchemists was to create what was known as the Philosopher’s Stone, a substance that when heated and combined with a non precious metal like copper or iron (known as the “base”) would turn into gold. The Tree of Diana was a precursor to the Philosopher's stone: experiments involving the Tree aimed to turn non precious metals into precious metals like gold or silver, similar to the Philosopher's stone. Alchemy began as a quest for knowledge and to understand the world, but the practice did not make it far past the Enlightenment (around 17th and 18th centuries). However, many serious chemists throughout history were also alchemists, including Isaac Newton.[7]

Alchemists who made the Tree

In pre-modern chemistry, the various methods for procuring Diana's Tree were exceedingly time-consuming; for example, the following process, originally described by Nicolas Lemery, required forty days to see results:

    “Dissolve an ounce of pure silver in a sufficient quantity of aqua fortis, exceedingly pure, and of a moderate strength, and having put the solution in a jar, dilute it with about twenty ounces of distilled water. Then add two ounces of mercury, and leave the whole at rest. In the course of forty days, there will rise from the mercury a kind of tree, which throwing out branches will represent natural vegetation.”[8]

Giambattista della Porta in the 16th century described it this way:

    “Dissolve Silver in Aquafortis, evaporate into thin air at the fire, that there may remain at the bottom a thick unctious substance. Then Distill fountain water twice or thrice, and pour it on the thick matter, shaking it well. Then let it stand a little, and pour into another glass vessel the most pure water, in which the Silver is. Add to the water a pound of Quicksilver, in a most transparent crystalline glass that will attract to it that Silver. And in the space of a day there will spring up a most beautiful tree from the bottom, and hairy, as made of most fine beards of Corn, and it will fill the whole vessel, that the eye can behold nothing more pleasant. The same is made of Gold with Aquaregia.”[9]

17th century American alchemist George Starkey, who wrote under the pen name “Eireanus Philalethes,” had a recipe for sophick mercury that produced a branch-like structure consisting of an alloy of gold and mercury. His process involved the repeated distillation of the mercury, which he then heated while adding gold to produce the structure. Historian of science Lawrence Principe has reconstructed and recreated recipes for Diana's tree used in the 17th century. In one version, he used a small seed of gold mixed with mercury to create the “Philosopher’s Tree.” Principe explained that the creation of gold from gold itself was obviously possible.[10]

A recently discovered manuscript by Isaac Newton shows a recipe that Newton copied from a text by Starkey that vaguely explains how to make “sophick mercury,” a substance that was thought to be the main ingredient of the Philosopher’s Stone. While there is no evidence that Newton made his own version of Diana’s Tree, one of his old manuscripts did have a recipe for Diana’s Tree, along with Newton’s own notes, that was copied from a text by alchemist George Starkey.[11] In the same manuscript are notes written by Newton that explain his own procedure for alchemically subliming lead ore, a process that occupied many of his laboratory efforts to create the Philosopher’s Stone. Isaac Newton kept his experiments on alchemy a secret, as the practice was illegal in England at the time. In addition, much of Newton's work regarding alchemy was lost in a fire supposedly started by his dog.[12]

The quickest method, as described by German natural philosopher Wilhelm Homberg (1652-1715), took about a quarter of an hour, and is described as follows. Take four drams of filings of fine silver, with which make an amalgam, without heat, with two drams of quicksilver. Dissolve this amalgam in four ounces of aqua fortis, and pour the solution into three gallons of water. Stir it for a while until mixed, and then keep it in a glass vessel well stopped. To initiate the experiment, take about an ounce of the substance, and put it in a small vial; add to this a quantity the size of a pea of the ordinary amalgam of gold, or silver, which should be as soft as butter. Let the vial rest for two or three minutes. Immediately after this, several small filaments will visibly arise perpendicularly from the little bulb of the amalgam, which will grow and thrust out small branches in the form of a tree. The ball of amalgam will grow hard, like a pellet of white earth, and the little tree will be bright silver in color.[13]

The form of this metallic tree may be varied as desired. The stronger the user makes the first described water, the thicker the tree will be with branches, and sooner formed. Homberg also described how numerous other kinds of trees may be produced by crystallization and “digestion”.[14]

Different Forms of the Tree

There is also SATURN'S TREE, which was a deposit of crystallized lead, massed together in the form of a “tree”. It is produced by a shaving of zinc in a solution of the lead(II) acetate. In alchemy, “Saturn” was the name used for lead.[15]

SOPHICK MERCURY: A COMBINATION OF DISTILLED MERCURY, GOLD, AND HEAT

Over time, the Tree of Diana has been recreated using various processes and ingredients. One of the earliest recorded recipes of the “tree” involves the continuous distillation of mercury and then heating it with gold. An alloy metal would be created, and its branch-like formations looked similar to the Tree of Diana. The sophick mercury experiment is said to have potentially influenced Isaac Newton in later experiments, and it is believed that he used lead instead of mercury in his own tree creations. While the timeline for recipes is slightly blurred, various recipes in the past show that many alchemists were attempting to make a tree. The sophick mercury formation of the tree was a stepping stone for other tree formations and experimentations involving the mixture of metals in the future.[16]

MODERN VERSIONS USING COPPER

The formation of these “trees” using different metals has fascinated chemists for hundreds of years. Experiments with the Tree of Diana have inspired modern experiments that analyze the reaction between a metal and other substances. One recent experiment at the University of Seattle, Washington examined the reaction between solid copper and aqueous silver nitrate. Silver ions react with the copper metal to form a crystal structure, and this reaction proceeds until the concentration of silver ions is exhausted. The set-up of this experiment is very similar to the format of the experiments that were conducted to create the Tree of Diana in the past. This experiment was inspired by the work of early alchemists that attempted to produce the Tree of Diana. Early alchemists attempted to “grow” a precious metal like silver or gold with the reaction of these precious metals and another substance, creating the tree-like structure.[17]

[1]

[2] Brewer, E. Cobham (1894). _Dictionary of Phrase and Fable_.

[3]

[4] Collis, Robert. _Interest at the Petrine Court_. University of Turku. Retrieved 2007-05-23.

[5]

[6]

[7]

[8] Ozanam, Jacques and Jean Etienne Montucla (1814). _Recreations in Mathematics and Natural Philosophy_, Vol 4. London: T. Davison. pp 372-374.

[9] Giambattista della Porta “Magiae Naturalis”, Book 5, Chapter 5.

[10]

[11]

[12]

[13]

[14]

[15]

[16]

[17]

title: Diana's Tree

question: What does the text say about the methods of creating Diana's Trees?

text: The answer shouldn't skip Starkey's method.

answer: There are various different formulations used to create Diana's Trees. One of them gives results in under an hour while another takes forty days to produce the tree-like chemical tendrils. Nicolas Lemery's method involves dissolving pure silver in aqua fortis before diluting it with distilled water. Then mercury is added, and the solution is left to wait for forty days. Giambattista Della Porta's method is quicker,  taking only a day. It too starts with dissolving silver in aqua fortis but then it's evaporated with fire until a thick unctuous substance is left. Distilled water is put on top of that, shaken, and transported into a glass where quicksilver is added. There's another method by George Starkey, using both gold and mercury, but the more interesting one is Wilhelm Homberg's. Filings of silver amalgamated with quicksilver are dissolved in aqua fortis. Then water is added, and the mixture is stirred before putting it into a glass. A small portion is transported to a different vial and either gold or silver is added. In a few minutes, tendrils start to appear.

text: The answer should mention the modern methods.

text: The answer should mention that the methods are for making Diana's Tree, not the Philosopher's Stone.

text: The answer should mention that the methods are all alchemical.

text: The answer should mention the other metals used in other methods.

text: The answer omits the modern method using copper.

text: The answer omits the method Isaac Newton copied from Starkey.

text: The answer should mention Newton's role with the experimentation.

answer: There are various different formulations used to create Diana's Trees. One of them gives results in under an hour while another takes forty days to produce the tree-like chemical tendrils. Nicolas Lemery's method involves dissolving pure silver in aqua fortis before diluting it with distilled water. Then mercury is added, and the solution is left to wait for forty days. Giambattista Della Porta's method is quicker,  taking only a day. It too starts with dissolving silver in aqua fortis but then it's evaporated with fire until a thick unctuous substance is left. Distilled water is put on top of that, shaken, and transported into a glass where quicksilver is added. There's another method by George Starkey, using both gold and mercury. His method started with repeatedly distilling mercury before heating it while adding gold to produce the tree. The most interesting one is Wilhelm Homberg's. Filings of silver amalgamated with quicksilver are dissolved in aqua fortis. Then water is added, and the mixture is stirred before putting it into a glass. A small portion is transported to a different vial and either gold or silver is added. In a few minutes, tendrils start to appear.

text: The answer should mention the modern experiments.

text: Include the modern methods of creating Diana's trees.

text: The answer omits the modern method of using copper.

text: Minor: Settings should be introduced to create flow.

answer: The various methods for procuring Diana's Tree were exceedingly time-consuming. In pre-modern chemistry, the quickest method, as described by German natural philosopher Wilhelm Homberg (1652-1715), took about a quarter of an hour. The form of this metallic tree may be varied as desired.

text: The answer omits the method described by Giambattista della Porta in the 16th century.

text: The answer omits the methods described by Lemery, della Porta, Starkey, and Newton.

text: The answer omits the methods described by Lemery, della Porta, and Starkey.

text: The answer omits the method described by Nicolas Lemery.

text: The answer omits the recipe for Diana's Tree.

text: The answer omits that the quickest method requires four drams of filings of fine silver, with which make an amalgam, without heat, with two drams of quicksilver. Dissolve this amalgam in four ounces of aqua fortis, and pour the solution into three gallons of water. Stir it for a while until mixed, and then keep it in a glass vessel well stopped. To initiate the experiment, take about an ounce of the substance, and put it in a small vial; add to this a quantity the size of a pea of the ordinary amalgam of gold, or silver, which should be as soft as butter. Let the vial rest for two or three minutes. Immediately after this, several small filaments will visibly arise perpendicularly from the little bulb of the amalgam, which will grow and thrust out small branches in the form of a tree. The ball of amalgam will grow hard, like a pellet of white earth, and the little tree will be bright silver in color.

text: Disable the following dates to improve coherence: 1652-1715

answer: There are various different formulations used to create Diana's Trees. One of them gives results in under an hour while another takes forty days to produce the tree-like chemical tendrils. Nicolas Lemery's method involves dissolving pure silver in aqua fortis before diluting it with distilled water. Then mercury is added, and the solution is left to wait for forty days. Giambattista Della Porta's method is quicker,  taking only a day. It too starts with dissolving silver in aqua fortis but then it's evaporated with fire until a thick unctuous substance is left. Distilled water is put on top of that, shaken, and transported into a glass where quicksilver is added. There's another method by George Starkey, using both gold and mercury, but the more interesting one is Wilhelm Homberg's. Filings of silver amalgamated with quicksilver are dissolved in aqua fortis. Then water is added, and the mixture is stirred before putting it into a glass. A small portion is transported to a different vial and either gold or silver is added. In a few minutes, tendrils start to appear.

text: Specify that the methods of pre-modern chemistry were often time consuming.

text: It's omitted that there was a method by Isaac Newton.

text: This should mention the fastest method was by Homberg.

answer: There are various different formulations used to create Diana's Trees. One of them gives results in under an hour while another takes forty days to produce the tree-like chemical tendrils. Nicolas Lemery's method involves dissolving pure silver in aqua fortis before diluting it with distilled water. Then mercury is added, and the solution is left to wait for forty days. Giambattista Della Porta's method is quicker,  taking only a day. It too starts with dissolving silver in aqua fortis but then it's evaporated with fire until a thick unctuous substance is left. Distilled water is put on top of that, shaken, and transported into a glass where quicksilver is added. There's another method by George Starkey, using both gold and mercury. His method started with repeatedly distilling mercury before heating it while adding gold to produce the tree. The most interesting one is Wilhelm Homberg's. Filings of silver amalgamated with quicksilver are dissolved in aqua fortis. Then water is added, and the mixture is stirred before putting it into a glass. A small portion is transported to a different vial and either gold or silver is added. In a few minutes, tendrils start to appear.


text:
The Jacob Wetterling Documentary

Posted by on Apr 24, 2019 in Jacob | 5 comments

Back in August of 2015, just weeks before Danny Heinrich was arrested as a suspect in Jacob Wetterling’s kidnapping, a local filmmaker approached Patty Wetterling with the idea of making a documentary about Jacob’s story. His name was Chris Newberry and they were just in the early talking phases at that point. After a few more conversations, the Wetterlings agreed to let Chris begin filming later that fall.

[]
That’s when all hell broke loose.

From the very first day Chris began filming, he was right there in the thick of it, recording and watching history unfold as the mystery of Jacob’s 27-year-old disappearance came to a painful and dramatic conclusion.

Now, three and a half years later, Chris Newberry is finally nearing the completion of his documentary film. While filming for the “Jacob Wetterling Documentary” (a working title) is starting to wrap up, Chris and his team will soon begin the arduous process of editing together hundreds of hours of video footage in order to prepare a rough cut for potential distributors.

That takes time. And money.

Chris and his team just launched a fundraising campaign this week with a goal of raising $60,000 to help complete the film. It has been a labor of love – a legacy project for Jacob – and many of us have poured our hearts out onscreen trying to explain how Jacob’s disappearance not only changed the world, but also changed _us._

JACOB WETTERLING DOCUMENTARY on GoFundMe

For those of you who have followed Jacob’s story on my blog, this is your chance to support the film and contribute to Jacob Wetterling’s ongoing legacy. I promise I have no financial interest in this film, nor do the Wetterlings, nor anyone else for that matter. It’s simply a story that needs to be told, and with our help, Chris Newberry and his team can enter the final phase of production to get it done.

Click here to contribute to the GoFundMe campaign

When Chris told me he was going to launch a crowdsourcing campaign to help fund the film, I admit I was apprehensive. I know very little about the film industry or how these things work, so I had a lot of questions. He graciously took the time to answer all of them for me and asked for nothing in return. He is a kind, caring, honest person who has put much of his own heart and soul into this project.

I thought long and hard before deciding to write this article. I hate asking people for money, but I _so_ want to see this film get done… and get done right. I also figured if I had a lot of questions, others would, too, so I asked Chris if he would mind if I interviewed him for an article on my blog. Again, he graciously agreed.

THIS SEEMS LIKE A HUGE STORY WITH A LOT OF INTEREST. WHY DO YOU NEED FUNDING? IS THIS COMMON?

We’re an independent filmmaking team based in Minnesota, so we’re not a Hollywood entity coming in from out of town trying to tell a story from the heartland. This is a hometown story for us because we live here. Jacob is one of us.

Being an independent documentary crew, our resources are very minimal. We’ve been working on this project for three and a half years, and, to date, it’s mostly been through blood, sweat, and tears.  We received a little bit of funding early on from the Minnesota State Arts Board, but that was spent long ago.

We believe in Jacob’s story, and we hope that someday it’s going to find a bigger audience on a national platform. We can’t depend on that though. For an independent documentary of such a large scale, it’s pretty common to claw your way to this point and then have to pause and start fundraising when the expenses start to mount.

Our hope is that once we get a rough cut edited, we…ll get to a stage where resources will be easier to come by, once broadcasters and funders can see the vision. There are so many true crime stories out there right now, the field can be very competitive. However, so many of them focus their attention on the more sensational films and series. What we’re trying to do is something with integrity.

ASSUMING YOU REACH YOUR FUNDRAISING GOAL, HOW WILL THE FUNDS BE USED?

We are putting together a high quality film that we want everyone to be proud of once it’s done. That takes a lot of experience, plus the tools to do it, and that’s where the expenses come in.

Our first step will be to hire an experienced film editor who can help us pull everything together to make this the best possible film it can be.

WHY CROWDFUNDING?

From previous experience raising money for films, it takes a multi-faceted approach with many different options for support. Crowdfunding is just one of them. We know Jacob’s story has touched so many people, especially in Minnesota, so it seemed like a natural fit. Many Minnesotans have sort of “adopted”? Jacob after following his story for so many years. This is their chance to show their support. We wanted to giving everybody a chance to have a part in the making of this film.

Starting in May, we’ll also be hosting a series of Trailer Release Parties to help raise additional funds for the film. Each event will feature an exclusive sneak peek of the new film, as well as speakers from the Jacob Wetterling Resource Center (or other local child advocacy groups) and a conversation with the filmmakers.

  Click here to view the list of trailer release parties and to buy tickets.

ARE CONTRIBUTIONS TAX DEDUCTIBLE?

For those who wish to make a larger donation and get a tax deduction, we are set up to do that. Larger donors can make their contribution through FilmNorth, our fiscal sponsor. They are a 501(c)(3). More information is available on the Contribute page of our website.

WHY DO YOU FEEL YOU ARE THE RIGHT PERSON TO TELL THIS STORY?

I’m a Minnesota kid, born and raised here. I currently live in Minneapolis with my wife and two daughters. I was 14 when Jacob was abducted, and I remember it well. I watched the whole thing unfold on the news back in 1989, and it really affected me. The mystery of what happened to Jacob was always with me, just like it was for most Minnesotans.

I’d like to believe I have the compassion and sensitivity to navigate the telling of the story. My first contact was Alison Feigh at the Jacob Wetterling Resource Center. There was a billboard campaign back in the fall of 2014 surrounding the 25 year anniversary of Jacob’s disappearance. I researched his case for almost a year before I finally got up the nerve in August of 2015 to send a cold email to Alison. Bless her soul, she got back to me within a half hour, and five days later, I was sitting down with Patty and Alison in Minneapolis and having a “getting to know you”? meeting.

WHAT DO YOU THINK IT IS ABOUT JACOB’S STORY THAT MADE PEOPLE HAVE THE KIND OR RESPONSE THAT THEY DID? WHY HAS IT RESONATED ALL THESE YEARS? WHY HAS MINNESOTA RALLIED AROUND THIS FAMILY?

Many people told me it had a lot to do with Jacob’s photo… his electric, magnetic smile. That school photo of him in his gold sweater is such a recognizable image, it helped form a connection for the wider public and made us all empathize for Jacob and his family. We all wanted to find out what happened to this boy.

Another factor is the circumstances of the case. Sadly, there are thousands of missing children in the U.S., but very few of their stories involve such chilling details as Jacob’s. He was kidnapped by a stranger, a masked gunman who came out of the shadows and stole Jacob away right off his own street. His younger brother and best friend were with him when it happened, so we knew it was real because there were eyewitness accounts. If you wrote it in a novel, it almost sounds too far-fetched, but it really happened, right here in small town Minnesota.

And, of course, the other key resonating factor is Patty. The story of how this unassuming person rose up and became this national advocate for missing and exploited children may have just as much to do with the public’s attachment to this story as Jacob himself.

ARE THE WETTERLINGS SUPPORTIVE OF THIS PROJECT?

Yes. It was really important to me, right from the beginning, to get the Wetterlings’ blessing. It was also important to me to hear the story in Patty and Jerry’s own words, and I feel really fortunate that this journey has allowed me to spend many, many hours on several different occasions speaking one-on-one with them. At this point, we’ve formed a pretty substantial bond that’s built on trust. I feel like I have an incredible responsibility to several people in the film who…ve given up their time, and also shared their deeply emotional feelings with me. I feel very honored to have been given all this access.

WHEN WILL THE FILM BE COMPLETED?

We hope to have a rough cut completed by the end of the year, with the final version available in mid 2020. We’re doing our best to get it done as soon as possible, and that’s where the community’s support comes in.

ANYTHING ELSE YOU…D LIKE TO ADD?

When I first started this project, I always considered Jacob Wetterling a household name because it is here in Minnesota. But, when I started interacting with people around the country, I started to realize Jacob’s story wasn’t as familiar to people outside the state. Even though it’s been almost 30 years, this is a story that is still in need of a national platform. It needs to be told.

There are all these inspiring people at the center of the story, none moreso than Patty herself, but there are also all these others who are doing good work in Jacob’s name. They are Minnesota treasures, and people across the country don’t know their stories. So, to me, I want to share Jacob…s story with the world, but also to raise up the profiles of some of these other people so Americans can be inspired by the examples they’ve set.

  You can show your support for this film by making a contribution of any amount to Chris Newberry’s GoFundMe campaign…

  Thank you for your support!

[]
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question: What does the article say about corporate sponsors?

text: This is not accurate and should be removed.

answer: No answer

answer: The film crew is courting multiple sponsorship offers.

text: The response should give details about the kind of sponsorship the film crew is looking for.

answer: The film crew is courting multiple sponsorship offers.

text: The article does not mention corporate sponsors.

text: The article does not mention anything about corporate sponsors.

text: This is false. There is no mention of corporate sponsors.

text: The article does not say anything about corporate sponsors.

text: No, it doesn't.

answer: No answer


text:
is the tenth game of the Touhou Project, according to the official numbering by its creator ZUN of Team Shanghai Alice. Like the majority of the _Touhou Project_ games, _Mountain of Faith_ is a doujin scrolling shooter, albeit with a major revamp from its predecessors. The game was released in the Comiket 72 in August 2007.

Gameplay

_Mountain of Faith_ plays like a fairly typical vertically scrolling shooter, in which the player's character is always facing towards the top of the screen, shooting at anything that moves, avoiding and weaving between enemy bullets, and confronting a difficult boss at the end of each stage.

Unlike previous Touhou games, there is no separate bomb counter. Instead, there's a relationship between the power gauge, bombs, and options. Options are the small “satellites” that stick around the player's character and shoot shots. The more power items collected, the higher the power gauge rises. The power gauge takes on values from 0 to 5, and decimal numbers in between. The number of options the player has corresponds to the integer part of the power gauge – e.g., if the player has a power level of 2.75, he would have two options. When a bomb is used, an option is discarded. Hence using bombs would lower the power levels, though that can be replenished with items.

The defining feature of _Mountain of Faith_'s scoring mechanics is the Faith Point system. A “faith counter” at the lower-left corner of the screen determines how many points items and spell card bonuses are worth. The counter will decrease as time progresses, though the decrease can be halted temporarily by defeating enemies and collecting items. The counter can be replenished by collecting green stars and orbs, known as Faith Point items.

_Mountain of Faith_ comes with a unique feature that allows players to show customized text overlaid on the playing area. The feature can be set to auto, where the game automatically alerts places where the player had died before with a “Caution!” note. The player can also edit the hint file to show personalized notes at certain places and times, making it possible for simple play-along strategy guides to be made and distributed with “Nico Nico Douga-like interactivity”.[1] There are two playable characters, each with three weapon types, but no personalized Spell Card bombs like previous games.

Plot

Autumn has come to the secluded land of Gensokyo, and to its only shrine, the Hakurei Shrine, a common meeting place for its youkai that was seldom visited by its humans. As a result, faith in the Hakurei Shrine's deity began to fall like the leaves from the trees. It's in such a season that Reimu Hakurei, the shrine maiden of the Hakurei shrine, is visited by a mysterious stranger who claims to represent a god of mountains and orders her to shut the shrine's doors for good. Reimu is deeply troubled by this state of affairs, as she knows the shrine can't be allowed to close down due to the role it plays in watching over the Great Hakurei Border that separates Gensokyo from the outside world. Marisa Kirisame, her magician friend, is suspicious and also suitably bored. The girls decide to ascend the Youkai Mountain to confront the mysterious deity behind the threats.

Ignoring the lesser gods and the kappa's advice to turn back, Reimu and Marisa climb the Youkai Mountain to find that the tengu society fretting over the presence of a new shrine on the mountain. Turning their attention to the new shrine, the Moriya Shrine on the mountain, the girls find Sanae Kotiya, the messenger who ordered them to shut down the Hakurei Shrine. Sanae is the priestess serving the god Kanako Yasaka, who plots to gather the faith of all of Gensokyo's denizens in order to prevent the declining level of faith in Gensokyo to reach the point where its gods lose their power. Reimu, objecting the plan on the basis that it will render her shrine obsolete, battle the occupants of the new shrine. After a protracted battle, Kanako is convinced to make peace with the tengu and kappa, who are also convinced to accept her as the goddess of the Youkai Mountain.

In the Extra Mode, Reimu and Marisa hear of a rumor that another god lives in the Moriya Shrine, and so set out for the mountain again. There they meet the true god of the Moriya Shrine, Suwako Moriya, who demands the girls to play with her.

ZUN stated in an interview that the plot of _Mountain of Faith_ was never resolved in itself. This was so that future instalments, like _Subterranean Animism_, can base their stories on the loose ends of _Mountain of Faith_.[2]

Characters

[Top row: Shizuha, Minoriko, Hina
Middle row: Nitori, Momizi, Aya
Bottom row: Sanae, Kanako, Suwako]

Playable characters:

-   Reimu Hakurei (博麗 霊夢) - The miko of the Hakurei Shrine, she set out for the mountain to find out why she was ordered to close down her shrine. Her three attacks modes are homing amulets, persuasion needles, and spread amulets
-   Marisa Kirisame (霧雨 魔理沙) - An ordinary magician. Since Reimu told her of her plight, she became interested in the mountain. Her attacks are trace and hold star fire, magical lasers and cold inferno vents.

Boss characters:

-   Shizuha Aki (秋 静葉) - Stage one midboss, her attacks are themed on autumn leaves. Together with her sister Minoriko, they control the season of autumn.
-   Minoriko Aki (秋 穣子) - Stage one boss and a harvest goddess, Minoriko's attacks have a harvest theme.
-   Hina Kagiyama (鍵山 雛) - Stage two boss, the leader of the dolls that are sent down rivers to take away bad luck. Thus Hina herself is surrounded by bad luck, which shows in the theme of her spell cards.
-   Nitori Kawashiro (河城 にとり) - Stage three boss, Nitori is a kappa engineer, and her spell cards reflect either the aquatic nature of kappa or their supposed inventions. She believes the kappa and the humans were ancient allies, but she herself is shy, concealing herself with optical camouflage upon encountering humans.
-   Momizi Inubashiri (犬走 椛) - Stage four midboss, a watchdog of the tengu society, has no spell cards.
-   Aya Syameimaru (射命丸 文) - Stage four boss, the tengu that is most familiar with the humans of Gensokyo due to her job as a newspaper reporter (_Bohemian Archive of Japanese Red_ and _Phantasmagoria of Flower View_). She was sent by the tengu society to negotiate with the trespassing humans, Reimu and Marisa. Her attacks are tengu themed.
-   Sanae Kotiya (東風谷 早苗) - Stage five boss, a human who originally was revered as a living god outside Gensokyo. She is the wind priestess of the Moriya Shrine, and her attacks are modelled after miracles and winds.
-   Kanako Yasaka (八坂 神奈子) - Final stage boss and extra stage midboss, the god of the Moriya Shrine, based on the Japanese goddess Yasakatome, spouse of Takeminakata. Her attacks has to do with the rituals of the Suwa region, such as the shimenawa and onbashira. She planned to move the Moriya Shrine from the outside world into Gensokyo to draw on its spiritual power.
-   Suwako Moriya (洩矢 諏訪子) - Extra boss and the other, hidden, god of the Moriya Shrine. Based on Mishaguji, the native god of the Suwa region, her spell cards have to do with frogs and Suwa mythology.

Development

With the end of _Imperishable Night_, ZUN, the sole creator of the _Touhou Project_, achieved his original goal of making three Touhou games for Windows. Although he had thoughts to make the next game return to the simplicity of _The Embodiment of Scarlet Devil_, he shelved the idea to work on excursions from the main series.[3] After making _Phantasmagoria of Flower View_, ZUN decided to wait one year before making another game to see if the Touhou fandom would die down. Conversely, the Touhou fandom continued to grow, and ZUN decided to make the next game.[4]

ZUN had wanted to make the tenth game of the _Touhou Project_ to be nostalgic to him, so he based _Mountain of Faith_ on the Suwa myths he heard in his youth.[5] Since Suwa mythology had largely faded from public consciousness, ZUN thought it would be interesting to provide his own spin on Suwa mythology;[6] to do this, he went on a trip to research the gods of the Suwa region.[7]

One of the main point for _Mountain of Faith_, in ZUN's mind, is to go back to the basics. For this reason, _Mountain of Faith_ did not inherit the Spell Practice mode from _Imperishable Night_ nor the unique character bombs from previous games.[8] Using _Shoot the Bullet_ as prototype, ZUN extended the spinoff game into _Mountain of Faith_, thus starting off from scratch instead of using the models of his well-established games.[9] ZUN has stated that being able to revamp the game system and remove existing features freely is one of the advantages of doujin production.[10]

Reception

[An image of the Akimiya Kaguraden in the Suwa Taisha was used as the background image during Kanako Yasaka's spell cards]

The game has been lauded for its difficulty, as with other Touhou games. However, Yukikuni Sasayami of 4Gamer.net noted that although the bullet patterns have become more difficult than past Touhou games, the durations of the patterns have become shorter, making it easier for players to outlast the patterns.[11] The game has also been described by Sasayama as “spellcard-centric”, where the game encourages bombing until the specialized bullet patterns known as “spell cards”. Hence _Mountain of Faith_ lets the players experience the rhythmic onslaught of spell cards, which may be the reason why _Mountain of Faith_ did not inherit the Spell Practice mode from _Imperishable Night_, since it fragments the spell cards.[12]

The popularity of _Touhou Project_ brought many fans outside the Nagano Prefecture to the shrines of Suwa, from where _Mountain of Faith_ draws its inspiration. Prayer plaques with manga drawings starting to appear in the Suwa Taisha since July 2008 as a result of these “holy sites pilgrimages”. The Moriya Priests Museum of Documents (神長官守矢史料館) in Chino, Nagano reports that the number of visitors in 2008 rivals that of 2007, when tourists were likewise drawn to Suwa because of the Taiga drama _Fūrin Kazan_. Some locals hoped that recent developments would lead to new ways to attract tourists, as was the case of Washimiya, Saitama.[13]

[1] Yaegaki, Nachi. “Playthrough of the 10th Touhou Project - Mountain of Faith demo” (東方Project第10弾「東方風神録」の体験版を遊んでみた). 4Gamer.net. 2007-05-25.

[2]

[3] “Shanghai Alice Correspondence Vol. 4”. _Imperishable Night_ Afterword. 2004-8-15

[4] “Notes on ZUN’s Genyou Denshou Lecture”, Gensokyo.org, 09-11-2007

[5] “Mountain of Faith: A Special Afterword”. 2007-8-17.

[6]

[7]

[8]

[9] Ichijinsha, p.106

[10]

[11] Sasayama, Yukikuni. “Mountain of Faith: 24 screenshots and an analysis on where it stands as a game” (「東方風神録」のSS 24点とゲームの立ち位置に関する一考察), 4Gamer.net, 2007-09-13

[12]

[13]

title: Mountain of Faith

question: Describe the gameplay of Mountain of Faith.

text: The response is missing the information about how the character navigates through the game.

answer: Mountain of Faith is a vertically scrolling shooter, where the player's character is always facing towards the top of the screen. The character shooting at anything that moves, avoiding and weaving between enemy bullets, and confronting a difficult boss at the end of each stage. The game has a "faith counter" at the lower-left corner of the screen determines how many points, items, and spell card bonuses are worth. The counter decreases as time progresses, though the decrease can be halted temporarily by defeating enemies and collecting items.

text: This should mention how this game has no separate bomb counter, and instead has a relationship between the power gauge, bombs, and options.

answer: Mountain of Faith is a vertically scrolling shooter, where the player's character is always facing towards the top of the screen. The game has a "faith counter" at the lower-left corner of the screen determines how many points, items, and spell card bonuses are worth. The counter decreases as time progresses, though the decrease can be halted temporarily by defeating enemies and collecting items.

text: The answer omits the relationship between the power gauge, bombs, and options.

text: The answer omits the scoring mechanics.

text: The faith counter is a scoring mechanic, not a gameplay mechanic.

text: Does not mention the relationship between the power gauge, bombs, and options.

text: The response confuses the scoring mechanic with the gameplay mechanic.

text: The response is missing some details about the game's gameplay.

text: It is omitted that the player shoots at anything that moves and must avoid and weave between enemy bullets,

answer: Mountain of Faith is a vertically scrolling shooter, where the player's character is always facing towards the top of the screen. The character shooting at anything that moves, avoiding and weaving between enemy bullets, and confronting a difficult boss at the end of each stage. The game has a "faith counter" at the lower-left corner of the screen determines how many points, items, and spell card bonuses are worth. The counter decreases as time progresses, though the decrease can be halted temporarily by defeating enemies and collecting items.

text: It's omitted that the game has a unique feature that allows players to show customized text overlaid on the playing area.

text: It's omitted that the player can use bombs to lower the power levels, which can be replenished with items.

text: Doesn't mention the power gauge, bombs, and options.

text: "the character" - remove the

text: - item #1 does not need the word "that"

text:
The answer should mention the relationship between the power gauge, bombs, and options.
The answer should mention that the defining feature of Mountain of Faith's scoring mechanics is the Faith Point system.
It should mention that Mountain of Faith comes with a unique feature that allows players to show customized text overlaid on the playing area. In addition, the feature can be set to auto, where the game automatically alerts places where the player had died before with a “Caution!” note.

text:
'The character shooting at anything that moves...' This sentence is grammatically incorrect. Change "shooting" to "shoot."
'The game has a "faith counter" at the lower-left corner of the screen determines how many points...' Unfortunately, this sentence also contains a grammatical error. Correct this.

answer: Mountain of Faith plays like a typical vertically scrolling shooter. The player's character is always facing towards the top of the screen, shooting at anything that moves, avoiding and weaving between enemy bullets, and confronting a difficult boss at the end of each stage. The defining feature of Mountain of Faith's scoring mechanics is the Faith Point system.

answer: Mountain of Faith is a vertically scrolling shooter, where the player's character is always facing towards the top of the screen. The game has a "faith counter" at the lower-left corner of the screen determines how many points, items, and spell card bonuses are worth. The counter decreases as time progresses, though the decrease can be halted temporarily by defeating enemies and collecting items.

answer: Mountain of Faith is a vertically scrolling shooter, where the player's character is always facing towards the top of the screen. The character shooting at anything that moves, avoiding and weaving between enemy bullets, and confronting a difficult boss at the end of each stage. The game has a "faith counter" at the lower-left corner of the screen determines how many points, items, and spell card bonuses are worth. The counter decreases as time progresses, though the decrease can be halted temporarily by defeating enemies and collecting items.

text: "the character" - remove the

text: - item #1 does not need the word "that"

answer: Mountain of Faith plays like a typical vertically scrolling shooter. The player's character is always facing towards the top of the screen, shooting at anything that moves, avoiding and weaving between enemy bullets, and confronting a difficult boss at the end of each stage. The defining feature of Mountain of Faith's scoring mechanics is the Faith Point system.

text: It's omitted that there is no separate bomb counter.

text: The answer omits the unique feature of the game.

text: It's omitted that there is no separate bomb counter, and that there's a relationship between the power gauge, bombs, and options.

text: It's omitted that there is no separate bomb counter; rather, there's a relationship between the power gauge, bombs, and options.

text: The answer should mention the unique feature of the power gauge.

text: Missing a few key details such as technology updates.


text:
“Mick’s one of them.” This matter of fact statement caught me off guard.

“Is he?” I ask, hazarding a glance at the middle aged, balding bar man.

“Course he is, look at him.” I turned around to get a better look. Mick was stood wiping down a glass, oblivious of the scrutiny to which he was currently being subjected to.

“No, he isn’t.” I said “He’s got a beer belly and gravy down his shirt, the ones in the city all look like celebrities and they haven’t got a spec on ‘em.” I turned back to Dave, he was looking at the table and shaking his head.

“Course they do” He said looking up his droopy eyes struggling to fix on a particular spot. He settled on staring at my chin, “Coz they’re accepted in the city, aren’t they,” he said as if he were talking to a child. “But if you put them in the country they’ve got to fit in, got to look the part haven’t they.”

“So you’re saying that a company that makes millions of the same make and model every day has decided to make a fat fifty year old bar tender version so that we don’t get suspicious that they’re androids.”

“Exactly,” he said with a toothy grin as if I was finally on his erratic wave length.

“But if you’ve spotted the only android in the village, then it’s obviously not working.”

“Well I knows what to look for dun I.” He said glancing over at Mick and leaning in with his stale beer breath. “Take a look at him, a proper look, go over and get two pints. Try and catch him just as he picks up a glass to clean and watch closely. Then look at his eyes and see how long it takes him to blink.”

I eyed Dave suspiciously “Is this just coz you want a drink?” I asked.

“A little,” grinned Dave “But you go over and check him anyway, I’ve done it me self.” I looked at him suspiciously and then swivelled off my chair to go and order the drinks.

“Alright Mick,” I hazarded, wondering how to approach this correctly.

“Alright Jeff,” he mumbled “how’s it going?” He breathed on the glass and cleaned it, wiping it with a towel.

“Not bad, two pints of Green Valley please” I said inspecting the glass that he had just cleaned.

“Coming up,” he said turning his back on me to get the glass. He had legs, I thought to myself, so he wasn’t like the ones in the supermarket. If he was one, it was state of the art without looking remotely state of the art at all, kind of shabby sheik. He turned back and poured the pints, concentrating on the amount and making sure the head was perfect. An android wouldn’t do that I thought to myself. Androids had this unsettling habit of doing tasks while maintaining eye contact. He looked up as he finished the second pint and I stared intently into his eyes.

“Thanks Mick,” I said whilst flicking my gaze from his left eye to his right.

“You alright Jeff?” Mick said unnerved.

I returned to my table without a word.

“He’s not an Android.” I said confidently when I sat down. Dave looked at me flabbergasted.

“What!” he cried a little overdramatically “Did you even look at him?”

“Yep,” I said “he had legs and everything”.

“No did you look when he cleaned the glass?”

“Y..yes he did it with a cloth”

Dave looked at me despairingly “Not how he cleaned it you muppet, did you see him breathe on the glass and it doesn’t leave any fog cause they don’t need to breathe they just mimic the action. Did you see his fingerprints on the glass?”

“No” I said feeling depressed about my woeful detective skills. “What’s up with his fingerprints?”

“He hasn’t got human fingerprints, that’s how come they can track them, they got special ones that are like a bar code, so each one gets its own unique set so you can find em easily.”

“Why would they mimic the action of us breathing?” I interrupted, Dave looked at me incredulously.

“Have you ever met someone who doesn’t breathe?” He said. “No! Cause if you did you would flip your nut wondering what was happening.” He continued “If you took an Android out for drinks, it would drink, it doesn’t need too. Just like it doesn’t need to breathe or blink but it does it anyway so that you’re not worrying why one of your work mates has stopped blinking or breathing.” I looked at him dumbfounded. I didn’t realise the technology had come this far. “Did you at least count the seconds it took him to blink?” he asked like it was the most natural thing in the world.

“No” I said growing tired with the criticism.

“Well it’s every 7 seconds, at least one of us is paying attention.”

“Why would they need to blink?” I asked

“First off so you don’t flip your nut and second to clean the cameras if something gets on them.”
I thought about this for a few minutes drinking my pint, maybe some of my work colleagues are Androids and I hadn’t even noticed, maybe my wife was, I think I would have noticed, or would I? If I couldn’t tell if Mick was one could I really notice if anyone else was.

“Does he have a penis?” I asked.

“Who Mick?”

“Yes.”

“Why?”

“Well not just Mick, Androids in general do they have sex parts?”

“Can’t say I ever checked,” said Dave and we both lapsed into a deep and contemplative silence.

“They must have!” said Dave after an embarrassingly long time thinking about robot genitals.

“Why?” I asked dreading the answer that had dredged itself out of the sewer of his mind.

“Because it was all the rage a few years back when they were still working out the kinks. Remember that politician bought one as a butler and he just hollowed out its Ken doll parts until he managed to get his dick trapped in the mechanism.”

“Ooh yeah” I said, not really believing that this was true at all.

“And, and!” he said leaping on his advantage and following his train of thought “Why make women androids?” He said smiling triumphantly.

“Dunno,” I said “Cause that’s what you do isn’t it, you make the man and then you make the woman, if you don’t its sexist, I hear they make black ones now as well.”

“Yeah but why give them genders at all? Christ why even make them look like people?”

“Dunno,” I said realising that I was adding very little to this conversation.

“First off to make other people comfortable around them, right? Coz if people think they’re talking to a person they’re gonna treat them like a person. Not try and take their leg cause it’s your neighbours android and his dogs been shitting on your lawn, right?”

“Right!” I said, the conversation had originally been about my new dish washer.

“So if you’re talking to an Android and you think it’s a person, it has to be as person like as possible, right. Breathing, blinking, all that stuff. So if a lady takes a man android home she is gonna expect him to have a fella down there, not just a fella, a fully working fella. It would just be embarrassing for both of them if he didn’t have a set of bits.”

“She would find out eventually though right?”

“No…yeah,” he said hesitantly “hey they’ve probably got Android prossies now, with big cyber pimps or something.”

I laughed “insert coin in the slot” I said finally feeling part of the conversation again.

I glanced over at Mick, he was eating a pack of crisps

“Have you ever seen Mick take a shit?”

title: [SF] Conversations about Androids!

question: What does the story say about what the narrator and Dave disagree about?

text: They do not disagree about the difference between a human and an android but whether Mick is an android or a human.

answer: Dave thinks that Mick is an android, and the narrator thinks he is not. Dave thinks that the company has decided to make a fat fifty-year-old bartender version so that nobody does get suspicious that they’re androids. He tells the narrator to look at Mick's eyes and see and see how long it takes him to blink. The narrator thinks that Mick does not look like an android.

answer: The narrator and Dave disagree about the difference between a human and an android.

answer: The narrator and Dave disagree about the difference between a human and an android.

text: The answer should mention that Dave believes Mick is an android.

text: The answer is too vague. It should mention what the narrator and Dave disagree about.

text: The answer should include more details about the disagreement.

text: The answer should mention the android in question.

text: It's omitted that they disagree about Mick, the android.

answer: Dave thinks that Mick is an android, and the narrator thinks he is not. Dave thinks that the company has decided to make a fat fifty-year-old bartender version so that nobody does get suspicious that they’re androids. He tells the narrator to look at Mick's eyes and see and see how long it takes him to blink. The narrator thinks that Mick does not look like an android.

text: The answer should mention the narrator's conclusion.

text: The answer should mention the narrator's conclusion about Mick.

text: The narrator is Jeff, not the narrator.

text: The narrator does not think that Mick does not look like an android. The answer should be more specific about what the narrator does not think.

text: The narrator does not think that Mick doesn't look like an android; he thinks he does.

text: Dave's argument is irrelevant

answer: The narrator and Dave disagree about whether or not Mick is an android. The narrator doesn't think he is, but Dave thinks he is.

text: The answer should mention the evidence Dave uses to support his claim.

text: The answer should mention the evidence Dave gives for his belief.

text: The answer should mention the evidence Dave uses to prove Mick is an android.

text: The answer should mention the evidence Dave uses to back up his claim.

text: The answer should mention why Dave believes Mick is an android.

text: The answer should also mention the specific features they are looking for in Mick.

answer: The narrator and Dave disagree about whether or not Mick is an android. The narrator doesn't think he is, but Dave thinks he is.