text:
[Mercedes S Class]

MERCEDES S CLASS

2 passengers 2 luggage

Mercedes S Class chauffeur car hire in London – UK wide for private airport transfers, business meetings, evening hire, or leisure daily hire.

[Mercedes V Class]

MERCEDES V CLASS

6 passengers 6 luggage

Mercedes V Class chauffeur car hire in Mayfair, London, UK wide for private charter transfers, financial roadshows, sports and corporate events.

[]

MERCEDES MAYBACH

2 passengers 2 luggage

Mercedes Maybach chauffeur car hire with professional driver in Mayfair, London, and UK wide from £95ph + VAT (min 4hours)

[Range Rover Vogue]

RANGE ROVER VOGUE

2 passengers 3 luggage

Range Rover Vogue car hire with executive driver in Mayfair, London – UK wide from £75ph + VAT (min 4hours)

[Bentley Mulsanne Chauffeur London]

BENTLEY MULSANNE

2 passengers 2 luggage

Bentley Mulsanne chauffeur car hire in Mayfair, London and UK Wide from £100ph + VAT (min 4hours)

[Rolls Royce Phantom Chauffeur Driven]

ROLLS ROYCE PHANTOM

2 passengers 2 luggage

Rolls Royce Phantom Series 2 chauffeur car hire in Mayfair, London and surrounding areas from £140ph + VAT (min 4hours)

CHAUFFEUR DRIVEN CARS IN LONDON

London’s exclusive chauffeur company takes you to your destination in style

Home of executive, luxury and prestige chauffeur driven cars in London and UK Wide. EG Chauffeurs has a wide range collection of chauffeur driven cars to satisfy every need. We offer luxury chauffeur driven Mercedes-Benz S Class, Viano & V-Class 7 passengers, Range Rover Vogue Autobiography and Rolls Royce Phantom alongside with the most vetted professional executive chauffeurs London has to offer.

Our luxury fleet of chauffeur driven cars are available for airport transfers, corporate hospitality and events, financial roadshows, business meetings, London and UK tours, weddings, shopping trips and much more…

HOW TO BOOK ONLINE

CHECK PRICES

Get an instant price using our state of art online booking system. Save time. Save money. Travel better.

CHOOSE CAR TYPE

Select the car that suits your budget and your travel needs. All online prices are fixed with no hidden cost and include 20% VAT.

TRIP INFORMATION

Enter full details of your trip including date & time, flight number, request a child seat or any other special request you may have.

PAY SECURELY

3D secure payment powered by Worldpay or Stripe. All major debit and credit cards accepted, including Amex at no extra cost.

BOOKING CONFIRMATION

Instant booking confirmation directly to your inbox. Chauffeur details are emailed to you the evening before travel or 2 hours prior pick up.

ABOUT US

London’s best chauffeur company for leisure, business, and corporate travel.

EG Chauffeurs are London based premier chauffeur company providing professional executive chauffeur services and affordable luxury chauffeur driven CAR HIRE in London and UK Wide. Providing outstanding customer service for many years EG Chauffeurs offers secure and discreet chauffeur services for leisure and business travel.

We provide a high level of personalized customer service for high-net-worth individuals, executives in large corporations and VIP’s setting an example of London’s finest chauffeurs to our leisure and business clients. We take pride in having an exceptionally qualified and reliable elite chauffeur team who are capable of satisfying the most demanding schedule.

EG Chauffeurs works very closely with a number of private charter operators companies delivering an unparalleled chauffeur service in London and UK Wide. Our professional, polite executive drivers are very well aware of the private airports’ protocol. We are also very proud to serve VVIP clients including private jet owners, Quintessentially members, Royal families from the middle east, members of UN and the EU Parliament, enabling us to understand the discretion and level of service required from us.

Business travel, sports or corporate events, evening chauffeur hire, or private AIRPORT chauffeur transfers, we are confident we can meet and even exceed your expectations. Our large fleet of top-of-the-range executive and luxury chauffeur driven cars are nothing short of impressive, and everybody receives the VIP treatment. In fact, EG Chauffeurs are rated London’s No.1 chauffeur company on Trustpilot.

CHAUFFEUR SERVICES IN LONDON & UK WIDE

Executive chauffeur services and luxury car hire in London, UK and Europe Wide. One way transfers, financial roadshow, corporate and sports events, or private airport transfers, EG Chauffeurs lets you truly experience the very best chauffeur travel.

[A to B]

Single journey chauffeur service London – UK wide.  One-way chauffeur transfers are based completely on mileage. You may also add as many stops on the way and request a return trip. We take a time to understand your internal booking and tailor your trips in the most efficient way possible to suit your travel needs…

[Business Travel]

Whether you have an important meeting in the city, a full day of appointments, or a special day-out with your clients, our professional chauffeurs can help to make your day stress-free travel. Our business chauffeurs can be relied upon to ensure that your journey is relaxing and enjoyable…

[Event Chauffeur Hire]

EG Chauffeurs provides luxury chauffeur service for you or your clients your friends and family travelling to and from any event in the south of England, covering Weddings, Horse Racing at Royal Ascot or Windsor, Tennis at Wimbledon or Eastbourne, Football at Wembley, Rugby at Twickenham…

[Airport]

AIRPORT CHAUFFEUR TRANSFERS

Luxury airport chauffeur transfers and Meet & Greet airport chauffeur service from Heathrow, Farnborough, Gatwick and all London and UK private airports. On arrival at the airport, you will be met by our professional airport chauffeurs who will escort you to your chosen luxury chauffeured car…

TRUSTED BY

World-Class chauffeur service trusted by World-Class brands. EG Chauffeurs has been serving HNWI, Executives, Corporate Elite, CEOs of World-Class brands from around the globe. Join us today, we would be delighted to serve you.

question: Summarize the cars available at EG Chauffeurs.

answer: EG Chauffeurs has a wide range of luxury cars available for hire. The cars available are the Mercedes S Class, Mercedes V Class, Mercedes Maybach, Range Rover Vogue, Bentley Mulsanne, and Rolls Royce Phantom. The cars are available for hire for airport transfers, corporate hospitality and events, financial roadshows, business meetings, London and UK tours, weddings, shopping trips, and much more.

critique: The answer should mention the number of passengers and luggage each car can hold.

critique: The answer should mention the number of passengers and luggage each car can carry.

critique: The answer is a summary of the text, not a summary of the cars.

critique: The answer should be singular, because there is only one Rollers Royce.

critique: The answer should mention the number of passengers and luggage.

critique: The answer should mention the number of passengers and luggage the cars can accommodate.

text: The final sentence is unnecessary and should be omitted.

question: Summarize the steps for booking online at EG Chauffeurs.

answer: The first step is to check prices. The second step is to choose a car type. The third step is to enter trip information. The fourth step is to pay securely. The fifth step is to receive booking confirmation.

critique: The answer omits the first step of choosing a car type.

critique: The answer should mention the type of trip information required.

critique: The answer doesn't even list the three steps.

critique: The answer is missing the first step of booking online.

critique: The answer omits the first step of the process.

critique: The answer omits the first step of the booking process.

critique: The answer omits the first step in the booking process which is to select the car type.

question: Summarize what EG Chauffeurs does.

answer: EG Chauffeurs is a London based premier chauffeur company providing professional executive chauffeur services and affordable luxury chauffeur driven cars. They provide a high level of personalized customer service for high-net-worth individuals, executives in large corporations, and VIP's. They work very closely with a number of private charter operators companies delivering an unparalleled chauffeur service in London and UK Wide.

critique: The answer should mention the services offered.

critique: Add UK-wide to the end of "private charter operators companies"

critique: The answer should mention the services they offer.

critique: The answer should mention their airport services.

critique: The answer should mention the services they provide.

critique: The answer fails to mention that EG Chauffeurs is available for business travel, sports and corporate events, evening hire, or private airport transfers.

question: Summarize the services EG Chauffeurs offers.

answer: EG Chauffeurs offer private and business airport transfers, individual airport transfers, and escorted transfers to any event in the south of England. They also provide airport chauffeur transfers and Meet & Greet airport chauffeur services. Additionally, they offer private chauffeur car hire and corporate chauffeur car hire with an executive driver. They have a fleet of luxury cars and the most vetted professional executive chauffeurs, who have been chosen to deliver outstanding customer service.

critique: "They also provide airport chauffeur transfers and Meet & Greet airport chauffeur services." - this sentence is redundant and should be deleted.

critique: The answer should mention the services that are not related to airport transfers.

critique: "escorted transfers to" - should just be "escorted transfers" to make it flow better

critique: The answer should mention their fleet of cars.

critique: The answer should mention the luxury car hire.

critique: The answer should mention the chauffeur services.

critique: The answer should mention the services they offer.

critique: The answer should mention the services that are not airport-related.

text: "Airport chauffeur transfers" is mentioned twice. One mention should be omitted.


split: train

text:
[Mrs Charles Willing of Philadelphia was painted by Robert Feke in 1746 wearing a gown of English silk damask woven to a surviving 1743 design by Anna Maria Garthwaite.[1]] ANNA MARIA GARTHWAITE (b. Harston, Leicestershire, 14 March 1688[2] – October 1763) was an English textile designer known for creating vivid floral designs for silk fabrics hand-woven in Spitalfields near London in the mid-18th century. Garthwaite was acknowledged as one of the premiere English designers of her day. Many of her original designs in watercolours have survived, and silks based on these designs have been identified in portraiture and in costume collections in England and abroad.[3][4]

Life and work

Anna Maria Garthwaite was the daughter of the Reverend Ephraim Garthwaite (1647–1719) of Grantham, Lincolnshire, who was rector of nearby Harston, Leicestershire, at the time of her birth,[5] and his wife Rejoyce Hausted.[6] Anna Maria left Grantham to live in York with her twice-widowed sister Mary from 1726 to 1728[7] They relocated to a house in Princes Street (now Princelet Street)[8] in the silk-weaving district of Spitalfields east of the City of London in 1728, and Anna Maria created over 1000 designs for woven silks there over the next three decades.[9] Some 874 of her original designs in watercolour from the 1720s through 1756 have survived and are now in the collection of the Victoria and Albert Museum.[10] Many of these designs are dated and annotated with weaving instructions and the names of the weavers to whom they were sold. A waistcoat woven to one of Garthwaite's designs in the collection of the Costume Institute of the Metropolitan Museum of Art.

[Meandering floral vines design attributed to Garthwaite, ca 1740.]

Garthwaite's work is closely associated with the mid-18th century fashion for flowered woven silks in the Roccoco style, with its new emphasis on asymmetrical structures and sinuous _C_- and _S_-curves. She adapted the _points rentrés_ technique developed by the French silk designer Jean Revel in the 1730s for representing near-three-dimensional floral patterns through careful shading,[11] and designed large-scale damasks as well as floral brocades. From 1742–43, Garthwaite's work—and English silk design in general—diverged from French styles, favouring clusters of smaller naturalistic flowers in bright colours scattered across a (usually) pale ground. The taste for vividly realistic florals reflects the advances in botanical illustration in Britain at this time, and can be contrasted with French silks of the period which show stylised flowers and more harmonious—if unrealistic—colourations.[12][13][14]

Spitalfields silks were widely exported to Northern Europe and especially to Colonial America,[15] which was prohibited from trading directly with France by Britain's Navigation Acts.[16] Surviving silk skirt panels said to have been owned by Martha Dandridge prior to her marriage to George Washington have been attributed to Garthwaite,[17] and her designs appear in colonial portraits of the period (see painting, above right).

Her will dated 1758 was read 24 October 1763, at Princes Street in the parish of Christ Church.[18] She was buried at Christ Church three days later on 27 October 1763 as 'Anna-Maria Garthwaite' aged 75 of Princes Street.[19]

Assessment and legacy

[Detail of a brocaded design of peonies, lilies, and roses, 1744.] [2 Princelet Street Spitalfields London E1, with plaque] Garthwaite has been called the “pre-eminent silk designer of her period”.[20] Malachy Postlethwayt (c. 1707–1767) in _The Universal Dictionary of Trade and Commerce_ of 1751 listed Garthwaite as one of three designers who had “introduced the Principles of Painting into the loom.”[21]

A Blue Plaque granted by English Heritage in 1998 marks the house at 2 Princelet Street, Spitalfields, E1, where Garthwaite lived and worked.[22]

[1] Baumgarten, Linda: _What Clothes Reveal_, p. 85

[2] This is the date and place given by the _Oxford Dictionary of National Biography_, p. 560; most museums give her birth year as 1690. This genealogical record for Rev. Ephraim Garthwaite gives Anna Maria's baptism date as 14 March 1688/89, which would be 1689 New Style.

[3]

[4] Textile Production in Europe: Silk, 1600–1800, retrieved 26 April 2008.

[5]

[6] Genealogical record for Rev. Ephraim Garthwaite, retrieved 26 April 2008

[7] Rothstein, Natalie: _Woven Textile Design in Britain 1750 to 1850_, p.111

[8] [https://query.nytimes.com/gst/fullpage.html?res=9C0CE7DD1431F935A1575BC0A966958260&sec=&spon=&pagewanted=all Deitz, Paula: “Discovered Along the Flowered-Silk Road”, _New York Times_ 26 August 1990], retrieved 25 April 2008

[9]

[10] Metropolitan Museum of Art Timeline of Art History, retrieved 25 April 2008

[11] Rothstein, Natalie: “The Elegant Art of Woven Silk”. In _An Elegant Art_, p. 83-85

[12] Rothstein, Natalie: “Silk in the Early Modern Period”. In David Jenkins, ed.: _The Cambridge History of Western Textiles_ p. 554-555

[13] Browne, _Silk Designs of the 18th Century_, p. 8

[14] Kraak, Deborah E.: “Eighteenth-century English floral silks.” In _The Magazine Antiques_ 1 June 1998, retrieved 26 April 2008

[15]

[16] Baumgarten, Linda: _What Clothes Reveal_, p. 84

[17]

[18] _Oxford Dictionary of National Biography_, p. 560-561.

[19] ''London Metropolitan Archives, Christ Church, Spitalfields, Register of burials, Mary 1748 – Sep 1764, P93/CTC1, Item 044.

[20] Thunder, Moira: “Improving Design for Woven Silks”, _Journal of Design History_ 17(1):5–27, 2004, accessed online at Oxford Journals, retrieved 26 April 2008

[21] Cited at Albany Institute of History and Art , retrieved 25 April 2008

[22] Blue Plaques at English Heritage, retrieved 26 April 2008

title: Anna Maria Garthwaite

question: Summarize Garthwaite's signature style.

answer: Garthwaite was an English textile designer known for creating designs that depicted bright and vivid floral patterns, with an emphasis on asymmetrical structures and sinuous curves. In the 1720s, she began to diverge from French silks that preferred more harmonious-looking designs and began favoring smaller naturalistic flowers scattered across a pale background.

critique: Garthwaite's style is already described in the text. The answer can be written more simply.

critique: Garthwaite's style is not only floral patterns. It is floral patterns in the Roccoco style.

critique: "Garthwaite was an English textile designer known for creating designs that depicted bright and vivid floral patterns, with an emphasis on asymmetrical structures and sinuous curves." - this is redundant and can be removed.

critique: The response is missing Garthwaite's signature style.

critique: The use of the term "naturalistic" is unclear. It should be replaced with "realistic"

critique: The answer should mention Garthwaite's use of the "points rentrés" technique.

critique: Lack of necessary inclusion of detail to describe Garthwaite's style.

critique: The added mark at the end of the response does not aid in explaining Garthwaite's style. Thus, it should be omitted for the sake of flow.

critique: Her signature style could be described through her preferred use of sinuous curves and asymmetrical structures.

critique: "1720s" - add "s" to "1720s" for a more grammatical sentence

critique: "Garthwaite was an English textile designer known for creating designs that depicted bright and vivid floral patterns, with an emphasis on asymmetrical structures and sinuous curves. In the 1720s, she began to diverge from French silks that preferred more harmonious-looking designs and began favoring smaller naturalistic flowers scattered across a pale background." - this is inaccurate and should be omitted. The response should only mention Garthwaite's signature style.

question: What does the text say about how to make sinuous C- and S-shaped floral patterns?

answer: No answer

critique: There is information in the article about Garthwaite's adaptation of the point renter technique.

critique: The answer is not relevant to the question.

critique: No answer is given, but it is implied that Garthwaite developed the technique of representing near-three-dimensional floral patterns through careful shading.

critique: The answer is not relevant because it misses to mention that Garthwaite adapted the points rentrées technique developed by the French silk designer Jean Revel in the 1730s for representing near-three-dimensional floral patterns through careful shading.

critique: The given response is not related to the question.

critique: The response's lacks an accurate response pertaining to the topic of the question.

critique: The answer could be inferred by the reader from the passage.


text:
We offer career programs in Canada’s most in-demand industries, including tech, health, and business. Bow Valley College is your best choice for innovative, hands-on education that will help you get a job.

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Education changes your tomorrow. You need to know what supports and services you can access today. We provide hundreds of different ways to ensure you succeed:

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We know you can achieve anything with the right support – we’ve got you covered. Find out more about our Learner Success Services.

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Find everything you need to build a bright career. Exclusive programs. Relevant Skills. Flexible Options.

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A career in health and wellness is more than a job. It means choosing a future of caring. You'll have the power to change lives and make a real difference. Hands-on training and real-world practical experience prepare you for a career in hospitals, pharmacies, clinics and more. At the School of Health and Wellness, you'll build a healthy career and a healthier Alberta.

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From Canmore to Strathmore, our Regional Stewardship program offers you the chance to learn close to home. Get the benefits of a city college... without a city commute.

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question: How is a career in Health and Wellness advertised in this article?

answer: A career in Health and Wellness offers you the chance to change lives and make a difference, according to the article.

critique: The answer should mention that the article also mentions that it's more than a job.

critique: The answer should mention the hands-on training and real-world practical experience, as well as the variety of jobs available.

critique: The answer could include more detail about what a career in Health and Wellness entails.

critique: The answer should mention the specific programs offered.

question: Which target audience is this article best for?

answer: This article is best for people who are interested in learning more about Bow Valley College.

critique: It is omitted that the target audience is also for people interested in learning more about the different programs and services offered by the college.

critique: It is not stated that the article is best for people who are interested in learning more about Bow Valley College.

question: Describe some of the facilities offered at Bow Valley College.

answer: Some of the facilities offered at Bow Valley College are modern classrooms, fresh food, a medical center, and child care.

critique: The answer should mention the Iniikokaan Centre.

critique: The answer omits the facilities located at the Iniikokaan Centre and the downtown campus' east village.

critique: The answer could mention the Iniikokaan Centre.

critique: The answer should mention the other facilities.

critique: The answer should mention the other facilities offered.


text:
WILLIAM YOUMANS is an American Broadway, film and television actor and singer, best known for originating the roles of John Jacob Astor in _Titanic: the Musical_, and Doctor Dillamond in _Wicked_.

Life and career

Youmans was born into a performing family; his great-uncle was Broadway composer Vincent Youmans. William made his Broadway debut in 1981, playing Leo Hubbard in _The Little Foxes_. He performed numerous roles in the original production of _Big River_ and sang the role of Alcindoro in the Baz Luhrmann-directed revival of _La Bohème_. He also portrayed Sir Richard Bingham in _The Pirate Queen_ and performed in the play _The Farnsworth Invention_.

In 1997 he originated the role of John Jacob Astor in _Titanic,_ and 2003, originated the role of Doctor Dillamond in _Wicked_. After a San Francisco tryout, in which the role was played by John Horton, the original Broadway production opened October 30, 2003, starring Kristin Chenoweth and Idina Menzel. Youmans left the role of July 24, 2005, and later reprised the role in the Chicago production for a limited engagement from December 12, 2006 through January 14, 2007. He can be heard on the show's original Broadway cast recording.

Off-Broadway

In 1986 he was in the Off Broadway play THE WIDOW CLAIRE by Horton Foote He played a few different roles in the musical _Coraline_.

Film and television

Youmans appeared in the films _Mrs. Soffel_, _Compromising Positions_, _Nadine_, _Fresh Horses_ and the independent film _Last Supper_.

Youmans' first television appearance was a made-for-television movie of a Mark Twain story, _The Private History of a Campaign That Failed_. He has since appeared on episodes of _The Equalizer_, _Spenser: For Hire_, _NYPD Blue_, _Law & Order_ and _Law & Order: Special Victims Unit_.

Filmography

  Year   Title                                 Role                  Notes
  ------ ------------------------------------- --------------------- -------
  1984   _Mrs. Soffel_                         Guard George Koslow
  1985   _Compromising Positions_              Motel clerk
  1987   _Nadine_                              Boyd
  1988   _Fresh Horses_                        Gary
  1992   _Last Supper_                         The writer's son
  2011   _Extremely Loud & Incredibly Close_   Bartender
  2014   _Birdman_                             Bartender (Tommy)
  2014   _A Midsummer Night's Dream_           Robin Starveling

title: William Youmans

question: What influenced William Youmans to take up performing as a career?

answer: His family was a performing family. His great-uncle was a Broadway composer.

critique: The answer is a bit vague. It should mention that his family was a performing family.

critique: Doesn't state that his great-uncle was Vincent Youmans.

critique: To give substance to this rather vague statement, it would be helpful to supplement it with more detail regarding the names of family members who performed.

critique: The answer should include that his family performed in theatre.

critique: It is omitted that his family was a performing family.

critique: The answer should mention that his family was a performing family.

question: Why did it take Youmans so long to appear on television shows?

answer: The article doesn't say.

critique: The information is available in the text.

critique: It is omitted that he made his television debut in a made-for-television movie of a Mark Twain story.

critique: The article does say, but it is not in the question.

critique: The article doesn't say, but it does say that his first appearance was in a Mark Twain story.


text:
INFO: I'm writing this as a school assignment for my english literature class. I'm wondering what you guys think about it. Please come with feedback about how I can improve it, grammar mistakes etc, as english is not my first language. It's based around the poem "Haul away" by Mark Knopfler. It's probably bad, but I did my best!

The Captain’s Wife

We all knew what happened, but no-one spoke a word about it. Women on board a ship brought bad luck people used to say. I don’t know if that was true for the captain’s wife but she certainly did not lift the spirits. They had been fighting non-stop for a month before she left, the captain and the captain’s wife. He tried his best to brush it off, but we could all see the anger and the sadness in his eyes.  She preferred to avoid the curious glares of the crew, staying locked up in her chambers after they had clashed.  What they were fighting about was hard to tell, it seemed to change every night. I guess, when two people who should not have been married in the first place is stuck together everything becomes something to fight over. When she left, no-one spoke a word about her.

The captain was an old man. He had become a rich man as well. He had been steering his trusty ship safely across the seas for four decades now. «A smooth sea never made a skillful sailor» he always said to the young boys. And he had been through many a stormful night over the years. But his wife was sadly a storm he could not handle. When she left, no-one spoke a word about her.

Before we left port he had been full of life. Freshly wed, a big cargo loaded up with promise of a fine payment for safe transportation.  He loved his crew like they were his own sons, and everyone aboard threated him with the utmost respect and kindness. Therefore, when she left, no-one spoke a word about her.

One could hardly blame her for fighting with the man though. The captain was not suited for a social life, at least off the ship. A man who had been so long at sea as the captain had not much to talk about other than, well, seafaring. The captain’s wife cared little for seafaring. One could hardly blame her though. She wanted to settle down somewhere, build a house and have children. The captain wanted the same as well, it seemed, but deep down we all knew he wanted to remain at sea.

It was a windless night when she left. The captain and the captain’s wife were fighting again. Over what was hard to tell, but everyone could hear the shouting. The crew had grown accustomed to it, so it was no wonder everyone let out a sigh of relief when the fighting came to a halt and it became quiet. Suddenly a loud splash was heard, and the captain appeared before the crew soon after. You could see in his eyes that he was upset, but made no effort to speak. He looked at his crew, at his ship, at the sea, before retreating to his chambers. No-one spoke a word about her.

No-one would say a word that day. Not before the day after quiet talking could be heard around the ship, but no-one dared make mention of the captain’s wife. The rest of the journey went on as normal, and when they arrived in port they unloaded the cargo, restocked and started on the journey back. All but the captain, who chose to only send his golden wedding ring back home.

Thanks you for reading :)

title: The captain's wife (Need feedback)

question: What does the story say about the captain's wife?

answer: The captain's wife is set to fight and argue with the captain incessantly almost every night. What they were fighting about was hard to tell. It seemed to change every night. She finally left the ship, though nobody spoke a word about her after that.

critique: The answer should mention that the wife wanted to settle down and have children, while the captain wanted to stay at sea.

critique: The answer should mention that the wife wanted to settle down and have kids.

critique: It's omitted that the captain's wife wanted to settle down, build a house, and have children. She cared little for seafaring.

critique: The answer should mention that the captain's wife wanted to settle down and have children, while the captain wanted to remain at sea.

critique: The response should divide the information it has into paragraphs for coherency.

critique: The answer should mention that the wife wanted to settle down and have children, while the captain wanted to remain at sea.

critique: The response should include that the captain's wife wanted to settle down and have children, while the captain wanted to remain at sea.

text: It should be mentioned that the captain ultimately winds up killing his wife.

category: coverage

refinement: The captain's wife is set to fight and argue with the captain incessantly almost every night. What they were fighting about was hard to tell. It seemed to change every night. She finally left the ship, though nobody spoke a word about her after that.

question: What does the story say about what the couple fought about?

answer: No answer

critique: The response misses to provide an answer to the task.

critique: The answer is empty. It should be rewritten to reflect the text.

critique: The answer could mention that the fights were about settling down and having children.


text:
by HPR Contributor | .(JavaScript must be enabled to view this email address) | Culture | July 13th, 2016

[]

By Ben Haugmo

In the world of Innistrad, the state of affairs has always been grim. Human settlements struggle to hold back an ever-present darkness in the form of vampires, werewolves, ghosts, ghouls, and demons. The only hope against these supernatural threats has been Innistrad’s guardian, the archangel Avacyn. At least things couldn’t be any worse, right? Out of the frying pan…

This week marks the prerelease for the Magic: The Gathering trading card game’s new set, Eldritch Moon. Paradox Comics-N-Cards will be hosting events all weekend, allowing players to get an early taste of the new cards that will be officially released next weekend, and an early taste of how things have gone from bad to worse for Innistrad.

Richard Early opened Paradox the summer that Magic was first published, back in 1993. He started running Magic game nights and tournaments soon after trying the game out for himself, and he believes prereleases are a good way for both the Magic old guard and new players to come together and enjoy the game.

“It's perfect,” said Early, “whether you are a first-time player or a 20-year veteran, because each person receives a unique kit containing booster packs of Eldritch Moon and a promo card exclusive to the event.

“Normally in Magic, players can use their collections to build decks and participate in tournaments, but at a prerelease, everyone is limited to the contents of those kits, leveling the playing field for all involved as well as challenging everyone's imagination and Creativity.”

Prerelease events are also low on competition. “It's not about winning and losing,” said Early, “it's about playing cards for the sake of playing cards and celebrating the gaming hobby. There are prizes offered for wins, but there is no ultimate prize so the competition level is low and instead it's all about the experience.”

The story of Magic: The Gathering centers around interdimensional-traveling magic users called Planeswalkers. In playing the game, each player takes the role of a rival Planeswalker battling for supremacy over different worlds, summoning creatures and casting spells to achieve victory.

The original Innistrad set premiered in 2011, introducing players to a world designed specifically with classic horror tropes in mind. Werewolves, vampires, and all flavors of zombie ran rampant, and the setting proved to be popular enough to merit a return.

Shadows Over Innistrad, released in April of this year, brought players back to Innistrad to find the world afflicted by a growing madness. Even the world’s guardian, Avacyn, was affected, plummeting the powerful archangel into a murderous frenzy.

With the coming of Eldritch Moon, Avacyn has been destroyed, lowering Innistrad’s defenses and allowing the source of the madness to arrive on Innistrad and wreak new horrors.

The Eldrazi titan Emrakul, a world-devouring cosmic entity, has been lured to Innistrad to fill the void left in Avacyn’s absence.

With new horrors come new mechanical innovations. Emrakul has the power to warp living things into lesser Eldrazi spawn, twisted servitors and extensions of her will. This is represented on the new cards in several ways, the most dramatic of which is the new meld mechanic. When the original Innistrad set was first released, it introduced double-faced cards to Magic. A double-faced card could be put into play and then flipped over when certain conditions were met, “transforming” it into something new. The best example of this are the werewolf cards that were prevalent in the set, switching from human to beast and back again, depending on how the game was played. Meld adds a new twist to double-faced cards, letting two different cards “merge together” when they’re flipped over. The two original cards are flipped, and then placed together to form the larger melded card.

The unlucky victims of this aspect of Emrakul’s influence range from two of Avacyn’s angelic subordinates to the entire population of a small village.

The introduction of meld means that it could appear in other Magic sets, allowing the theme of two opposites merging to represent themes other than Emrakul’s gruesome transformations.

“Meld is an awesome idea,” said Early. “It's an exciting way to combine cards that I think will really excite players, especially casual fans. It give the game the opportunity to create more powerful monsters and spells than we've ever seen bycombining cards you've already played. The idea of different characters combining into one powerful construct is common throughout pop culture animation and movies and I think will resonate really well.”

Paradox will be running both sealed-deck tournaments, where players construct cards from random booster packs and play one-on- one, and “two-headed giant” sealed tournaments in which teams consisting of two players can face off.

IF YOU GO

Eldritch Moon Prerelease

Paradox Comics-N-Cards, 26 Roberts St, Fargo

Saturday, July 16

12:01am - Sealed Deck 1

3:00am - Sealed Deck 2

12:00pm - Sealed Deck 3

6:00pm - 2-Headed Giant Sealed 1

Sunday, Jul 17

12:00pm - Sealed Deck 4

6:00pm - 2-Headed Giant Sealed 2

INFO: 701-239- 9505

question: Summarize everything relating to Richard Early.

answer: Richard Early is the owner of Paradox Comics-N-Cards. He has been running Magic game nights since 1993. He says the prerelease is good for both newbies and people that have been playing the game for years. The prerelease event is also low on competition, and Instead it's all about the experience. The story of Magic: The Gathering centers around interdimensional-traveling magic users called Planeswalkers.

critique: "Richard Early is the owner of Paradox Comics-N-Cards. He has been running Magic game nights since 1993. He says the prerelease is good for both newbies and people that have been playing the game for years. The prerelease event is also low on competition, and Instead it's all about the experience. The story of Magic: The Gathering centers around interdimensional-traveling magic users called Planeswalkers." - this should be put in a proper sentence to improve flow.

critique: The answer should mention that Early is excited about the new cards.

critique: The answer should mention that Early started running Magic game nights and tournaments soon after trying the game out for himself.

critique: The story of Magic: The Gathering is irrelevant.

critique: The answer should mention that Early opened Paradox the summer that Magic was first published.

question: Summarize the main news event.

answer: Paradox Comics-N-Cards is hosting the pre-release of the new set for Magic: The Gathering, Eldritch Moon. They host events online and in-store. The event allows players to try out the new cards and experience the game's lore. The game is about Planeswalkers, characters who travel between parallel dimensions, summoning beasts, casting spells to achieve victory.

critique: "online and in-store" - is spurious information

critique: The answer is not a summary, but a description of the game.

critique: The answer is more about the game than the prerelease event.

critique: The answer should mention the new mechanics.

critique: The answer should mention the setting of the game.

critique: The answer should mention that the game is a card game.

text: The response should not include portions of the article that describe the game itself.

refinement: Paradox Comics-N-Cards is hosting the pre-release of the new set for Magic: The Gathering, Eldritch Moon. They host events online and in-store. The event allows players to try out the new cards and experience the game's lore. The game is about Planeswalkers, characters who travel between parallel dimensions, summoning beasts, casting spells to achieve victory.

question: What does the text say about prerelease events and kits?

answer: No answer

critique: The answer should mention that the kits contain booster packs of Eldritch Moon and a promo card exclusive to the event.

critique: It is omitted that players receive a unique kit containing boosters packs and a promo card exclusive to the event.

critique: It's omitted that the prerelease events are low on competition and that players are limited to the contents of the kits.

critique: The answer should mention that prerelease events are a way for both old and new players to come together and enjoy the game.

question: Summarize the negative information.

answer: Nowhere in the article is there generalized negativity.

critique: The article does mention the negative state of affairs in Innistrad.

critique: The article does not contain a lot of negative information.

critique: The article does mention that the situation on Innistrad has gone from bad to worse.

critique: The article does mention that the world of Innistrad is in a state of despair.

critique: The answer is incorrect. The article does mention negative information.

critique: The article does mention some negative information.

critique: There are a lot of problems on Innistrad. The summary should mention the state of affairs.


text:
_THE BORGIA STICK_ is a 1967 American made-for-television crime drama film starring Don Murray and Inger Stevens. It featured Fritz Weaver, Barry Nelson, Barnard Hughes, Conrad Bain, and Sorrell Booke in supporting roles, and was directed by David Lowell Rich. Shot in New York City, the film was one of the highest-rated events of the 1966–1967 season.[1] The film was the first-ever made-for-TV movie.[2]

The story of a couple trying to break free from a crime syndicate, it was made by Universal Studios.

Plot

A typical suburban couple are actually working for the Mob. Don Murray runs a company manufacturing toys, but in reality he travels the country secretly acquiring companies in order to launder the tremendous profits of The Syndicate. His picture perfect wife, Inger Stevens, is an ex hooker/junkie who was assigned to him for “cover”. When the mob discovers that the FBI is on to him, they become expendable. Tom is given cash from “The Company” (Syndicate), which he distributes to various clean businesses. Hearing that the head of a company has died, he realizes they're ripe to acquire. He meets with several bank executives introducing himself as “Mr. Bennet with one t” and calling attention to his walking stick, its top is an antique from the Borgia Family of Italy, hence the movie's title. He gives them cash, which they put in trust accounts that they control. He then meets with his boss, Alton and a lawyer to review his plan: the bankers will use the money he's given them to buy stock in a company owned by “The Company”. With that infusing of cash, the company can now buy the other company “The Company” wants. The lawyer gives his blessing and leaves, and Alton derides Tom for his modest project and how long his next one will take. As Alton says, “The Company” gives him three million a day and expects him to make it clean. Tom asks why he doesn't quit, if the work is so hard. This scares Alton as you don't just quit the company. Yet, he says he's not worried about dying. As he puts it, this is the age of science, they don't blow up people in cars anymore.

Later, Tom is accosted by a stranger who calls him by his real name. This worries him, especially when his neighbor and best friend Hal calls him by the name while drunk at a party. Tom goes to his boss at “The Company” for help. They decide to move him, but Eve won't be going with him. Their marriage is a sham anyway, so why should he or she care? He agrees, and Eve is asked if she wants to stay with Tom. She says no and is placed in a temporary job: hooker at a bar owned by “The Company”. Not only is she to sleep with the clients, but also order expensive drinks and then actually be served something cheap. When she can't follow through on her first assignment, she's scolded for not telling the truth about wanting to stay with Tom, and she's sent back to him. At home, Hal and his FBI partner listen to tapes of recordings of Tom and Eve. Hal moved his family across the country to live next door to them and bugged the whole house in hopes of getting information on “The Company.” When his son stumbles across the tapes, he recognizes the voices and turns the volume up. Tom hears it, Hal sees him, they have a confrontation, and Tom and Eve flee to his boss.

They're taken to a nursing home run by “The Company.” Walking on the patio, they encounter one of the bank executives Tom worked with, and his wife. She tells them he came here for an ear operation and will be fine. His head is all bandaged up and he gazes off blankly. Then Tom sees the man who called him by his real name and figures everything out. “The Company” must have found out Hal was FBI and wanted to test Tom and Eve to see if they were working with him and where their loyalties lay. They're told that Dr. Willoughby will perform plastic surgery on them, but Tom suspects they'll end up like the executive - lobotomized! Just as his boss had said, “The Company” doesn't blow up people in cars anymore, it's the age of science. Once they're mental vegetables, they'll be cared for in the nursing home, which will collect on their health insurance. Escaping the building, a chase ensues that ends in a junkyard. Hal shows up with a machinegun and riddles both of them with bullets. Later, a man with a smoking pipe sticking up out of his breast pocket, which he turns toward the bodies, watches as Tom and Eve are loaded in a van. As it turns out, it's all a ruse, the bullets were blanks, and the two are being taken to a safe house where they'll be debriefed about everything they know about “The Company.” Hal is with them and Tom jokingly laments not be bothered anymore for a cup of sugar.

Cast

-   Don Murray as Tom Harrison
-   Inger Stevens as Eve Harrison
-   Barry Nelson as Hal Carter
-   Fritz Weaver as Anderson
-   Sorrell Booke as Alton
-   Marc Connelly as Davenport
-   Kathleen Maguire as Ruth
-   Dana Elcar as Craigmeyer
-   Barnard Hughes as Doctor Helm
-   Frederick Rolf as Rigley
-   Hugh Franklin as Willoughby
-   Ralph Waite as Man from Toledo
-   John Randolph as Smith

[1] The Borgia Stick (1967) - Synopsis - MSN Movies

[2] The Borgia Stick (1967) (TV)

title: The Borgia Stick

question: What does the text say about how to make movies for TV?

answer: No answer

critique: There is no answer because there is no answer in the text.

critique: There is no relevant answer to the question in the text.

question: What does the text say about The Borgia Stick?

answer: The Borgia Stick is a 1967 American made-for-television crime drama film starring Don Murray and Inger Stevens. It was directed by David Lowell Rich. The film was one of the highest-rated events of the 1966-1967 season. The film was the first-ever made-for-TV movie. The story of a couple trying to break free from a crime syndicate, it was made by Universal Studios.

critique: The answer should mention the title of the film.

critique: The film was directed by David Lowell Rich.

critique: The film's plot is irrelevant to the question.

critique: The answer should mention the walking stick.

critique: "The story of a couple trying to break free from a crime syndicate, it was made by Universal Studios." The film's plot is not relevant to the question.

question: What does the text say about Tom and Eve?

answer: Tom and Eve are a typical suburban couple who are actually working for the Mob. Tom runs a company manufacturing toys, but in reality he travels the country secretly acquiring companies in order to launder the tremendous profits of The Syndicate. His picture perfect wife, Inger Stevens, is an ex hooker/junkie who was assigned to him for "cover". When the mob discovers that the FBI is on to him, they become expendable. Tom is given cash from "The Company" (Syndicate), which he distributes to various clean businesses.

critique: The answer should mention that Tom and Eve are exposed and killed.

critique: The answer should mention that Tom and Eve are exposed and flee to his boss, who turns out to be an FBI agent.

critique: The response is missing the part where Tom and Eve are placed in a nursing home that is run by "The Company".

critique: The answer should mention their confrontation with Hal.

critique: The answer omits that Tom and Eve are placed in a nursing home by "The Company" and escape.

critique: Tom and Eve's actual jobs and their roles in the Syndicate are not discussed

text: "Tom is given cash from "The Company" (Syndicate), which he distributes to various clean businesses." - this is irrelevant and should be removed.

category: coherence

question: What does the text say about Hal?

answer: Hal is Tom's neighbor and best friend. He is an FBI agent who lived next door to Tom and Eve in hopes of getting information on The Company. Hal's son stumbles across tapes of Tom and Eve, which causes a confrontation and Tom and Eve flee to his boss. Hal shows up with a machine gun and shoots Tom and Eve. He actually shoots them with blanks, and the two are taken to a safe house to be debriefed about everything they know about The Company.

critique: Hal's son does not stumble across tapes of Tom and Eve. This is Hal himself.

critique: The response contains some inaccurate information.

critique: Hal's son doesn't stumble across the tapes, he recognizes the voices and turns up the volume.

critique: Hal's son doesn't stumble across the tapes. He recognizes the voices on the tapes.

critique: The answer infers that Hal shoots Tom and Eve.


text:
It was the last day of school... I think it was 1979. All my friends were outside playing, we had built a ramp on the dirt street out of a cinder block and a piece of wood and were diligently doing our best to make sure we broke our legs on the first day of summer break. We would line up at the end of the street on our bicycles, and get as much speed as our legs could muster before hitting the ramp with a very unsatisfying thump, launching us a whole 8 inches into the air.

Inevitably, every now and again, a car would come up the dusty dirt road, one of the kids would yell at the top of his lungs CAR!!!! and everybody would grab all their stuff and drag it to the side of the road, even the cinder block and board. As soon as the offending car would pass... back to it we went.
One of the passing cars belonged to the lady who lived two trailers down from me. I think her name was Linda, she lived with another lady, I forgot her name, but everybody knew they were gay. Looking back I find it hard to believe that gay people living in the trailer park were so well tolerated in the 1970's especially after living in today's political climate. None the less, Linda was gay, she had a gay lover, and they lived two trailers down, and that was pretty much the way it was.

Linda waved at me as she got out of her car. She was some kind of teacher, but she didn't teach at any school we went to. She taught at some sort of special school. I never understood if it was special because rich kids went there, or if it was special because short bus kids went there. Everybody liked the gay couple, even though lots of kids would make fun of them behind their backs in the regular crude way that 12 year old boys do.
I waved back.  I liked Linda, she was always nice to me. It was then that I realized she was waving me over.  I set my bike down and walked over to Linda's driveway while all my friends made teasing rude mumbles low enough that only I could hear,  and made licking signs with their fingers and tongues.
Linda was busy unloading lots of stuff from her car, I guess it was all her teaching stuff, or whatever stuff it is that teachers need. "Do you collect stamps?" she asked me. Do I collect stamps? I thought. What kind of question is that? It's 1979, who the hell collects stamps anymore. Then she pulled out this big book. It was brown leather with fancy gold designs all over it, and it was dry and cracking on the edges and corners.
"I found this in my classroom, somebody must have left it there." And she handed to me.
"You're giving it to me"? I asked. "Yes", "For free?", "Yes".
I turned and ran back like an escaped convict, I had this big glorious book held tight to my chest. All my friends are yelling "What do you got?"
"It's Stamps!" I yelled.
Glorious, glorious stamps.

I ran into my trailer, pushed past my mom who was cooking dinner, into my room and slammed the door. I sat on the floor and gingerly placed the book between my knees in the shag carpet. I opened it and began flipping through the pages.
This wasn't just a stamp collection. Sure there were lots of stamps. LOTS of stamps. Individual stamps, sheets of stamps, rows and rows of stamps. All of them old. All of them from somewhere else. Some countries I could make the names out like "Nederland". But most everything was in languages I didn't know. There were lots of stamps with pictures of people on them, People I have never seen before.
It didn't take me long to figure out that they were all from Europe. There were stamps from CCCP, Italy, and lots of other places that I didn't recognize. But mostly, there seemed to be stamps from Deutschland,  a lot of which did have somebody's picture on them I recognized. Adolph Hitler.
There were sheets of Hitler stamps, never torn apart. All different kinds. Some of him in his uniform, some just his face, and lots with other stuff, like fancy buildings in Germany.
This was cool, this was something none of my friends had. All of the sudden that kid with the cool Schwinn bike wasn't as cool as me.

But what was most interesting about this book, wasn't the stamps. It was what was in the back of the book.  Letters and Mementos. This was the interesting stuff. There were a half dozen or so letters, carefully folded and in their envelopes. Envelopes that struck me as quite small, the paper too. I grew up in a world where all sheets of paper were 8.5X11. This was all much smaller than that. And pretty old looking. They were all to the same woman. I honestly don't remember her name,  I wish I did. None of them were in English, so I never was able to read a single word. They were also all hand written, quite badly I might add.
There was also a fancy linen napkin, carefully folded and wrapped in tissue paper. The corner of the napkin was embroidered with some kind of insignia of what I presumed was some hotel. The napkin had blood in it. Old brown blood. It was stained, and some had flaked off. When I opened it up, I had to be careful to preserve the flakes in the folds of the napkin. Looking back on it, I am not so sure it was a napkin, it was most likely a handkerchief with a military insignia in the corner.

I used to keep my treasure in the top of my special closet. I had a closet in my room that contained the hot water heater. There was a little cavity up in the top of the closet that nobody knew about but me. That cavity had been home to bad report cards, notes from my teachers, nudie magazines, and the holy grail... my stamp collection.
I was the funny little curator. 13 years old, with my thick horn rimmed glasses, always sweaty and dirty. I would occasionally pull that book down, unfold the letters, and try to read them again and again...
I decided that since I was now a stamp collector, I should add to the collection. One year  I rode my bike to the post office and bought the commemorative Christmas stamp set  and put them in the book. Yeah, I was now adding to the treasure!
But as things go, I lost interest in the book, and it spent month after month, year after year in the little cavity at the top of the hot water heater closet. Only coming down for special occasions, to show some new kid in the neighborhood, or to show to the occasional teacher.

When I got to High School, I joined the band. I played baritone. Since the baritone was a big instrument, the school owned them, and issued one to me at the beginning of the year. I carried that case back and forth with me to school every week of the year. The baritone was big and heavy, and I got quite adept at stashing my other things in the case with the instrument and carrying it all as a package.
And that is what happened to the book. It was the last day of school and I had been showing the book off to some kids at school and stashed it in the baritone case. Forgetting it was there, I put the baritone back in its designated slot in the back of the band room. It was on the bus ride home that I realized what I did, but it was the last day of school before summer. I told myself that I would go get it back on the first day of the next year. But by the time summer break of 1982 ended, I had forgotten about the book.
I always wonder if my old band director found it, and took it home and gave it to one of his neighbor kids... easy come, easy go.

title: The Book

question: Summarize everything relating to sexuality.

answer: Only one gender isn't addressed, the lesbianism in Linda and her lover. The author of the story asks Linda if she collects stamps - an outdated method of reading another person's gender. Linda hands the author (whose gender isn't stated) a coin that looks to be a Nazi-themed collectable. The story mentions blood stained in folds of napkin, which is later implied to be from a handkerchief given to her by her ex. The author brings up a kiddie porn stash, so it's implied that the author has masculinty fetishes, but it could also be bullying.

critique: This is not relevant to the question and should be omitted.

critique: There is no mention of child pornography. 'fetishes' is not the correct word in this answer

critique: The answer is not relevant to the question.

critique: Everything from "Only one gender isn't addressed, the lesbianism in Linda" to "It was on the bus ride home that I realized what I did, but it was the last day of school before summer. I told myself that I would go get it back on the first day of the next year. But by the time summer break of 1982 ended, I had forgotten about the book." is irrelevant to the question.

critique: The story doesn't mention a kiddie porn stash.

critique: The gender of the narrator is not mentioned (neither are his/her sexual orientations)

critique: The response is incorrect and needs to be re-written from the start.

critique: The book does not contain any kiddie porn stash.

critique: The author doesn't ask Linda if she collects stamps. He asks her if he collects stamps.

critique: Everything in the response is not relevant to the question.

question: Summarize everything relating to education.

answer: Linda teaches at a special school that only caters to rich kids. When the narrator gets out of school with his friends, an awkward interaction with Linda occurs, followed by her giving him a book full of stamps. He mentions that he goes on to High School and enrolls in the music program.

critique: The answer omits the fact that the narrator is a student.

critique: It is inaccurate that Linda teaches at a special school that only caters to rich kids.

critique: The answer should mention that the narrator is in elementary school.

critique: It misses to mention that all the stamps are from Germany.

critique: The book is not the only thing relating to education in the story.

critique: The narrator's interaction with Linda is not awkward.

critique: While the narrator's interaction with Linda is significant and a part of his educational life, the reason for and being given the stamp collection is more significant. Include the stamp collection in the response as well and omit the interaction with Linda.

critique: The answer omits the narrator's interest in stamps.

critique: The answer should mention that the narrator learns the book is full of Nazi stamps.

critique: The answer is missing the part about the narrator's childhood stamp collection.

critique: The book of stamps is from High School, not college.

critique: The narrator doesn't interact with Linda - she waves at him.

critique: The narrator doesn't mention that he goes on to high school and enrolls in the music program.

critique: Linda teaches at a special school, but it is not only for rich kids.

question: What does the story say about musicianship?

answer: No answer

critique: The story doesn't say anything about musicianship.

critique: There is a mention of the narrator being in a band in high school, where he played the baritone saxophone. This can be seen as evidence of his musicianship.

critique: There is clearly a section on musicianship.

critique: "No answer" is a bit of a misleading answer, as it can be assumed musicianship is implied to be the talent of musicians.

critique: The narrator is a member of the school band.

critique: The answer should give an example of musicianship.

critique: The narrator was in the band. They were a baritone player.

critique: The story does not mention musicianship.

critique: The story mentions the narrator's interest in music and his joining the band.

critique: Doesn't mention the narrator's love for music.

critique: This response does not address the question.

critique: There's an exchange about a performer seeking the narrator for an audition that doesn't happen.

question: What does the story say about the type of kid the narrator is?

answer: The narrator is a hyperactive kid at the age of 12. He lives on a dusty dirt road with other children in a trailer park. The other children make fun of him for his thick-rimmed glasses, but he does not know about it since it is done quietly. Most of the time the narrator tries to be invisible, hiding behind bushes and trees, when he needs to escape from his bullies. He never gets dirty; he is always clean and wears nice, clean clothes. He has a tame baritone as part of the school band. Throughout the story, the narrator is shown to have a vivid imagination.

critique: The narrator is not hyperactive. He is a collector of stamps.

critique: The narrator is not always trying to be invisible.

critique: The narrator is not hiding from bullies; the text does not say he is.

critique: The narrator's imagination is not mentioned in the story.

critique: The narrator is given a stamp collection by Linda and keeps it in the top of his closet.

critique: This is not stated in the story. It is a bit too detailed.

critique: The narrator is a hyperactive kid at the age of 12. He lives on a dusty dirt road with other children in a trailer park. The other children make fun of him for his thick-rimmed glasses, but he does not know about it since it is done quietly. Most of the time the narrator tries to be invisible, hiding behind bushes and trees, when he needs to escape from his bullies. He never gets dirty; he is always clean and wears nice, clean clothes. He has a tame baritone as part of the school band. Throughout the story, the narrator is shown to have a vivid imagination.


text:
GENE GABRIEL (born EUGENE JIMENEZ; August 27, 1970) is a Cuban-American actor and writer most notable for originating the role of “Rodriguez” in Richard Greenberg's award-winning play _Take Me Out_ in London and on Broadway. He is also co-founder of South Florida improv troupe Just The Funny. Most recently he has been recurring on CBS's _Numb3rs_ and NBC's _Days of Our Lives_.

Career

Gabriel began his acting career by writing and starring in a play in the fifth grade. In 1990 he got his first professional gig in a small role in Joseph Vásquez's film _The Bronx War_.[1] His family eventually relocated to Miami and he soon followed. He continued to work in local theatre there appearing in several plays. In 1995 he answered an ad for an improv comedy troupe to be one of their apprentices. The troupe was 'Laughing Gas (improv)'. Gene soon became one of their star apprentices and almost immediately became a company member.

In 1998 he and nine other members co-founded what has now become South Florida's number one comedy improv troupe and training center, Just The Funny.

He starred in director Luis Saumell's award-winning Spanish language short, _Porque_.

He returned to New York in the summer of 1999. He worked with Freestyle Repertory Theatre an improv comedy troupe that also toured the tri-state area performing and educating children in improv as well as performing a weekly adult show. In early 2002 he auditioned for and won the part of Rodriguez an immigrant baseball player who refuses to speak English to his teammates in _Richard Greenberg_'s play _Take Me Out_.[2] The play opened at the Donmar Warehouse in London to rave reviews and then moved on to the Joseph Papp Public Theater in New York. The play transferred to Broadway in early 2003 and won three Tony's including best play for Greenberg and best director for Joe Mantello.

He is thanked in the published version of the play along with fellow cast members James Yaegashi and Robert M. Jimenez.

Gabriel has appeared on the Broadway stage originating the role of “Rodriguez” in _Take Me Out_ and opposite Matthew Broderick, Nathan Lane and Brad Garrett in _The Odd Couple_.[3] He starred in the cult sci-fi thriller _The Ethereal Plane_ [4] and has appeared on TV shows such as _The Sopranos_ as a policeman, _Walker, Texas Ranger_ as a sadistic murderer, _Guiding Light_ as a mobster and _Law & Order: Criminal Intent_ as Detective Alvarez. He has had recurring roles on the CBS show _Numb3rs_ as a Bomb Squad technician, _One Life to Live_ as Father Ignacio and _Days of Our Lives_ as Sgt. Ceron.,[5][6]

Currently he is the creator of the series, _Montecito Heights_,[7] and is the writer of an action comedy film entitled _Above the Title_.

Personal life

Gabriel met his current wife, dancer/choreographer Stacey Tookey, on a blind date several years ago in New York City. The two married in October 2005.[8] They have a daughter born in January 2015.[9]

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[4] https://www.imdb.com/title/tt0436283/

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title: Gene Gabriel

question: Summarize Gene Gabriel's acting career between the 1990s and 2000s.

answer: In 1990, Gabriel began his acting career by starring in a play at the fifth grade. He had his first professional gig that same year when he appeared in a small role in a film. His family then moved to Miami, and he starred in several local theater plays. In 1995, he answered an ad for an improv comedy troupe to be one of their apprentices. In 1998, he and nine other members founded the South Florida comedy improv troupe, Just The Funny. In 1999, Gabriel returned to New York, and he worked with Freestyle Repertory Theatre, an improv comedy troupe that toured the tri-state area and performed weekly shows. In 2002, he auditioned for Richard Greenberg's play, Take  Me Out, where he was cast as Rodriguez, an immigrant baseball player who refuses to speak English. Gabriel has appeared on the Broadway stage acting as Rodriguez. Additionally, he has appeared in the Scomposdrama, The Ethereal Plane, The Sopranos, Walker, Texas Ranger, Guiding Light, and Law & Order: Criminal Intent.

critique: "In 1990, Gabriel began his acting career by starring in a play at the fifth grade." - this is incorrect. Gabriel started acting in the fifth grade, but he didn't star in a play.

critique: "The Sopranos, Walker, Texas Ranger, and Guiding Light" is irrelevant

critique: "In 1990, Gabriel began his acting career by starring in a play at the fifth grade. He had his first professional gig that same year when he appeared in a small role in a film. His family then moved to Miami, and he starred in several local theater plays. In 1995, he answered an ad for an improv comedy troupe to be one of their apprentices. In 1998, he and nine other members founded the South Florida comedy improv troupe, Just The Funny. In 1999, Gabriel returned to New York, and he worked with Freestyle Repertory Theatre, an improv comedy troupe that toured the tri-state area and performed weekly shows. In 2002, he auditioned for Richard Greenberg's play, Take  Me Out, where he was cast as Rodriguez, an immigrant baseball player who refuses to speak English. Gabriel has appeared on the Broadway stage acting as Rodriguez. Additionally, he has appeared in the Scomposdrama, The Ethereal Plane, The Sopranos, Walker, Texas Ranger, Guiding Light, and Law & Order: Criminal Intent." - this is irrelevant and should be removed.

critique: The answer should be in chronological order.


text:
	**I was a god once…** or so this was my selfishness and ignorance that will lead to my untimely death.

	The hubris of men may come to a point of confusion, unable to distinguish reality from fantasy. This is my reality. I am not a god in the traditional sense, but a mortal man that assumed the role of a god. For a man to think that he is a god and that the follies of his kind no longer apply to himself are what caused me to be cast from the heavens. This is how my story begins.

	No common man has feasted in the presence of the gods, nor has any common man ever lain with a goddess. Such are the dreams of men. How I was able to meet the goddess of love and beauty, Aphrodite herself, is still a mystery to me. In the fleeting spring of years gone by, this goddess shone her light upon me, and after our first embrace we quickly became infatuated with each other. Her, the goddess of love, and I, a common, mortal man. For reasons I will never know, she would whisk me away to experience what I never could have imagined. Soon I would lose grasp of the reality of who I really was.

	Days turned into months, and those into years, as I would grow ever more proud and take more of my blessings for granted. Soon I would mistake myself for somebody other than a selfish, arrogant fool. I would come to expect the love of the goddess that took me in, rather than earn it with acts of equal merit and thoughtfulness. Instead, I would stand at the top of Olympus and stare through the clouds with a celestial clarity, pitying those at the base of the mountain, not realizing that I was one of them. I came to believe that I was on the same level as the gods, and that I deserved to be in the heavens. I forgot that I was only in the heavens because of the grace of my love, Aphrodite. The gods themselves could no longer tolerate this pride and arrogance, this self deceit, and had quickly cast me from the heavens… deservingly so.

	As I fell from the sky, I knew that I was as mortal as Icarus, and that my own ignorance was the cause of my plummet into the sea. Unlike Icarus who fell to his death, I had drifted away, only to be swept through the waves into the stormiest of seas, the darkest of days, and the loneliest of nights. When I finally arrived at the shore, I collected myself and made my way towards town, with a mind full of thoughts that ached with every step. As the days passed, and seemed to grow ever longer, my anger quickly turned into regret and self-pity. I began to walk through the streets, snickering at the commoners that I peered down upon, only in an attempt to disguise my own shame and emptiness. How could I have mistreated the most divine woman in all of creation? She was the embodiment of love itself, and I used to be able to call her mine.

	I never deserved to taste the ambrosia or feel the warm embrace of a goddess, yet a goddess never deserved a thankless mortal to receive without giving, to receive without singing her praises throughout the heavens, to receive without knowing the luck that had befallen him to merely be in her presence. Somebody as loving and selfless as Aphrodite needs an outstanding man… no! An outstanding GOD to care for her as she once cared for me. The euphoria she bestowed on me will never know an equal. She gave to me what many men will never know, what most could never dream.

	I had it all. I was truly a god, no matter how short my time may have seemed. I have enjoyed emotions and experiences that I never could have imagined without the love of a goddess. My own hubris and ignorance are what led me to where I am today, and I have no one to blame but myself. I cannot say that I am a mortal man and that I must be accepted for who I am. After experiencing the feasts of the gods and the love of a goddess, I shall forever search for something that will never satisfy what I had been accustomed to. Every morning that I wake to find that I am not next to my love, leaves me pondering what I am to do with this mortal existence.

     If my goddess, my one true love, cannot see the tears in my eyes, feel the sorrow on my breath, or know the remorse in my soul, she would surely never know the depth of my misery without her. If I am left to wander in search of earthly meals and an earthly woman, I will starve, beyond any doubt. I will starve, both physically and emotionally, before I found anything palatable enough to stomach my way through. Is this the fate I must endure? Is this my punishment for the way I mistreated the woman refined from the purest elements in all of the heavens? Will the impossibilities of finding anything comparable to the goddess I fell in love with, and the nectar and ambrosia she fed to me, be the cause of my untimely death?

*I would rather leap from the highest peak in all of Athens…*

title: [FN][RO] I Was a God Once - a short story i wrote for my girlfriend years ago, criticism welcomed!

question: What is the narrator's sentiment in the story?

answer: The narrator is distraught over the fact that they are no longer in heaven. He/She wishes that they could be with the one they loved and wonders if the person can see their pain.

critique: The fact that the narrator is no longer in heaven isn't the most important sentiment.

critique: "He/She wishes that they could be with the one they loved and wonders if the person can see their pain." - the gender of the narrator is not mentioned.

text: The answer omits the largest sentiment: regret.


text:
We walked through a vale holding each other's hand. I felt perfectly comfortable remaining silent and marching along as long as I
knew she was with me. We had reached past the point of us needing speech to get our emotions across. We continued strolling for a while
and then finally sat on a bench which was perched under an arched outgrowth of a stony structure. She put Her head on my lap and closed
Her eyes. My love grew for Her every second I watched Her beautiful face in deep sleep. I wondered whether she felt the same way,
or whether she felt at all. Suddenly, I sensed the earth moving. The whole world around me was shaking. I realised I didn't have
much time left. I was about to depart. Slowly, the waterfall, flowers, the lake, butterflies, and the mountains faded away
into darkness and then a bright light met my eye. The brightness diminished and I was back in my room. My servant was standing in front
of me. "Sir, why are you so hard to wake up these days? If you carry on going late to work, you will eventually be fired. You don't want
that do you?" he said. If only he knew.
 I was both happy and sad. I felt sad leaving Her, but I was happy that it had now worked three times in a row. How lucky was I, that having slept a sad
sleep the day before yesterday, I would meet Her the second time. This ignited in me the thought of the possibility that I could meet Her whenever I wanted to.
So I tried to meet Her the third time today. I was doubtful and skeptical. I am a middle aged man who has never experienced love. Forget the act of loving,
I couldn't even think of the prospect of finding love in my lifetime. I turned off all the lights, locked the door, threw myself on the bed and closed my eyes.
I was failing. I was sweating uncontrollably with nervousness. This was my last chance to find what I never had. Then, I thought of Her, with Her soft and
beautiful face, Her enigmatic eyes, Her endless locks of hair, Her slender yet graceful body, the vulnerability in Her glances, Her voice that confirmed the
presence of angelic minstrels. God himself had sent down this perfect entity for me to spend time with, albeit in a second reality. I had to calm down and sleep.
I was no longer panting, and was able to slowly drift away into slumber.
 I was in a vast empty ball room. It was beautiful, but right now, I had no concern for the beauty of inanimate objects. I had to find Her as quickly as I could, so I
could maximise the amount of time I was to spend with Her. I looked for her everywhere. Where was she? Was it really possible that I failed, even in bringing a being that lived inside my thoughts,
to appear in front of me? I was suddenly struck by the memory of yesterday. I had stood in front of the mirror for an hour. I gazed at my disfigured body, my
hunched back, my crooked teeth, my uneven face and my uninteresting eyes. I had decided to break every mirror in my house that day, for they were only a source of pain
to me. Now, as I looked around for her in the ballroom, I slowly became demoralised. I could not even find Her in a second reality. I wept and I wept, and for sure, I
did know I was physically weeping too, for I felt the dampness seep through my body. 'Come here,' said an enchanting voice. 'Did you really think I was going to leave
you alone?'
 A white figure seemed to be approaching me. Her shape became more apparent as she moved towards me. She was dressed in the most elegant of elegant dresses.
She came up to me, and without uttering a word, kissed me. All my doubts, inferiorities and insecurities vanished in a matter of seconds. 'You have me right now and you
will have me forever,' she said. 'My appearance may change but I will always be Her.' We sat together on the velveted floor. I told her everything I knew and everything
I wanted to do. She listened patiently without any patronising judgement. She seemed as if she had been lost in my discourse. She comforted me when I told her my doubts
and answered me when I had queries. Seconds, minutes, hours and then days seemed to have passed by. We were still sat on the same spot talking and being lost in wonder
of one another. 'I have to go fly,' she said with a hint of sycophancy, 'Try not to think about me.' She faded away gradually, and slowly, the whole room turned dim
and finally, my whole vision was obscured. I woke up.
 I opened my eyes and looked around. I wasn't in my room. There were people around me, maybe four or five. 'Sir, you have been in a coma for six years. My whole team
and I would like to congratulate you on being born again. Also try to sleep less,' a doctor said, letting out a faint chuckle. I wasn't able to speak as I
lay there helpless. I didn't care about anyone else other than Her. I wanted to go back and never come back. A memory came to my mind about when I met my childhood friend
after several years.
'What brought you into acting then, James?' I asked.
'My wife... the third one, she pushed me towards getting a job as an actor. She had faith in my ability. And so right she was, I had never even dreamed of
achieving such fame.' James answered.
'Good for you, my friend, if only I were a part of your gene pool.'
'My gene pool? You think I've only gotten this far because of my looks?'
'You never were intelligent were you? Only if you were, you could have acknowledged the luck that had been bestowed upon you. Nobody falls in love with character
at first sight. Set on this earth is a bliss for the rich and beautiful.'
'You always were a jealous man weren't you? Stop envying other people's abilities and go back to your cave and hang out with your rodents, you incompatible oddity!'
He stormed out of the restaurant leaving me alone with my food and strangers' stares. He was right. I was an oddity.
 I had regained consciousness and was out of my coma. I had been awake thinking about this incident while tears ran down my face. It was soon dark outside
and I started feeling drowsy. I was about to sleep and it was the most joyous part of the day. I soon fell asleep but there were no dreams this day and I woke up without any
recollection of Her. 'This wouldn't happen again,' I thought to myself. I slept the next day and again; no luck. The next day, I entered a dream but she was nowhere
to be seen. Did she lie when she said she would be with me forever? I was discharged from the hospital and returned to my room. Surely, this was where it all started so
I will get to meet her when I sleep in my own dwelling. I slept. She had abandoned me. The only companion I had, had abandoned me. She was a part of me so I guess I had
abandoned myself.
 'There is more than one way a person can sleep.' I thought to myself. I started panting. I walked in circles for an hour in my room as my heartbeat became faster
and faster. I had no family or acquaintances I could talk to. I started climbing the stairs sluggishly, that led to the highest storey of the high-rise. My pulse increasing
with every step I took. I finally arrived at the top of the skyscraper. I stood at its edge, with my heart pounding the loudest and fastest it had ever pounded. I thought
of Her one last time. 'I will surely meet you, and I would never know even if I don't. My real love has always been the sleep that rescued me by allowing me to dream.'
With these thoughts, I took the step to death. The only feeling I felt after that was the feeling of Nothing.

title: SLEEP Please review :)

question: What does the story say about how to stay awake?

answer: No answer

critique: The story does not provide any instruction about how to stay awake.

critique: This is false. The narrator suggests that it may be worthwhile to simply stop dreaming.

critique: The story does not say anything about how to stay awake.

question: What does the story say about the protagonist and James?

answer: The protagonist and James are childhood friends. James is an actor who has achieved fame. He married three times. The protagonist envies James' success and is jealous of him. James gets angry and leaves the restaurant when the protagonist insults him.

critique: The protagonist's envy of James is irrelevant to the question.

critique: It's omitted that the protagonist and James exchange a few barbs at a restaurant.

critique: It's omitted that the protagonist believes James is lucky for finding love.

critique: The protagonist's envy of James is irrelevant.

critique: The protagonist is not jealous of James. He is envious of James' success.

critique: The protagonist and James are not childhood friends.

critique: The answer should mention that the protagonist is jealous of James' looks.

question: How does the story describe the protagonist?

answer: The protagonist seems to be deluded. The protagonist hands show his insecurities. The protagonist seems highly depressed. The protagonist seems like a shut-in.

critique: The second sentence, the third sentence and the sixth sentence seem irrelevant. " The protagonist hands show his insecurities. The protagonist seems highly depressed. The protagonist seems like a shut-in"

critique: The protagonist is not described as a shut-in, but rather as a middle-aged man who has never experienced love.

critique: The protagonist is not described as a shut-in, but as a middle-aged man who has never experienced love.

critique: The protagonist is not described as a shut-in.

question: What caused the protagonist to slip into a six-year coma?

answer: He was dreaming about a woman he loved.

critique: The answer is true, but it's not the reason he slipped into a coma.

critique: There is no direct mention of how he fell into the coma.

critique: The answer is true, but the question is asking the cause.

critique: The answer is a bit vague. It should mention that the man was dreaming about a woman he loved and was desperate to see her again.

critique: The answer should mention that the woman was a dream.


text:
When he awoke, he came to a sudden realization.

This isn't my bed. I'm not in my home. I don't know this person laying beside me. This hand doesn't belong to me, although it seems that I control it.

He awoke terrified.

The air crept out of his lungs, and try as he might, it wouldn't draw back in. He started shuffling back up the bed, back against the headboard. Where was his breath? Why did the air taste so... unfamiliar?

He had woken up like this every day for the last year.

His wife woke up beside him, her eyes bleary, dark circles under them. She hardly slept, because he hardly slept. She knew better than to try to reach out to him. He hadn't let her for a year.

At first she tried to calm him. "I'm Juilie," she would say "your wife. I love you."

"You're not Julie," he would say "Julie is blonde... well I know you're blonde, but you're not her blonde. Her voice is like yours, but its not yours. I mean, you're like Julie, but you're not Julie. I know Julie. I love her, and you're not her."

And through the day, she would walk him through their home, where they had lived for almost a decade. It was their first home, their daughter Anna's room was upstairs. The tiles were the same. She would show him mail with his name, and her name, and show him how it arrived in the mailbox each day fresh, and with their names on it. He would concede that all of the facts were the same. The address, the names, the colors, the ages. But he wouldn't believe it. Not for a second. This life wasn't his, but he couldn't remember where he'd placed his own.

His anxiety over the matter kept him (and her) awake, day after day, until he collapsed from the exhaustion of trying to figure out where everything had gone. Somehow though, he never came to believe that it was a conspiracy, that his life had been replaced. He always seemed to have an awareness that somehow he was mistaken. As though, perhaps, he'd come through some curious means that remained shrouded in a confused memory, to be in this place. Where the people claimed to know him, even if he didn't know them. He knew that he couldn't remember a huge portion of his life. The present, for him, lacked a history. He knew the answer was in that history, but without it, without the story, all he had was the certainty that this wasn't his life. And how could it be? It didn't feel at all like it. It didn't feel warm. It didn't feel familiar.

But then, nothing did. Warm sun on the skin felt kind, and soothing. But it felt like moonlight. Something about it made it not the sun of memory. It didn't feel like his sun. The air didn't feel like his air. His hands didn't feel like his hands. Nothing felt right. And he worried. Even the worries felt as though they came from outside. As certain as he was about them, they didn't seem like his concern. There is worry, therefore I am, I worry.

And this is what kept him from fleeing, from being paranoid, or angry. His fears seemed unfounded, because he didn't recognize them as his own. All he feels is lost. Like he has fallen asleep on a bus, and at last shaken awake by the driver, found himself alone on a dark lit street. Around are the objects of his own landscape -light poles, parked cars, buildings, people. And he knows that home lies on that bus route. But for now the line is closed, and he will have to wait until morning. For now, he spends the night in the company of strangers, in a place that's not his home. Nothing to do but wait for the clarity of morning, when an opportunity will present itself, and offer to fill in the missing information that would make it all make sense.

And so he waits. He thinks this woman knows how lost he is, maybe she's claiming to be Julie to save him from some hurt. She seems kind. She tries very hard. But she's not Julie, because he knows Julie.

It's been this way for a year.

He's in the garden. It's springtime. He likes it in the garden. Out of the places to be lost in, it is certainly the best. It's warm, and the flowers are beautiful, vibrant, and smell wonderful. He doesn't recognize the species that are here. He thinks it looks the way his garden used to. He'd tend to it while Anna slept in her basket, shaded from the sun. Never out of ear shot.

There's a small bird on the ground. An infant. Fallen from a high tree branch. It struggles as he picks it up, but it doesn't resist, just goes through the motions. It's been here for a while. It's dehydrated. It struggles for air. But it's just going through the motions.

He strokes its tiny head. It stops struggling.

His head spins. Anna.

He falls to his knees as the air fills his lungs in a deep, desperate gasp. This breath feels familiar. He knows this breath. And it burns. Ohh god how it swells in his chest. How it hurts. But he knows this breath.

This breath of fresh air.

title: A breath of fresh air

question: What does the story say about the protagonist?

answer: The protagonist is a man who wakes up in a bed he doesn't recognize. He is married to a woman named Julie, but he doesn't believe her. He is convinced that he is in the wrong life. He is in the garden, and he picks up a small bird. He falls to his knees as the air fills his lungs in a deep, desperate gasp. This breath feels familiar. He knows this breath.

critique: The answer should mention that he is in a state of confusion.

critique: The answer should mention that the protagonist is suffering from some kind of amnesia.

critique: The answer omits the protagonist's name.

critique: The ending has nothing to do with the protagonist's identity.

critique: The answer should mention that the protagonist is suffering from some sort of amnesia.

critique: The answer should mention that he is suffering from some sort of mental illness.

critique: The answer should mention the protagonist's name.

question: What does the story say about the protagonist and Julie?

answer: The protagonist wakes up in a bed that isn't his. He doesn't know the person lying beside him. He thinks it's Julie, his wife, but he's not sure. He's been having the same dream for a year. Julie tries to calm him down, but he doesn't believe her. He thinks Julie is blonde, but the woman beside him is not. He knows Julie, but he doesn't know this woman. He's been having the same dream for a year.

critique: The answer should mention that Julie is his wife.

critique: The protagonist's insomnia is the same dream

text:
-'He thinks Julie is blonde, but the woman beside him is not.' This sentence is inaccurate. The answer should state that the protagonist doesn't think Julie is as blonde as his wife.
-The answer should state that Julie has been unable to sleep because he hardly slept.
-'He's been having the same dream for a year.' This sentence is inaccurate. Delete this.
-The answer omits that Julie would walk him through their home, where they had lived for almost a decade. She would show him a mail with his name and her name and how it arrived in the mailbox each day fresh and with their names on it. The answer should state this.
-It also omits that they have a daughter named Anna.

category: other

category_text: Coverage and accuracy.

question: What does the story say about the protagonist and Anna?

answer: The protagonist is concerned about his daughter Anna. The protagonist has been sleeping in the same house for a decade and he has no recollection of how he got there or why he is living in it. He has a vague memory of Anna. His wife tries to calm him down, telling him that Anna is upstairs in her room. He falls to his knees and gasps for air as the narrator recalls Anna.

critique: The protagonist's lack of memory is irrelevant to the question.

critique: The answer should mention that Anna is dead.

critique: The story makes it clear that he doesn't have a basic recollection of Anna. His only memory of her revolves around his gardens and her tragedies there. That's it.

critique: The narrator doesn't recall Anna. The protagonist does.

critique: The protagonist's wife is named Julie, not Anna.

critique: The protagonist's wife is Julie, not Anna.

critique: The response includes extraneous information not useful for the task.

text:
-'His wife tries to calm him down, telling him that Anna is upstairs in her room.' This statement is false and cannot be attested.
-'He falls to his knees and gasps for air as the narrator recalls Anna.' This sentence makes no sense and should be removed or rewritten.

category_text: Accuracy and coherence.

question: What does the story say about amnesia?

answer: The narrator is suffering from amnesia. A year ago, he woke up in his bed and realized he wasn't in his home. Everything, including his wife and daughter, looked familiar, but he couldn't believe it was his life. He believes he has been in a different life and this is not his, but he can't remember where he placed his own.

critique: The narrator is not suffering from amnesia. He is suffering from a dissociative disorder.

critique: The narrator is not suffering from amnesia.

critique: The narrator's wife and daughter are not suffering from amnesia.

critique: It's omitted that he eventually regains his memory.

critique: The answer should include that he believes he has been in a different life and this is not his, but he can't remember where he placed his own.

critique: The narrator's wife and daughter are not mentioned in the story.

text:
-'A year ago, he woke up in his bed and realized he wasn't in his home.' The answer should rewrite this. The story says he had woken up like this every day for the last year. There's a difference.
-'Everything, including his wife and daughter, looked familiar...' This sentence is inaccurate. He couldn't recognize his wife.