text:
EXCORPORATION is the process through which mass cultural commodities are changed or remade into one’s own culture. The theory of Excorporation was popularized by sociologist John Fiske, in order to explain the ongoing struggle between the dominant and subordinate groups in popular culture.

Definition

The term excorporation was highlighted by sociologist John Fiske in his 1989 book, _Understanding Popular Culture_. Fiske states that excorporation is “the process by which the subordinate make their own culture out of the resources and commodities provided by the dominant system”.[1] Fiske believes this idea to be central to the study of popular culture. He argues that in an industrialized world, the subordinated group has only the use of resources supplied to them by the dominant group from which to create their own subcultures and social commodities. In his theory, Fiske refutes the idea of folk culture, any sort of ‘authentic’ culture, saying that it does not exist in such a society. In other words, the subordinate deals with what is available. This requires the study of popular culture to not only look at the various cultural commodities, but the ways in which the individual uses them as well. Fiske sees the different uses of commodities to be most interesting. The excorporation of resources is generally more varied and creative than the original.

Fiske states that the subordinate’s ability to create originality and thus oppose the dominant “results in the producers having to resort to the processes of incorporation or containment”.[2] By reincorporating the differences made by excorporation, the dominant group strips the subordinate group from any opposition that the latter may have created. This ensures the stability of the dominant system.

Criticism

Several sociological authors have criticized Fiske's theory of excorporation, primarily for its overarching simplicity and its unfocused basis.

Deborah Cook, in her 1992 article _Ruses de Guerre: Baudrillard and Fiske on Media Reception_ argues that excorporation is not necessarily a political or even meaningful activity, as Fiske claims. Under Fiske’s theory, the process of excorporating creates meaning, be it as simple as personalizing a commercial commodity. However, Cook argues that Fiske attempts “to locate resistance in a set of largely unconscious, unfocused, and apolitical activities...Fiske’s analyses are undisciplined by any interpretive methods,” [3] therefore implying that not every act of excorporation necessarily contains meaning.

Ray Browne, of Bowling Green University, agrees with Cook’s assertion, explaining that Fiske “looks upon popular culture as a portion of the life actions and fluids which constitute all of society, and in so doing, Fiske seems to limit the totality of culture, or to misunderstand it.” [4] Fiske’s detractors seem to find the theory of excorporation too simplistic and overarching to be effective.

Examples in Modern Society

Blue denim jeans have become a product of excorporation. Levi Strauss was the founder of the garment. Strauss was a German Immigrant who immigrated to San Francisco during the California Gold Rush in 1853. He coined the blue denim jean due to a need from prospectors in the area for strong work pants in the mines. The material was used because it did not cause chafing, unlike the typical canvas pants that were worn during the time by workers.[5]

Through the decades of the past century, the cultural meaning of blue jeans has changed. For example, the 1930s were the times of western films, propelling the character of the American cowboy and their Wrangler jeans into the public limelight. The 1940s resulted in jeans being introduced to the world based on the start of globalization and World War II. In the 1950s, denim became a popular garment that symbolized rebellion, such as in James Dean’s movie Rebel Without a Cause. During this time, some public schools in the United States banned students from wearing blue jeans.

The 1960s and the 1970s were the start of crafting jeans for individual taste, based on the fashion and social movements at the time. Examples of these include embroidered jeans, painted jeans, and psychedelic jeans.[6] John Fiske describes this as “the raggedness is the production of the choice of the user; it is an excorporation of the commodity into a subordinates subculture and a transfer of at least some of the power inherent in the commoditization process.”[7] In the 1980s jeans became designer fashion, labels such as Guess jeans. More recently, the focus on personalization of jeans includes finish, styles, cuts, shapes, aged, authentic, and vintage jeans. John Fiske is quoted as saying “the wearer of torn jeans is, after all, wearing jeans and not, for instance the Buddhist derived robes of the orange people."[8]

[1] Fiske, J. (1989). Understanding Popular Culture. Boston: Unwin Hyman.

[2] Fiske, J. (1989). Understanding Popular Culture. Boston: Unwin Hyman.

[3] Cook, D. (1992). Ruses de Guerre: Baudrillard and Fiske on Media Reception. Journal for the Theory of Social Behaviour , 22 (2), 227-238.

[4] Browne, Ray. Journal of Popular Culture ; Winter90, Vol. 24 Issue 3, p188, 1/2p

[5] Levi Strauss and Company. (2008, April 24). Retrieved April 18, 2008, from Levie Strauss and Company Heritage: http://www.levistrauss.com/heritage/

[6] Design Boom. (2008, 24 04). Retrieved 04 15, 2008, from Design Boom: http://www.designboom.com/eng/education/denim2.html

[7] Fiske, J. (1989). Understanding Popular Culture. Boston: Unwin Hyman. p.15

[8] Fiske, J. (1989). Understanding Popular Culture. Boston: Unwin Hyman. p.4

title: Excorporation

question: Summarize the criticisms of Fiske's theory.

answer: According to Deborah Cook, excorporation is not necessarily a political or even meaningful activity, as Fiske claims. Cook says that Fiske attempts "to locate resistance in a set of largely unconscious, unfocused, and apolitical activities...Fiske’s analyses are undisciplined by any interpretive methods."

critique: The answer does not give full sentence for the critique by Ray Browne.

critique: Ray Browne also criticizes Fiske's theory.

critique: Ray Browne agrees with Cook's assessment, and further explains that Fiske's analyses limit the totality of culture, or misunderstand it.

critique: Ray Browne also criticizes Fiske's theory, saying that Fiske "seems to limit the totality of culture, or to misunderstand it."

question: Summarize the shifting cultural meaning of jeans.

answer: The story tells a fascinating history from when blue jeans were invented during the California Gold Rush, to being banned in some schools in the 1950s and being the most fashionable item of clothing ever since. Culturally, jeans went from being worn by miners to cowboys, to being a symbol of rebellion, to a product of individualization and taste.

critique: The answer should mention the name of the person who invented the jeans.

critique: 'in the 1950s, denim became a popular garment that symbolized rebellion, such as in James Dean’s movie Rebel Without a Cause. During this time, some public schools in the United States banned students from wearing blue jeans.' is evidence of the time when jeans became a symbol of rebellion. This should be mentioned in the answer.

critique: It is omitted that blue jeans were popular in the 1960s and 1970s which were the start of crafting jeans for individual taste.

critique: The answer should mention the social movements of the 1960s and 1970s.

critique: The answer should mention the different eras of jeans.

critique: The answer should mention the shift in meaning of jeans in the 1980s.

question: Summarize some of the support Fiske has gotten for his theory.

answer: No answer

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


split: train

text:
_IMAGINARY PLAYMATE_ is a thriller film which debuted on HBO in 2006. The film stars Dina Meyer, Rick Ravanello, Cassandra Sawtell, and Pablo Coffey.

Plot

Suzanne (Dina Meyer) and her 7-year-old stepdaughter Molly Driscoll move into a new house after Molly’s dad Michael becomes manager of a sawmill. Molly’s mother has died 3 years earlier after having breast cancer. Molly acquires an imaginary friend named Candace Brewer who she insists is real. Molly passes on information gleaned from Candace which it would be impossible for Molly to know and asks Suzanne to be Candace’s “mummy” as Candace’s real mother died giving birth and Candace suffered mistreatment by her father. Suzanne’s belief that something strange is going on is bolstered by her encounter with Dora who is an elderly resident in a care home where Suzanne volunteers. Dora can apparently see Candace and warns Suzanne that Candace is dangerous. Suzanne and Michael increasingly disagree about how to manage Molly’s worrying behaviour and their relationship suffers.

Then Suzanne becomes pregnant and Molly knows before being told. She says Candace is afraid that the new baby will replace Candace in Suzanne’s affection and that Candace is hostile. Candace tells Molly that the baby won’t be born which she reports tearfully to Suzanne. Suzanne does research in newspaper archives and finds the story of Candace’s mother dying when giving birth to Candace’s sibling. She also reads that Candace died by hanging. Suzanne follows Molly to a church graveyard were Candace’s mother and father are buried but not Candace who is buried in unconsecrated ground as she was a suicide. As Suzanne prepares a nursery for her expected baby an unseen force knocks Suzanne off a ladder and she loses the baby.  Molly blames herself for the loss and seemingly becomes comatose and is hospitalised. When Molly wakes she speaks as Candace and calls Suzanne “mummy” then laughs demonically. With the help of Father Phillip from the church, Suzanne learns Candace’s father hanged Candace before he then lived out his life in a mental institution. Meanwhile Molly(Candace) insists Michael takes her home from hospital where responding to Molly’s calls he is lured upstairs and hit on the head. Suzanne realises Candace will take revenge on Michael and rushes home to find Candace now visible as a ghostly presence alongside Molly. Candace admits to wanting to kill him as “he killed me”. Candace then reveals that she took her baby sister and left her on a church steps so she didn't have to suffer the abuse from her father like she did. Her sister is Dora. It was this act which infuriated her father who then hanged her. Candace then encourages Molly to jump from the roof to join her own dead mother as Suzanne doesn’t really love her. But Suzanne pleads that she does love Molly and that Molly needs to grow up and have her own family. Ultimately Suzanne convinces Molly to come into her embrace and start again.

Cast

-   Dina Meyer as Suzanne Driscoll
-   Cassandra Sawtell as Molly Driscoll
-   Nicole Muñoz as Candace Brewer
-   Rick Ravanello as Michael Driscoll
-   Pablo Coffey as John Forbes
-   Nancy Sivak as Dr. Barrett
-   Kurt Evan as Rob Conelly
-   Bronwen Smith as Julie
-   Grace Vukovic as Megan
-   Jim Shepard as Father Phillip
-   Gil Hayward as Dr. Brewer
-   Marilyn Vance as Dora
-   Rosalynd Roome as Sarah Brewer

title: Imaginary Playmate

question: Summarize the plot for the film "Imaginary Playmate".

answer: The film is about a 7-year-old girl named Molly who has an imaginary friend named Candace Brewer. Molly's mother died 3 years earlier after having breast cancer. Molly's father, Michael, becomes manager of a sawmill. Molly's stepmother, Suzanne, becomes pregnant. Molly knows before being told. She tells Suzanne that Candace is afraid the new baby will replace Candace in Suzanne's affection and that Candace is hostile. Candace tells Molly that the baby won't be born. Suzanne does research in newspaper archives and finds the story of Candace's mother dying when giving birth to Candace's sibling. She also reads that Candace died by hanging. Suzanne follows Molly to a church graveyard where Candace's mother and father are buried but not Candace who is buried in unconsecrated ground as she was a suicide. Candace admits to wanting to kill Michael as he killed her. She also reveals that she took her baby sister and left her on a church steps so she didn't have to suffer the abuse from her father like she did. Her sister is Dora. It was this act which infuriated her father who then hanged her. Candace encourages Molly to jump from the roof to join her own dead mother as Suzanne doesn't really love her. Ultimately Suzanne convinces Molly to come into her embrace and start again.

critique: "Suzanne follows Molly to..." and "... Candace's mother and father are buried but not Candace who is buried in unconsecrated ground as she was a suicide." are irrelevant, as is the end.

critique: The plot summary is too long and contains extraneous information.

text: This summary should be rewritten. The plot is explained with some events out of context and overall it is longwinded.

category: coherence


text:
She was a beautiful woman, though most might have thought she was plain. They simply didn't see her with the same eyes that he did. Raven black hair accentuated kind eyes that were as blue as the waters of the lake by where he was born. The lightest of creases, the sign of someone who frequently wore a smile, highlighted wonderful, kissable lips. Even the way she carried herself, her light step, the sway of her hips when she walked. She stood tall and straight, her shoulders not proud, but confident. Comfortable. He couldn't help but feel a sense of fulfillment when he saw her.

She gasped quietly, noticing him. Her eyes were angry, still somehow beautiful even then, but he didn't blame her. Noone like to be caught off their guard, but it was something he did playfully, feeling like a little boy again. He rushed to her, to take her in loving embrace. She had managed no more than half of her question, which would go unanswered. "What are you d-" She tried to ask, but he had already scooped her up, and regrettably, with a little more force than he intended: her question tapered off with a squeak as he carried her to her bed.

He lay her down delicately, holding her with a firm but gentle grasp. She even played at struggling, the way he so loved. His face close to her own, he took in her breath, so sweet, and comming in rushed, clipped little gasps. Her eyes were wild, urgent, waiting. Her mouth opened to speak, but lovingly he placed a hand over it. This was a moment where words were unneccesary, even unwanted. And besides, he was a little shy, and preferred this forbidden act be quiet. This was a moment between the two of them, and meant for them alone.

With the words aside, if you are quiet and listen, the body can speak volumes. The physical manifestation of feelings that simply cannot be expressed with words. Her shallowing, rushed breaths, the way her heartbeat sped up at his touch, the urgency, the longing, the need. He would drink it all in greedily, this was his ambrosia.

A happily occupied hand made its way down, caressing as it went. Feeling every dip and curve. She was a beautiful creature, the dress that concealed her body suddenly seemed a hateful thing. He put that aside though, his hand still moving to a happier, lower place. It didn't matter anyway, her garb wouldn't keep him from what he wanted.

She inhaled sharply, and with a jolt. The sudden movement succedded only in drawing her closer to him as he entered her. Warmth rushed over his fingers. She moaned, the sound muffled by his hand. She still played at struggling, but it was lessening now. her hand reaches out, grabbing forcefully at his vest. The other hand, with no clear goal, simply grabbed the bedsheets with a white-knuckled grip. Her eyes close in a wince, and beneath his hand, he can feel her jaws clench together. The motions are repeated on both sides, again and again. He enters, and she shudders against him. She seemed to slow, however, the time between her struggled breaths longer and longer. She was comming close, and he had no intentions of stopping now.

One final motion, every muscle in her body contracting, one last forced breath, drawn out longer than all the others, a deep, slow exhale. She lay back, now very still. Quiet, and her eyes still shut from her previous exertion. He lay his forhead against her own, and slowly withdrew his hand from her mouth, listening to the quiet. The only sound was his own labored breathing. The silence that came after had its own sort of beauty, and he took the time to appreciate it.

After a long moment, he withdrew. The delicate, curved dagger he held slid silently from her ruined belly. He stepped back, surveying this now grisly scene with a distant, emotionless gaze. She had grown pale, her skin now nearly as colorless as the blood soaked sheets on her bed. Her leg hung awkwardly off the side of her mattress, but she gave no indication of discomfort. Her face had settled into a terribly familiar expression, that wonderful, horrible peace one only felt in their final moment in the world. Her eyes bothered him, though, dispelling the peaceful expression with a half lidded squint.

He almost reached out, wanting to close those eyes... almost. But that wouldn't be right.

His senses, still heightened, picked up the delicate rattle of keys from just outside. He made his way quickly across the house, to the window he had entered, and was outside, quiet as a ghost. He strode casually into the alley, without even a glance back. Noone paid him any heed as he went, something else had everyones attention. A mans anguished cry filled the air, and something in the sound seemed to reverberate among the people: a collective shudder filled everyone walking by, as though someone had run a nail down a chalk-board. Cutting the corner into the alley did nothing to lessen the sound for him, nor did it shield him from the sound that accompanied it, the sound of crying children.

He stepped out of the alley, and into a waiting carriage. "Lets go. I have an appointment to keep." He scarecly heard the drivers reply, he wasn't listening. It was the sound of horses hooves and the darkness of the carriage that dominated his attention, the sensations coaxing him into the familiar, dark places in the back of his mind. He dreamed his dreams, and sat silently in the darkness, waiting for his chance.

He waited... and waited...
And waited.

title: This Forbidden Act

question: Summarize the story's plot twist.

answer: The story begins with the narrator describing a woman he finds beautiful. He describes her in detail, and then describes the act of lovemaking with her. The story then takes a turn when the narrator stabs the woman with a dagger. The story then describes the narrator leaving the scene.

critique: The narrator is not described in detail but the woman is.

critique: The story doesn't begin with the narrator describing a woman he finds beautiful.

critique: The story does not describe the act of lovemaking.

critique: "The story then describes the narrator leaving the scene" - this is inaccurate. He did not leave the scene.

critique: The response misses to mention that the man is a serial killer.

text: The story is written in a way that suggests the narrator is making love with the woman, but he is killing her. There are clues right through the narration that the woman is not reciprocating.

category: accuracy

question: Summarize the details that mislead the reader into thinking the woman is in pleasure.

answer: The woman's body language and sounds are described in a way that makes it seem she is enjoying the experience. She moans, her body shudders, she clenches her jaw, and her eyes are shut. She seems to slow down, and her breaths are drawn out longer than before.

critique: It's omitted that he also covers her mouth.

critique: The response is missing one detail: the woman's hand grabs the bedsheets with a white-knuckled grip.

critique: The body's response to what is happening and how the narrator feels is relevant, but it's not really misleading.

critique: The response misses to mention that the woman's body language and sounds are described in a way that makes it seem she is enjoying the experience. She moans, her body shudders, she clenches her jaw, and her eyes are shut. She seems to slow down, and her breaths are drawn out longer than before.

critique: The answer omits the man's hand over her mouth.

critique: The response is missing the part where the man covers her mouth.

critique: The response misses to mention the woman's hand grabbing the bedsheets.

question: What does the story say about the man's prior relationship with the woman?

answer: No answer

critique: The passage does not directly say anything about the man's prior relationship with the woman, but it does give some context about their current situation.

critique: The response misses to answer the question.

question: Summarize the ending of the story.

answer: The man leaves the woman's house and gets into a carriage. He waits for his chance.

critique: This is not a summary and only half of the ending is included. The second sentence can be deleted.

critique: The man is not a man, but a serial killer.

critique: It is omitted that the man killed the woman.

critique: The man is more than a man; he's a serial killer.

text: The answer fails to include the arrival of the man who finds the woman's body or the sound of children crying.

category: coverage


text:
“What’s up?” She questioned me.

“Oh, you know, the usual,” I said without looking.

I felt a cold presence in her stare.

“Feeling happy?”

“Not yet, get over here.”

“No…you let go.”

Over the past fifteen years she gained a whole lot of weight. I was more attracted to her sister. I decided to call her sister that night. When we first met she was seeing this guy name Phil. I think they got married. Her name was Angela.

”Angela,” I said into the phone.

”Uh, who is this?”

“It’s Joe.” She was trying me.

“Oh, how are you?”

“Good. Listen, I need a good nut.”

“Don’t we all?”

“Does Phil give it to your hard? Does he fuck you good?”

“Not like he used to. How’s your marriage?”

“Your sister has seen better times.”

“So is that what you do? You just move on when you don’t feel like it anymore? When it’s not there?”

“Life is a constant game of Recycling.”

“Recycled condoms and used-up memories,” she said.

“My brain has enough of those.”

She sighed heavily into the phone.

“Can I come over at 8?” I asked.

“Ok well I just have to do the dishes first.”

“Ok, I’ll come at 8. See you later.” I hung up.

My wife was standing in the kitchen staring at the empty jar of jelly.

”Did you ever wonder how much power goes into making a glass jar?” She asked.

“I never thought about it.” I said. I went to the fridge and grabbed the carton of orange juice. I finished it, drinking from the spout. “I’ll be back later, I need to get a few things from the store.”

She walked into the bathroom and locked the door.

Angela was waiting at 7:55pm. I was there five minutes early. She was wearing a nightgown. The sidewalk in front of her building had no crab grass growing out of it. The door-knob was tarnished. I saw her standing in the window looking down but I knocked anyway.
She opened the door.

“Hello Angela.”

“Hey Joe.”
I leaned in to kiss her. She wrapped her arms around me. I did her right there on the floor. We moved to the couch when she complained of back pain.
She lit a cigarette. She lit mine for me.
There was a painting on the wall.

“I don’t get that painting on the wall. What is that supposed to be?” I asked.

“It’s Schubert,” she said, “it’s about a girl who lost her shoes.”

“Lost her shoes that’s a hell of a thing to paint about,” I replied honestly.

“Well, you should get going. Phil will be home soon.”

”You were a great fuck, you know that?” I told her.

“I know.”

“Well, I’ll call you soon”

“Yes, Joe.”

I walked back home. It was a short walk. When I got home my wife was asleep. I watched TV on the couch until I passed out.

title: [RO] Recycled Goods

question: What does the story say about the narrator's relationship with his wife?

answer: The narrator and his wife share a lackluster marriage. He talks about how their marriage has seen better days (presumably when they were younger), and how his wife is probably having an affair. At the end of the story, the narrator tells his wife that he will be back later, but she's asleep.

critique: The narrator's wife is not having an affair.

critique: The involvement of their friends Phil and Angela is important

critique: It's not clear that she's having an affair.

question: What does the story say about Angela's job?

answer: No answer

critique: It is omitted that the story does not mention anything about Angela's job.

critique: The question asks for any concrete information about the answer and there is plenty in the story to work with.


text:
“Why is it so bad to say that test raped me?”

“I just don’t think you can compare failing a test to that kind of physical and mental assault. It’s nothing like it,” you replied, remaining calm while I gripped the edge of my desk.

“For some people it is.”

“Not even close,” I shouted as you fell silent. “Failing a test is nothing compared to rape. Don’t ever say that again.”

They looked away.

“I need to talk to you when class is over,” you said, but I couldn’t reply; I was still choking on anger. Everyone stayed still till the bell rang, and I sat next to your desk at the back of class as they filed out.

“I couldn’t just let it go,” I told my trembling hands, twisting them in my lap.

“I know,” you answered, and when I looked up your light blue eyes were darker than I had ever seen them. “There’s something I think I should tell you.”

My chest constricted with something other than the anger, a fear of the unknown, fear of the secret resonating on the tip of your tongue. You could barely breathe, but you still looked at me.

“Mark and I got engaged about twenty years ago while he was at grad school. After his break, he went back to Boston, but I continued to teach here. A lot of students thought I had made him up.” You smiled a little, your lips twisted with something like irony. “He was coming home on a Friday. It had been four months since we had last seen each other, so I left a little early with a few of my colleagues. I remember realizing I had lost my keys when we reached the bus.”

I’ve seen you walk down that sidewalk to the faded bus stop a thousand times, and I could imagine it then: laughing, short heels clacking, and swinging your briefcase—as giddy as you could get. You patted down your pockets, realized you had left your keys in your frenzy.

“I decided not to go back; I knew they’d still be in my office the next Monday, and I kept a spare under a rock in the front yard. And I was excited to be home.” Your eyes fluttered to your hands. “I wasn’t paying attention on the ride. I can hardly remember the faces of the passengers, and I’ve tried so many times to remember. I’m usually more observant than that. I was distracted.” You shook your head as if dispelling the thoughts that were stuck in it. “The ride seemed so slow that when I got off, I was half-jogging down the street.”

Your ankles caught your dress as you walked, punching down the street in dusky light. You held your glasses to keep them from flying off and your dark curls bounced around your shoulders.

“I was almost there when I noticed someone a little ways behind me. I remember thinking it was funny; I had never seen someone go in the same direction as me from the bus stop, but he was twenty yards back and I didn’t think anything more. I didn’t even see his face, just a shadow crossing mine.

I jogged up my sidewalk and set my briefcase on the porch, then I took the key out from under the rock.”

You hopped down the porch steps without seeing anything but that rock and the glimmering key underneath. You pulled it out of the dirt and turned without looking up from it, jumped back up the stairs in one step, and put your hand around the dented bronze doorknob.

“I was fumbling with the lock, but eventually I got the key in and turned it. I can still hear the click that it made. I haven’t lived in that house for a long time, but I can still hear the click. I turned the knob and pushed on the door and it creaked and that second I felt something heavy throw me through the door. It’s funny, I can still remember the arrangement of books on my bookshelf as I crashed through the door, this orange volume I don’t have anymore leaning on a fat purple one. It was right in the entrance hall. My glasses flew off and broke against the shelf. I didn’t realize what was happening at the time. For a second I thought I had tripped or wind had pushed me or something equally stupid, but then I landed on my knees and I think I put it together.

I never got a clear look at his face; he was wearing all black, this long dirty overcoat and slacks and an old dress shirt with pinstripes and this hat that kept a shadow over his face. I only remember certain parts of his face, the way his nose was bent and the way his jaw was set. When I turned over, he kicked me and didn’t say anything, and then I really knew what was happening. That was one of the worst feelings I’ve ever had: realizing what was about to happen. I started kicking. I fought, but I failed.”

Even though you were only five feet against what seemed like seven, you fought like hell. It’s not in your nature to back down, even when he pulled up your dress.

“He raped me. He was so much taller than me I couldn’t see his face, or anything really, just his chest pressing down on me. I felt like I was suffocating. He had my hands pinned down so I couldn’t move. I just couldn’t figure out why. I thought maybe it was that I was short or distracted or alone or so many other possibilities. I was so relieved when he finished. I thought he was going to leave, but instead he took out a fishhook and put it inside me. It felt like I was being torn out of my body, and I thought I was going to die. He never said a word. He just jerked it around for a while, then pulled it out, stood up, and left. He didn’t even shut the door all the way. I couldn’t move, it hurt so much.”

You tried to lift your head, to pull your dress down, but every time you felt like you were falling apart. All you could do was try to breathe, legs spread to the open door as the sun went down. Mark found you that night with blood all over your thighs, trying not to cry because it hurt too much when your chest shook like that, and he lay down next to you, brushing your hair out of your face. You asked him to pull your dress down, and you felt tears falling on your legs and the fabric sticky against them.

“Mark found me and took me to the hospital and luckily everything was alright. It took me a long time to get better, but I married Mark just as we had planned and we moved into a new house and he came back to teach here and we had two kids and life went on. It went on, and I’m happy now, and I don’t think about that house or that night much anymore.

I wanted to tell you this because it still bothers me when people use rape in the wrong context. Sometimes I remember what happened, but I can control it now. I’ll never forget it, but I don’t have breakdowns or panic attacks anymore. He got his hook in me, but I won’t let him tear me out.”

You breathed again, exhaling the story, and I cried over you and all the things I couldn’t stop.

title: Hook - based on a really disturbing dream I had

question: Summarize the negative moments in the story.

answer: The narrator is raped by a man she doesn't know. She is also raped by the man with a fishhook.

critique: The answer should mention the narrator's fear of the unknown.

critique: The rape by the fishhook does not need to be mentioned in the summary.

critique: The answer omits the narrator's rape by her teacher.

critique: "She is also raped by the man with a fishhook" - is both inaccurate and confusing. Mark didn't rape her, either. The man who raped her inserted a hook into her body.

text: The narrator is only assaulted by one man, the man with a fishhook.

question: Summarize everything relating to Mark.

answer: Mark is the victim's husband. The victim married him just as they planned. He was returning from grad school. He comes back to teach and the two have two kids. She doesn't think about the house where she was attacked much anymore.

critique: Mark is the victim's husband, not the victim.

critique: Mark is the victim's husband. The victim married him just as they planned. He was returning from grad school. He comes back to teach and the two have two kids. She doesn't think about the house where she was attacked much anymore.

critique: Doesn't mention that the victim and Mark found each other the night of the attack.

critique: The answer should mention that Mark found the victim after the attack.

critique: Mark is not the victim's husband. He is the victim's husband's fiance.

question: What does the story say about fear?

answer: The narrator is afraid of the unknown and the secret that the teacher is about to tell her. The teacher is afraid of the narrator's reaction to the secret. The teacher is also afraid of the rapist. The teacher is afraid of the narrator's reaction to the story of the rape.

text: The text doesn't say anything about the teacher being afraid of the narrator's reaction. This should be omitted.

question: What does the story say about the rapist's arrest?

answer: No answer


text:
TOMATOMETER: 50% AUDIENCE SCORE: 54% IMDB: 5.5

Coming from the director who gave us Will Ferrell’s _Step Brothers_, we immediately get a sense of what’s coming in _The Package_. A big, warm, emotional core surrounded by a sea of juvenile crassness. But this is why it succeeds. Unlike other entries such as American Pie, _The Package_ balances out its ludicrously immature story with sincerely kindhearted characters and a directing-style suited for more big-budget film fare. This isn’t a B-movie meant to be relegated to a worst-case viewing scenario when your Netflix queue just isn’t loading. It’ll deliver plenty of laughs, unusually well-choreographed action sequences and genuinely heartfelt moments, a strange set of outcomes for a movie whose premise is a guy accidentally cutting his penis.

The Plot

Sean (Daniel Doheny), Donnie (Luke Spencer Roberts), and Jeremy (Eduardo Franco) are about to head off camping into the woods, celebrating Sean’s brief return from a German school for the summer break. But the bro-cation is cut short when Sean and Donnie find out they won’t be alone. Jeremy has invited his sister Becky (Geraldine Viswanathan) and her friend Sarah (Sadie Calvano), quite a problematic scenario since Sean has a crush on Becky and Donnie just broke up with Sarah.

With the invitation too late to rescind, they head off into the woods and have a drunken caper at night when Jeremy leads away from the group for a little piss, with a switchblade in hand. Sean and Donnie, thinking it’s a good idea to surprise him, do just that. Unwittingly in his drunken stupor, Jeremy loses his most prized possession. What follows next is an hour and a half adventure where four friends reconcile and reconnect in the hopes of saving Jeremy’s penis.

The Package (2018) Trailer
Cinematography and Score

The only other work of director Jake Szymanski that I’ve seen is _Step Brothers_, where Will Ferrell and John C. Reilly play the titular characters who can’t stand each other. While that film didn’t boast a strong visual direction, Szymanski’s more recent entries, high-stakes parodies like _7 Days in Hell_ and _Tour de Pharmacy_, do.

He brings the same over-the-top intensity to The Package, treating the movie like a high-stakes action film under the care of an auteur. Slow motion sequences, ultra-close closeups, and music to match. There are some wildly vivid and visually hyperfocused scenes in this movie, unnerving given the premise, but its balanced out with spells that play out as a routine comedy.

The Characters

Add to this some genuinely decent characters, and we have a winning combination. The four leads aren’t the kinds of people you’d find in a typical adolescent movie. These aren’t football players or your usual bros talking about dicks. These are your dorky teenagers, both in appearance and mind, and it’s a mix of people that you don’t come across often.

For one, Geraldine Viswanathan isn’t your white blonde co-lead. Daniel Doheny is your uber-friendly highschooler, the one you go for help with homework or other academically-inclined support. Luke Spencer Roberts and Eduardo Franco, though channeling their best version of crass sex talk, are hopeless romantics at heart, both striving for meaningful relationships with the women in their lives. Sadie Calvano’s IT girl exterior is counterbalanced with a more measured and sensitive heart. These characters care about things, the things most teenagers would care about at their age, but it’s approached from the point of naive sincerity, making them more agreeable than the teenagers you might find in an American Pie if you will.

Appealing to Our Inner Teenager

There’s an inherent laugh factor built into _The Package_ appealing to our inner teenager, making us giggle or laugh everytime we hear the word “dick” or “penis.” There’s no way around it. The characters aren’t saying it because they can, or because they want to be crass. They’re saying the word because they’re dealing with a dick. There’s no avoiding it.

On top of this, the fact that they’re talking about a friend’s dick, a friend whose sister is also present, amplifies this childish gag. And they aren’t dealing with just a friend’s dick. They’re dealing with his cut dick. Having these multiple layers of context, turn the words “dick” and “penis” to a more heightened sense of humor. Penis enlightenment if you will.

Using this indispensable laugh factor, writers Kevin Burrows and Matt Mider concoct some outlandish scenarios to draw out even stronger comedy material, using the word and coupling it with typically troubling situations. It all comes to a head when the group must convince an eleven-year-old to hand the keys to his father’s boat while the old man is fly-fishing. A good cop-bad cop routine follows, and it’s not easy on the eyes.

Conclusion

I was highly skeptical going into The Package, expecting the story to reach a low ceiling for its laughs and character development. I was wrong to come in with this assumption and can say wholeheartedly, that you can suck on this thing for an hour and a half.

question: What does the text say about re-attaching Jeremy's severed penis?

answer: No answer

critique: The question is asking for information that is not in the text.

question: What does the text say about the movie "The Package" in general?

answer: The Package is a movie that features four friends who are on a camping trip. They make a mess of things when they accidentally lose Jeremy's penis. However, the film manages to balance the juvenile crassness with genuinely kindhearted characters. The director, Jake Szymanski, has brought the same over-the-top intensity that he used for his previous work, treating the movie like a high-stakes action film.

critique: The answer should mention that the movie is a comedy.

critique: The author considers the movie 'funny, silly and a sleek mix of adolescent crudeness and heartfelt group dynamic'. Include this detail in the answer.

critique: The answer should mention the plot of the movie.

critique: The answer fails to mention that the film is a high-stakes parody.

question: Summarize the main plot of "The Package".

answer: Sean and Donnie find out Jeremy has invited his sister Becky and her friend Sarah to the camping trip. Sean has a crush on Becky and Donnie just broke up with Sarah. The four friends go on the camping trip and Jeremy loses his penis. The four friends must find it and get Jeremy to a hospital in order to save it.

critique: There is no mention of Jeremy losing his penis and the four friends going to find it.

critique: The answer omits the part where the four friends go on an adventure to find Jeremy's penis.

critique: It should be mentioned at Jeremy cuts his penis and the hiking part.

critique: Jeremy doesn't lose his penis, he accidentally cuts it.

question: What does the text say about the characters in the movie?

answer: The characters in the movie aren't typical of the kind of characters you'd find in an adolescent movie. They are dorky teenagers, both in appearance and mind. They are a mix of people that you don't come across often. Daniel Doheny is your uber-friendly highschooler. Luke Spencer Roberts and Eduardo Franco are hopeless romantics at heart. Sadie Calvano's IT girl exterior is counterbalanced with a more measured and sensitive heart.

critique: The response misses to mention Geraldine Viswanathan.

critique: The answer should mention that the characters deal with Jeremy's penis.

critique: John C. Reilly's character isn't mentioned in the movie.

critique: The answer should mention Geraldine Viswanathan.


text:
At first glance, the queues for 2016’s hot-ticket holiday item, Snapchat Spectacles, might not have looked all that different from the round-the-block lines that formed for the Tickle Me Elmo craze of 20 years ago. But a closer inspection reveals how the simple act of shopping has been quietly transformed during that time.

Rather than waiting at the mall to make their purchase, Snapchat’s hopeful customers were lining up to buy specs at Snapbot vending machines in exotic locales such as the Grand Canyon, the Rose Bowl and Big Sur.

Harley Finkelstein wearing Snapchat Spectacles. Photo credit: Ashley Fraser

From limited releases of hot products sold in the unlikeliest of places to personalized shopping experiences that meld the online and offline world, the world of retail is poised to get even more interesting in the year ahead. Here’s a look at what’s in store:

STORES ARE OUT, EXPERIENCES ARE IN

Ten years ago, walking into a cool boutique to see a DJ spinning was novel. Today, it’s about the least a store can do to keep up with the times. Brands that are standing out are pulling out the stops to turn shopping into a rich and immersive experience.

Back to Snapchat, for example: selling those specs via vending machines was a quirky touch, but the real genius was in putting them in oddball locations. By doing that, Snapchat turned the simple act of shopping into a treasure hunt and adventure — even for those who didn’t manage to snag a pair before they sold out.

Similarly, brick-and-mortar outlets are also upping their game. Now that anyone can buy anything online, stores that are staying relevant are offering highly curated and immersive experiences. Whether it’s yoga classes and running clinics at Lululemon or grabbing a haircut and an espresso at Frank + Oak’s flagship Toronto store, we’ll see stores become less about being a place to consummate a transaction than a place to immerse yourself in a lifestyle.

FORGET FACELESS BRANDS, CONNECTION IS KEY

Back in the day, you had a personal connection with the shops on Main Street. Malls and big-box stores changed all that. These days, however, we’re no longer content to buy from faceless — even if well-known — brands, and smart retailers are using creative tools to build a personal relationship with would-be buyers.

Currently, nowhere is this trend more pronounced than in the world of celebrity. Last year, for example, the likes of Drake and the Weeknd extended their personas into popup shops and full-scale brand lines that give fans more of what they want: direct ways to connect with their favourite personalities.

Meanwhile, Kith NYC designer Ronnie Fieg recently used Instagram to create a real-time window into a product launch event in Aspen. What we’re seeing in all of these cases is online sellers leveraging technology to humanize and personalize a transaction — emphasizing the link between maker and user — which is a far cry from the kind of shopping experience you get in a big-box store.

EVOLUTION — AND DEMOCRATIZATION — OF THE FLASH SALE

Flash Sales are a time-honored tradition in the world of retail. But enter the Internet and things get a lot more interesting.

Kylie Jenner Pop-up Store. Photo credit: Shopify

These days, putting a time limit on a product or price isn’t just a means to unload overstock, it’s become standard practice for product launches. Celeb cosmetics queen Kylie Jenner has expertly employed this technique, with her limited edition birthday and holiday collections flying off the virtual shelf.

But, of course, bots and resellers have also infiltrated the online sales space, with everything from Kanye West’s Yeezy sneakers to Hatchimals winding up on eBay for several times the retail price. In the year ahead, you can expect smart companies to come up with ways to ensure the right people — actual customers and fans with a history with the brand — are being ushered to the front of the queue. (Shopify launched one product aimed at solving this problem this year, which allows buyers to check out with one tap and sellers to handle thousands of orders per minute.)

DIRECT-TO-CONSUMER TAKES A BIGGER PIECE OF THE RETAIL PIE

This holiday season, US shoppers spent as much online as they did in actual stores. But behind that headline is an even more interesting story: the direct-to-consumer revolution. From Michael Kors to Oreo, more companies are sidestepping the middleman. Ditching department stores in favour of selling directly to consumers will continue to be a powerful force transforming the way we shop in 2017.

Why? Selling straight to customers creates an intimate and immediate feedback loop that leads to a better customer experience. Companies like AYR, Bonobos and DSTLD jeans are pioneering a highly responsive approach: using sales data and customer feedback to adjust their styles, cuts and size runs in real time. A reality where your favourite store is never out of your size or preferred style is right around the corner.

SHOPPING GETS MORE SOCIAL

Imagine browsing your social media feed and buying any product that catches your eye with the swipe of your thumb. In 2017 this will become a widespread reality. Social media platforms like Pinterest, Houzz, Twitter and Instagram are already breaking the browse/buy barrier with options for in-app impulse buying. Now add to that streamlined pay systems like Apple Pay, which is poised to go from a niche payment option to a mainstream expectation, and ordering that eye candy will become almost dangerously easy.

Meanwhile, online sellers are also teaming up with services like UberRUSH and Postmates to solve the delayed gratification problem posed by buying online. (Check out this video for a glimpse of how this works in New York City.) Teaming up with innovative services gets products into the hands of customers on the day they buy and contributes to a shopping experience that’s faster and more convenient.

With the retail world in the midst of a reinvention powered by technology, one thing’s for sure: the only limitation today’s merchants face is their own creativity. The bar for retail was raised in 2016 and it’s set to go higher in the year ahead. The good news for consumers: there’s never been a better time to be a shopper.

question: What does the text say about the current trends in online shopping?

answer: The article states that the only limitation retailers face is their own creativity. The bar for retail has been raised in 2016 and will go higher in the year ahead. The only limitation retailers face is their own creativity.

critique: It is repeated three times that the only limitation is creativity

text: Trends include: brand identity connection, providing novel experiences, the new form of flash sales, and the role of social media in direct purchases.


text:
A story I wrote while waiting for the train one day. I have never read it, or attempted to edit it after I was finished. It is how I felt during an argument with my girlfriend. Enjoy.

An Afternoon In The Park

     There is an old man that everyday can be found on the same bench, feeding the same birds, and he always shows up at 12-noon on the dot. Although few take notice of him, he goes about his day and keeps to himself.
	It has been almost a year since his wife passed, and everyday his age starts to become more and more transparent. Every Saturday his son keeps him company. Usually the two sit in silence and face outward toward those passing by or the birds as they wrestle over crumbs of bread. Occasionally one nods to the other, and gets acknowledgments through a grunt. Call it guilt; call it the universal fear of regret that every son holds onto when they realize that they can lose a father without really ever knowing him. Today the son decides to reach out and learn something about the people who brought him into the world.
“Tell me about mom.”
	The old man stops moving. He looks out to the horizon, up to the sky, and finally right into his son’s eyes and offers a simple response of, “She was my heart and soul.” He maintained eye contact until he could no longer hide the weight of the tears that were beginning to form in his eyes. Even as a proud man he could not hide how much he truly missed his wife. Her death left him a hollow shell that could only continue on by maintaining the same mundane schedule.
	The son sat silently in a state of shocked disbelief. Throughout his life he thought he had seen every emotion possible from his father. Yet he had never seen grief such as this. When his father looked him in the eyes he could see an old lonely man. While the two had a loving relationship they had never really connected with each other. His father’s face displayed the many hardships and loss that go along with the happiness and joy in life. The youthfulness that he always attributed to his father had been replaced with a visage that resembled a young boy whose dog has ran away never to return. He wanted to lighten the mood so he tried to recall a happy family memory.
“Remember my first day of college and moving into the dorms? Remember how much mom embarrassed me by handing me a box of condoms in front of that big group of girls in the lobby?”
	Sitting on his left, all the son could see was a smile and chuckle as the old man replied, “Your face was redder than the school’s mascot.” His son would never know, but a single tear feel down the right side of the old man’s cheek as he relieved such a happy memory.

“Didn’t you and mom meet at state?” asked the son.

“Yep.” The old man replied.

“She always told me you went there to be with her and how romantic it was.”

“Nope, I went there for myself.”

	This surprised the son. He had grown up with the idea that his parents met because his father went to State to be with his mother; if this wasn’t the case, than what about all the other stories?

“Didn’t you quit drinking for mom?”

“Nope, I did it for myself.”

“What about your job? Wasn’t there a time you got offered a corporate position and you turned it down to start family?”

“Nope, I did it for myself.”

	Frustrated, his son couldn’t believe what he was hearing from the man he called father his whole life.

“What about all the money you worked for? The Corvette? The house you bought? Why you quit smoking and drinking?”

	With each question asked the old man would give the same response: “I did it for myself.” Fed up with getting nowhere the son stopped his inquiry, and the two sat in silence for a while. Eventually it became overwhelming to the son and he blurted out uncontrollably, “What did you do for mom then?” Once again the old man looked out, took a deep breath and replied:

“Everything else.”

	For the rest of the afternoon the two sat together in silence. For the first time in his life the son felt that he finally saw a glimpse of his father that he swore did not exist. The old man never made a claim toward achieving perfection in his life, but those two words will forever leave an imprint on the son’s impression of the man he calls his father.

title: An Afternoon In The Park

question: What is the message of the writer to the reader?

answer: That there are many things in life that one might do for oneself.

critique: The answer should mention that the story is about a father and son.

question: What is the financial status of the family?

answer: The son is in college, so it is implied that the family is not wealthy.

critique: The son's college attendance is irrelevant.

critique: It does not definitively answer the question.

question: What was the writer feeling when they wrote this work?

answer: The writer was feeling frustrated and a bit depressed when they wrote this work.

critique: There is no evidence that the writer was feeling frustrated and depressed when they wrote this work.

critique: The work is not depressing. It is a story of reconciliation.

critique: The answer does specify the reason for the reader's suggestion, however the final agreement is that the answer still doesn't cohesively suggest the writer's feeling. There're issues with coherence in the answer hence a critical area is on the next tendency of the answer to meaningfully point out the writer's feeling.

critique: The answer should mention the argument with the girlfriend.

question: Identify the time period in which the story took place.

answer: The story does not mention any specific time period.

critique: The story mentions that it has been almost a year since the wife passed.

critique: The answer can be inferred. The story happened after the narrator's wife died and before his son went to college.

critique: While the story does not mention a specific time period, it is implied that it takes place in the present day.


text:
The POOR BROTHERS OF THE SERAPHIC ST. FRANCIS (, abbreviated after their names as C.F.P.) () are a congregation of Religious Brothers of the Third Order Regular of St. Francis, instituted for charitable work among orphan boys and for youth education. They commonly also use the title of BROTHERS OF THE POOR OF ST. FRANCIS.

Foundation

The founder was born PHILIP MARTIN HÖVER (HOEVER) in 1816 into a hard-working farm family in the hill country of Neuhonrath, now part of the town of Lohmar, Germany, near the city of Cologne. Although his help was needed on the farm, the local parish priest saw potential in the young Höver and encouraged his eagerness to learn. This encouragement led in time to his becoming a successful schoolteacher.

Höver became a schoolmaster at Breidt and Aachen,[1] during which time he met and married Anna Maria Katherine Zimmerman. They had two sons, but soon after the birth of their children, Anna Maria became ill and died. To forget the grief he felt at this loss, Höver became involved in the charitable organization of the Society of St. Vincent de Paul. He also became a member of the Third Order of St. Francis, the local fraternity of which had a long history of commitment to the poor. Through his service in both organizations, he became aware of the terrible situation of poor and homeless boys in the cities of Germany at the height of the Industrial Revolution.

Through the influence of a former member of the local fraternity of the Order, the Blessed Mary Frances Schervier, foundress of the Poor Sisters of St. Francis, he was led to dedicate his life to the service of the many poor around them.[2] Thus, on Christmas Eve 1857, he and four other tertiaries dedicated themselves to the service of God and of abandoned men, while living in community under religious vows. At that time, Höver took the religious name of “Brother John” by which he is now known, and was appointed the first Superior General of the new congregation.

The Brothers obtained a home in Aachen in 1860, where they began their work of service to the poor and homeless men of the city. On 5 January of the following year, Cardinal Geissel, the Archbishop of Cologne, approved the new congregation.[3] Within a few years, though, the pressures of leading the community and the demands of teaching, plus caring for his sons, led Brother John's health to deteriorate. Feeling his end approaching, he appointed Brother Bonaventure Schäben as the new Superior General. When Höver died on 13 July 1864, the community had twenty-six members and some postulants.

Expansion

Under the leadership of Brother John, and under the watchful eye and guidance of the diocesan clergy, to whom they were subject, the young Congregation grew rapidly and spread from its cradle in Aachen to other parts of Germany. In 1866 the Congregation spread to the United States, where orphanages for boys were established in Teutopolis, Illinois; Detroit, Michigan; Cincinnati, Ohio (1868) and Cold Spring, Kentucky (1869), through a donation by Sarah Worthington Peter.[4]

In 1869 the Congregation also received the charge of a Catholic orphanage in Moabit, near Berlin. During the Austro-Prussian war, 1866, and in the Franco-Prussian war, 1870–71, the Poor Brothers were helped in the field hospitals. However, the policy of _Kulturkampf_ by the German government led to the loss of all their houses in Prussia during 1876-77. They then moved to Bleijerheide on the German-Dutch border, where the new motherhouse was erected.

After 1888 the Brothers were allowed to return to Prussia and entirely new houses were founded: Hohenhof in Upper Silesia (1891); Dormagen on the Rhine (1902), Düsseldorf (1932), etc. At the last location, they currently run a senior housing complex for 189 residents,[5] and various social services and a trade school.[6] Foundations were also made in Belgium at Völkerich (1900) and in the Netherlands at Roermond (1903).

The Constitutions of the Congregation were approved by Pope Pius X in 1910. With that, they became a congregation of Pontifical (international) right, generally free to conduct their affairs without the supervision of local bishops.

In 1921 the American Brothers began to work in Arkansas, where they established several institutions over the next fifteen years. They also expanded to Iowa, New Jersey, Ohio, Texas and South Dakota, mostly in the field of youth work. In 1986, they purchased the Woodlands Treatment Center, a facility for drug and alcohol dependent youth in Burlington, Iowa.[7]

By 1998, through the steady retirement and departure of members, total membership of the American province sank to 24 professed members dispersed across several assignments at schools, prisons and hospitals. The Morris School for Boys, established in 1922 near Searcy, Arkansas, continues to be the brothers' primary ministry.[8] The order's motherhouse remains in Aachen and the order maintains houses in Brazil, Holland and the United States.[9]

[1] Oliger, Livarius. “Poor Brothers of St. Francis Seraphicus.” The Catholic Encyclopedia Vol. 12. New York: Robert Appleton Company, 1911. 18 June 2016

[2]

[3]

[4]

[5] Ordenswirken in Düsseldorf 1

[6]

[7]

[8] “Brothers of the Poor of St. Francis Records”, University of Notre Dame archives

[9]

title: Brothers of the Poor of St. Francis.

question: Summarize everything relating to the size of the congregation.

answer: The congregation was founded in 1857, and had 26 members and some postulants when their founder died in 1864. By 1998, their total membership in the American province was 24.

critique: "By 1998, their total membership in the American province was 24." - this is inaccurate. The total membership at the time of the article was 189.

critique: The answer omits the congregation's growth in the US.

critique: "By 1998, their total membership in the American province was 24." - this is incorrect. The Brothers of the Poor of St. Francis had 24 members in their American province in 1998, which is probably the correct answer.

critique: The answer omits the congregation's growth in the United States.

critique: "By 1998, their total membership in the American province was 24." - this is incorrect. The total membership of the American province was 24 in 1998. The total membership of the congregation was never mentioned.

critique: "By 1998, their total membership in the American province was 24." - is incorrect. The total membership of the American province was 24 in 1998. The congregation's total membership was not mentioned.

critique: The response misses to mention that the congregation had 26 members and some postulants when their founder died in 1864.

question: Summarize the group's history during the 1840s.

answer: No answer

critique: The response is missing the answer to the question.

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

question: Summarize the group's history during the 1860s.

answer: The group obtained a home in Aachen in 1860, where they began their work of service to the poor and homeless men of the city. On January 5, 1861, Cardinal Geissel, the Archbishop of Cologne, approved the new congregation. In 1866, the congregation spread to the United States, where orphanages for boys were established in Teutopolis, Illinois; Detroit, Michigan; Cincinnati, Ohio; and Cold Spring, Kentucky. In 1869, the congregation also received the charge of a Catholic orphanage in Moabit, near Berlin.

critique: "In 1866, the congregation spread to the United States, where orphanages for boys were established in Teutopolis, Illinois; Detroit, Michigan; Cincinnati, Ohio; and Cold Spring, Kentucky. In 1869, the congregation also received the charge of a Catholic orphanage in Moabit, near Berlin." - this is incorrect. The group did not spread to the United States in 1866. It was in 1869.

critique: The response should include that the group's founder, Philip Martin Hover, died in 1864.

critique: The answer omits details about John Hoever and the challenges of his life during the 1860s.

critique: "In 1869, the congregation also received the charge of a Catholic orphanage in Moabit, near Berlin." - this is incorrect. The group received the charge in 1869.

critique: The answer omits the year of the founder's death.

critique: The answer omits that the founder died in 1864.

critique: The group's history during the 1860s is not limited to the events mentioned in the answer.

critique: The answer omits the year that Höver died.

question: Summarize everything relating to major religious figures outside of the congregation.

answer: The founder of the congregation, Philip Martin Hover, was encouraged by the local parish priest to become a schoolmaster. The founder of the Poor Sisters of St. Francis, the Blessed Mary Frances Schervier, led him to dedicate his life to the service of the poor. Cardinal Geissel, the Archbishop of Cologne, approved the new congregation. Pope Pius X approved the Constitutions of the Congregation.

critique: It is omitted that the founder of the congregation was encouraged by the Blessed Mary Frances Schervier, foundress of the Poor Sisters of St. Francis.

critique: The founder of the congregation was encouraged by the local parish priest to become a schoolmaster, but it is not relevant to the question.

critique: It is omitted that the founder met and married Anna Maria Katherine Zimmerman.

critique: The answer omits the influence of the Blessed Mary Frances Schervier on the congregation.

critique: The answer omits the influence of Sarah Worthington Peter.

critique: "The founder of the congregation, Philip Martin Hover, was encouraged by the local parish priest to become a schoolmaster." - this is inaccurate. Hover was already a schoolmaster when the priest encouraged him.

critique: The answer omits the influence of Cardinal Geissel and Pope Pius X.

critique: Comparing the Poor Brothers with the Poor Sisters of St. Francis is unnecessary.


text:
VINCENT “VINNY” ASARO (born 1935) is an American mobster and captain in the Bonanno crime family.[1][2]

Mob career

Asaro was initiated into the Bonnano crime family in August 1977, alongside Peter Monteleone and future Bonanno capo Gerard “Jerry” Chilli. According to Lucchese crime family associate turned informant Henry Hill, Asaro was a caporegime in the Bonanno crime family who oversaw the family's interests in JFK airport.[3] Asaro is the nephew of Michael Zaffarano and since the late 1970s, possibly in 1979 following the murder of Bonanno boss Carmine Galante, has been the capo of a crew in the Queens faction of the Bonanno family. With his father's help, Vinny's son Jerome Asaro also became a captain in the Bonanno family. However, father and son had a falling out in later years and did not speak with each other.[4]

Lufthansa heist accusations

On January 16, 2014 Asaro was indicted on federal racketeering charges stemming from the 1978 Lufthansa heist.[5][6] The charges also included the theft of $1.25 million of gold salts, involvement in the pornography industry, and for the ordering of the murder of a cousin who testified in court.[7] Arrested along with Asaro were his son Jerome, acting boss Thomas DiFiore, acting capo Giacomo Bonventre, and soldier John Ragano.[8][9]

Controversially, author Daniel Simone, Henry Hill's co-writer of their book, _The Lufthansa Heist_, published on August 1, 2015 by Lyons Press, claims that Henry Hill asserted to him that “Asaro had no involvement in the famous robbery.”[10] In fact, Asaro does not appear nor is mentioned in Simone's book. Furthermore, in the Author's Notes and Sources page of _The Lufthansa Heist_, Simone lists numerous law enforcement agents who collaborated with him in the development of the book and, he attests, none of these subjects ever mentioned Asaro in connection with the Lufthansa robbery. More strangely, those investigators had not known about a Gaspar Valenti, the informant who testified against Asaro, his cousin.[11]

In November 2015, Asaro was found not guilty of all charges related to the Lufthansa heist.[12]

Paul Katz murder suspect

Asaro was also a suspect in the 1969 death of Paul Katz. Katz owned a warehouse that Asaro and James Burke used to store stolen goods. When law enforcement raided the warehouse, Asaro and Burke immediately suspected Katz of being a government informant. The two men allegedly killed Katz with a dog chain and buried his remains under a vacant house. When the NYPD reopened the Katz case, Asaro and Burke allegedly moved the remains to the house of Burke's daughter and reburied them there. In 2013, a police search uncovered the remains.[13][14]

Asaro was arrested and tried but acquitted of all charges on November 12, 2015.

Arson order

In June 2017, Asaro pleaded guilty in a case of ordering car arson against a motorist who had cut him off in Howard Beach, Queens on April 1, 2012. Prosecutors allege that Asaro enlisted a Bonanno crime family associate to execute the crime however the associate engaged the grandson of former Gambino crime family boss John Gotti, John J. Gotti (who also pleaded guilty in the case) to instead perform the order. The next day after the incident, Asaro apparently contacted a Gambino crime family associate who had access to a local police department database. The database linked the car plate to the home address of the driver.[15] Prosecutors also alleged that Gotti was the getaway driver during a $6,000 bank robbery in 2012; he and another man pleaded guilty.[16] Asaro was incarcerated at the Metropolitan Detention Center, Brooklyn while awaiting sentencing. He faced the possibility of up to 20 years in prison meanwhile prosecutors were seeking 15 years in prison.[17] The Brooklyn prosecutors said that although Asaro has “participated in racketeering, murder, robbery, extortion, loansharking, gambling and other illegal conduct, he has served less than eight years in jail.”[18] In late December 2017, Asaro was sentenced to eight years in prison.[19] Initially scheduled to be released from the United States Medical Center for Federal Prisoners in 2022, he was granted a compassionate release on April 17, 2020 due to being in a vulnerable state if he catches COVID-19 amid the COVID-19 pandemic in the United States as he had had a stroke a year earlier.[20]

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11] _The Lufthansa Heist_ by Daniel Simone & Henry Hill

[12]

[13]

[14]

[15] Vincent Asaro, John Gotti grandson plead guilty in car arson case New York Daily News(6/30/2017)

[16]

[17] https://www.nytimes.com/2017/06/27/nyregion/mob-figure-vincent-asaro-pleads-guilty-to-arson-case.html

[18]

[19]

[20]

title: Vincent Asaro

question: What was the political climate like around the time of the Lufthansa heist, and how might that have affected or influenced the charges brought against Asaro?

answer: The Lufthansa heist was a famous robbery that took place in 1978. The political climate at the time was tense, as the Watergate scandal had just come to light. The Nixon administration was in the process of being investigated, and the President was about to resign. The public was already on edge, and the Lufthansa heist was a high-profile crime that took place in the midst of this climate. It's possible that the public was more willing to believe that Asaro was involved in the heist, and that the charges were brought against him because of this climate.

critique: The Watergate scandal took place in 1972.

critique: The Watergate scandal is irrelevant to the question.

critique: The Lufthansa heist was a famous robbery that took place in 1978.

question: What crime, or alleged crime, of Asaro's, is most indicative of his unfeeling, hot temperament?

answer: The fact that he ordered a car arson against a motorist who cut him off in Howard Beach, Queens.

critique: The answer could be phrased as a complete sentence.

critique: Doesn't mention that he also ordered the murder of a cousin who testified in court.

critique: While Asaro's hot temperament is most evident in the car arson, his hot temperament is most evidenced in the fact he was indicted for the Lufthansa heist.

critique: The answer should mention that Asaro was indicted for the car arson.

critique: The answer should include the fact that Asaro was sentenced to eight years in prison for the crime.


text:
     The cool familiar smell of the Sanctuary. The dank, chilly air from the A.C. In the summer, the warm hum of a electric heater in the winter.  A trashcan, a bathroom, and a computer.  All in the my Sanctuary.  Walking down the stairs you turn a 90 degree angle to the bulk of the room.  There is one of those tiny basement windows there too, built as some sort mandatory state law that their must be a window in every basement.  My computer in the far corner (safe from any lines of sight), a gun-safe, a T.V. That wasn't ever on, and two couches that are used for sleeping.  This place is mediocre to the uninitiated, few understand its safety, its cold charm, its steady state.

	The 90 degree corner from the stairs is absolutely essential.  This is because of its strategic cover in the case of a gun fight. I removed the light bulbs as so I don't make the mistake of having the lights on during a raid or intrusion.  This would cause a shadow to be cast onto the enemy’s line of sight, giving away my position.  See the absolute importance of the 90 degree corner is that you have a surprise vantage point of attack.  Hearing them through the wall walking down the stairs is also a great advantage because you know their pace and their position. They could never know yours as long as the lights are off.  The tiny basement windows is absolutely essential as well as it gives you a clear line of sight to the nearest road, that way the enemy would have to move on foot to preserve his intentions from me.  This again is a distinct advantage.

	I only leave my Sanctuary to eat at night as the cover of darkness allows me to enter the second more exposed level of the house. I turn the 90 degree corner cautiously, with my handgun drawn. It's clear but I knew that, I would certainly be alarmed if the enemy had penetrated the perimeter.  Up the stairs and into the kitchen quickly I went. Thankfully the food only takes moments to heat then it is back to the safety of the Sanctuary.  The air is great, the smell of safety, and my heart slows down.  I've done good.  Mission accomplished.

	Once I had finished my meal almost immediately my heart sank as I hear a car door close.  The blood rushes to my head and I feel hot, immediately running to the tiny windows I peaked my head out of a corner.  A car I’ve never seen before had just pulled in to the driveway. I quickly grab my gun as thinking that this is indeed the moment.  I peak out, weapon ready, and a man in all black gets out of his car and goes to the passenger side door.  The man then reaches in and grabs a large bag and immediately heads towards the direction of my front door with confidence.  The bell rings and I cock my weapon.  The enemy at this point is holding his ground and I'm not stupid enough to fall for this belligerent show of force. I wait at the familiar safety of the 90 degree corner. Then to my surprise the car door closes again. The car then pulls into my neighbor's driveway and the same confidence is shown again by the enemy. This time my poor neighbor opened the door.  I had a shot on the enemy but any civilian causalities will not be tolerated. The enemy then pulls out a pizza box to my sweet relief.

	Safe again in the Sanctuary, the smell comes over me again and I realize I’m fine.  I unload my weapon and pull into my computer desk.  The computer was no ordinary computer.  This computer was completely anonymous, as so the enemy had absolutely no chance of back tracking me to this location. The familiar sight of the penguin of Linux always soothed me as well but not near as much as my strategic lines of sight or my training.  Typing and computing is slow with an electronic keyboard to prevent key loggers from obtaining information and Tor makes browsing just as cumbersome.  Not as cumbersome as it is for the enemy and that is reason for all of this.

	After a few gloriously peaceful hours on the computer, I became thirsty.  Nearing dusk I couldn't risk going to the refrigerator to get any canned beverages so I would have to drink the silver filter purified water from the water cooler.  $3000 of 21st century filtration technology.  The municipal water supply is most certainly contaminated with chemicals to make the public unaware of the enemy's growing presence and power.  I knew though, it was so obvious, poison the water and everyone will know.  Any other filtration device would most certainly lead to trace amounts of the poison and I wouldn't dare risk that. The water is as cool and as crisp as the air of the Sanctuary. Growing tired I set my alarm and go to the safety of the couch.

	The cold leather couches.  Laying on the non-decoy couch is as religious experience I know.  I reserved the best most secure place in the Sanctuary for the sleeping quarters.  And of course left the decoy, complete with a replica of myself to the tee.  The decoy was at an angle to were coming from the sacred corner will result in spotting my feet poking out by the enemy, most certainly alarming the enemy to my 'position' and blowing his own cover.  The real sleeping couch is placed so that I can see the entirety of the decoy couch and slightest bit of the last step from the stairs.  Perfect line of sight for a counter-attack. I set my alarm for 3 hours.  Just enough to get rest without being belligerent myself.

	When I awake the newspaper boy is right on time just past 6AM.  Good boy.  I get some water form the purifier and start my daily ritual of checking and cleaning my gun safe.  Everything is there.  The Ruger 45 caliber single action.  By far one of the most reliable handguns ever made.  It is my carry and it deserves special attention.  The AR-15 Semi-Automatic rifle is almost never used thankfully and it is only for multiple assailants and far to bulky for my use.  As well as a suit of Kevlar which again won't be used until the enemy breaks perimeter as to not damage it by unneeded wear and tear.  Anther everything needed to make my own ammunition, not that I needed to make any more bullets as I have enough to last many life times.  But it is important to note how the enemy has been known to provide faulty ammunition to sabotage any attacks.
	After this I go to the corner were the boxes of MREs are waiting.  If the enemy knew did something right it is how to feed their peons in battle.  Of course these Meals Ready-to-Eat are made by a fellow fighter I met online.  These are the real deal and will sustain me as to not blow my cover by going upstairs in this peak time of day. This time of day could be used by the enemy as some sort of cowardice ruse of gaining entry by using children, or mailmen.

	After I finish my meal it's time for anther 3 hours until my guard must begin again.  The Sanctuary is preserved for anther day it's air still cool and musky, and it's safety enveloping me.  These days were the enemy is not around fill me with great joy, but a part of knows that with each passing day is the one day closer to the actual attack.  How could I be ready for such a great enemy? What kind of sick tricks could they come up with next?  I know one thing is that when I go down it will be here.  Here in the only place that feels right.

title: [MS] A short story I wrote for english class, I really enjoyed it, any thoughts on it? Perspective of a man with insanity/PTSD(?).

question: Summarize the high point in the narrator's day.

answer: The high point of the narrator's day is the time during which he has completed his tasks online, purifying his water and eating a meal, and feels safe. He has enough ammunition to last him many lifetimes, and the knowledge that the enemy is not present. This is when the narrator feels the most secure. He knows the enemy is not around.

critique: The narrator feels the most secure when he is in the sanctuary.

critique: The narrator doesn't feel the most secure when he knows the enemy is not around.

critique: The narrator's high point is when he feels safe in his sanctuary.

critique: The narrator's high point is when he is in his sanctuary, not when he is eating.

critique: The answer does imply that it is the high point of the story though it does not contain this phrase or proper structure.

critique: The narrator's comfort comes from knowing the enemy doesn't know where he is. The answer misrepresents this.

critique: The narrator doesn't feel safe, he feels secure.

text: The high point of the narrator's day is when he sleeps on the cold leather couch, comparing it to a "religious experience".

question: Summarize the narrator's mindset.

answer: The narrator is a man who is paranoid about the enemy. He believes the enemy is out to get him and he is always on guard. He is also a survivalist who has prepared for the worst. He has a safe place in his house that he calls the Sanctuary. He believes it is the only place that feels right.

question: Summarize what led the narrator to subscribe to the beliefs illustrated in this story.

answer: No answer

critique: The answer should mention the narrator's paranoia.

question: Summarize one plot twist in the story.

answer: The narrator is in his Sanctuary, when he hears a car pull up to his house. He thinks that this is the moment that the enemy has come to attack him. He grabs his gun and waits by the corner. However, the enemy turns out to be a pizza guy.

critique: The pizza guy is not the enemy. The enemy is the narrator's neighbor, who the narrator sees as an enemy.

critique: "I grab my gun" is too vague and doesn't specify that the narrator is waiting in readiness to shoot anyone that walks in.

critique: The narrator is not in his sanctuary when he hears a car pull up to his house.

critique: The narrator is not in his sanctuary when he hears the car pull up.

critique: The narrator is not in his Sanctuary when he hears a car pull up to his house.

critique: The answer should mention that the narrator is a veteran.

critique: The answer should mention that the narrator is not fooled by the enemy's belligerent show of force.

critique: The answer is not a plot twist. It is the narrator's reaction to the plot twist.

text: The plot twist is that no one is really after him and the "enemy" is all in his head. It was already mentioned in the title that the man is insane and has PTSD.


text:
“Where am I? Who are these people around me?” I thought to myself when I first woke up. I slowly lifted myself up and rubbed my eyes thoroughly as if there was something in them, but nothing was. I looked over; a lady kindly greeted me and handed me a folder. As soon as the folder was within my possession I knew what must be done; it was pure instinct. I immediately opened it up and read all of the information.

     I remembered that my name was Bob Lamron. I am 23 years old, have neither children nor a wife; they were only given to you if you had proven yourself faithful and intelligent enough. I asked the women who handed me the folder where I was and what events had occurred that left me in this situation. She just looked at me and smiled.

     Two rather large males, who appeared to be body guards disguised as physicians, led me out the front door. As soon as I walked out, a car appeared out of nowhere. From the car came a robotic voice; it addressed me by name and commanded me to enter the automobile. As I got in the car, the voice spoke again. It asked me what my home address was. I had no clue; I could not even remember if I had children 10 minutes ago. How was I supposed to answer the voice with details of my forget life? The women who had presented me with the folder, a nurse, that I had woken up next to, ran out of the building and handed me the same folder that I had left behind in the room. I opened it up and aloud, “2534 Egareva Rd.” As soon as the words had left my mouth, the taxi immediately sped off, presumably to the address.

      As I saw the things I passed by I started to remember details, like I had never forgotten them at all. Trees, Birds, people, restaurants, fountains, everything! It was all flooding in as if there was a dam in my brain and it had just been ruptured without notice. We arrived at my house and I opened the front door. I walked into my room and sat down. I could not recall the events that had occurred before I woke up. It was like the dam of knowledge in my mind had been concealed.

     My mind had locked away any memories of the events and I could not do anything about it. The more I thought, the more my head hurt.
It felt like one of those moments when you are mid conversation with someone and another person, uninvolved in the conversation, calls your name. You stop talking in order to address the interjection of your name, but when you try to come back into the original conversation, you can’t remember what you were talking about no matter how hard you try. I sat there on my couch and tried as hard as I could to recall what had happened.

     I then positioned myself so that I could see out of the window. I saw a grey, bleak world. Everything was so average, so normal. The only color people were given permission to wear were different shades of grey. The lighter your color, the higher up your social class was. I was just an average grey.

     As I was thinking through all of this, my eyes were fixed upon a section of peeling paint in the right corner of my peripheral vision. For some reason I knew I was supposed to go over to it; it was like I had some kind of cosmic urge. My hand lifted from my side and I started to peel the paint. It came off fairly easily, far too easier than any paint should have, for that matter. Suddenly, I saw something concealed under the peeling paint. I knew I had to uncover it. As I tore the paint off a fit overcame me. Next thing I knew, I was tearing, ripping, and enjoying this more than anything I had enjoyed before. I was ripping everything in sight off the wall.

     I stepped back and looked at my wall and there was writing everywhere. The memories started flooding back into my head of what had happened. I had uncovered something big. The government had been spiking everyone. Now they wouldn’t just bug a room, or a camera in a park to see what was going on, they were putting microphones in you. They had put chips in your brain so that they could see, think, hear, and smell everything you have ever come in contact with. Knowing I had just remembered this I knew they would be after me. I shut the blinds and closed the door in my room.

     I lightly lifted a blind cover and looked out the window. I saw a slim, black, shiny car pulled up to the front of my building. The same two men who had accompanied me out of the hospital got out of the black car. I sat there shaking, wondering what I could do. The second I saw them barge in through the front door, I jumped out of my second story bedroom and landed on the pavement. My ankle buckled and I felt a sharp pain but I knew I had to get out of here and tell someone what is going on. I screamed names but no one would listen to me. I was living in a selfish world where people only cared about themselves. I gave up. I fell to the floor, my ankle throbbing, and looked at the door to my building, expecting the two men to walk through. I was doomed.

     The two men eventually came out of my building and grabbed me. They didn’t say a word; all they would do is stare straight forward. Then they put me in the back of the car and drove off. It was the exact same route that led back to my house. I had only been out for an hour, at most and here I was, being dragged back.

     When I got there the female nurse was sitting there with a needle filled with what appeared to be a sedative. As she inserted it in my vein, two doctors walked into the room. The first said, “Okay, begin sedation and we’ll get ready for the micro-chip reset.”
The other doctor responded, “Looks like this one didn’t turn out to well again like the last time.”

	As they finished their sentences I realized something. They have been resetting everyone until they get every single one of us to be perfect for their society. They don’t want people to have character or personality; they are just looking to create the most generic human being, like emotionless robots. As I thought this, I started to black out.

     “Where am I? Who are these people around me?” I thought to myself when I first woke up. I slowly lifted myself up and rubbed my eyes thoroughly as if there was something in them, but nothing was. I looked over; a lady kindly greeted me and handed me a folder.

title: Deja Vu

question: What does the story say about why the protagonist is in the hospital?

answer: The protagonist wakes up in a hospital and has no idea how he got there. He's handed a folder with his name and other information about him. He's led out of the hospital by two large men disguised as physicians and gets into a car. The car asks him where he lives, and he can't remember. A nurse runs out of the hospital and hands him the folder with his address, and he tells the driver where to go. When he gets home, he can't remember how he got there. He starts peeling the paint on his wall and sees writing everywhere. He starts to remember the government spiking everyone, putting chips in their brains to see, think, hear, and smell everything they have ever come in contact with. The government is resetting everyone until they are perfect for their society.

critique: The answer is too long and should be rewritten.

text: "wakes up in a hospital and has no idea how he got there. He's handed a folder with his name and other information about him. He's led out of the hospital by two large men disguised as physicians and gets into a car. The car asks him where he lives, and he can't remember. A nurse runs out of the hospital and hands him the folder with his address, and he tells the driver where to go. When he gets home, he can't remember how he got there. He starts peeling the paint on his wall and sees writing everywhere. He" - this part of the answer is irrelevant and should be deleted.

question: What does the story say about what kind of people the men want to create?

answer: The men want to create emotionless robots. They want people to have no character or personality. They want to create the most generic human being.

critique: The response could be phrased as a complete sentence.

critique: The men want to create emotionless robots. They want people to have no character or personality. They want to create the most generic human being.

critique: The men want to create the most generic human being. The story doesn't say they want to create emotionless robots.

critique: 'They want people to have no character or personality.' This is redundant and should be removed.


text:
[Actress Torrey DeVitto portrayed the lead role of Sierra Young] _HEBER HOLIDAY_ (2007), also known as _SHOOTING STAR_, is a comedy film starring Torrey DeVitto as Los Angeles actress Sierra Young. Other cast included K.C. Clyde, Erin Chambers, Jimmy Chunga, Michael Birkeland and Thurl Bailey. The film was directed by McKay Daines. The film won six awards in total.[1] The DVD was released on May 5, 2009 under the name _Shooting Star_.[2]

Plot

Sierra Young is a rising ingénue, making $10 million per picture. She's also a spoiled celebrity, who is partying all night, complaining on movie sets and unable to perform well. After a tantrum, in which she gets two black eyes, the director has her sent to a rehab clinic in a remote Utah town. Within a day, she's run away and is taken in by Nettie, who runs a bed and breakfast. Sierra also meets Nettie's grandson, Tyler, head of the local community theater. Sierra invents a name, tells Nettie a wild story, and reads for a part in Tyler's production of “Taming of the Shrew.” Meanwhile, her entourage hires a private eye to find her.

Cast

-   Torrey DeVitto as Sierra Young
-   Erin Chambers as Jodi
-   Thurl Bailey as Mutumbo
-   Scott S. Anderson as Felix
-   K.C. Clyde as Tyler
-   Jimmy Chunga as Hound
-   Matthew Bellows as Jeff
-   Michael Flynn as Mac
-   Hailey Evans as Felicia
-   Sid Clawson as Tye
-   Michael Birkeland as Scott
-   Aaron De Jesus as Chauffeur
-   Reb Fleming as Doctor

Awards

  Award                                         Category              Nominee        Result
  --------------------------------------------- --------------------- -------------- --------
  Foursite Film Festival                        Best Narrative Film   McKay Daines
  Park City Film Music Festival[3]              Best Feature
  Best Feature Film
  Temecula Valley International Film Festival   Best Feature
  Best Feature Film

[1] Heber Holiday awards April 25, 2008.

[2] Heber Holiday aka Shooting Star DVD release Retrieved June 5, 2009.

[3]

title: Heber Holiday

question: Summarize the plot of Heber Holiday.

answer: Sierra Young is an actress that is sent to a rehab clinic to deal with her bad behavior, which includes complaining on movie sets, raging, and partying all night. She escapes the clinic shortly after and gets taken in by Nettie, who runs a bed and breakfast. She delivers a false name to Nettie and is taken in by her grandson, Tyler, who runs a local theatre. At the theatre, Sierra reads for a part in Taming of the Shrew and discovers that her sleeping beauty persona was created by her entourage to ensure she landed the part but the career is now stifling her.

critique: The answer is a summary of the plot, but it is not a summary of the plot of the movie.

critique: It misses to mention she was sent a rehab clinic by the director because of her tantrum in which she got herself a black eye.

text: The part about Sierra's "sleeping beauty persona" is made up.

refinement: Sierra Young is an actress that is sent to a rehab clinic to deal with her bad behavior, which includes complaining on movie sets, raging, and partying all night. She escapes the clinic shortly after and gets taken in by Nettie, who runs a bed and breakfast. She delivers a false name to Nettie and is taken in by her grandson, Tyler, who runs a local theatre. At the theatre, Sierra reads for a part in Taming of the Shrew and discovers that her sleeping beauty persona was created by her entourage to ensure she landed the part but the career is now stifling her.

question: Summarize everything involving Nettie.

answer: Sierra eventually goes to a rehab clinic, but winds up running away and being taken in by Nettie, who runs a Bed and Breakfast. She meets Nettie's grandson Tyler, a head of the local community theater, who nearly puts Sierra in a play.

critique: The answer omits that Nettie is the one who takes in Sierra.

critique: The answer should mention that Nettie is the one who takes in Sierra.

critique: The response inaccurately mentions that Tyler almost puts Sierra in a play. It was the other way around.

critique: It's omitted that Nettie is Tyler's grandmother.

critique: "She meets Nettie's grandson Tyler, a head of the local community theater, who nearly puts Sierra in a play." - this is incorrect. Tyler is the head of the local theater. Nettie's grandson is never mentioned.

critique: The model groups Nettie's story separate to the incident where Sierra goes to rehab.

critique: I don't think Tyler puts Sierra in a play.

text: Sierra reads for a part in Tyler's "Taming of the Shrew" but we don't know what happens after that, whether Sierra actually performs in the play or not.

refinement: Sierra eventually goes to a rehab clinic, but winds up running away and being taken in by Nettie, who runs a Bed and Breakfast. She meets Nettie's grandson Tyler, a head of the local community theater, who nearly puts Sierra in a play.

question: What does the text say about the film's inspiration?

answer: No answer

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

critique: The question asks for information that is not in the text.

critique: The question is asking for the answer to be in the text.