text:
Nerd: an intelligent but single-minded person obsessed with a nonsocial hobby or pursuit
	My place among the nerds was and has never really been defined; I’ve just always felt that I was one. It probably stemmed from the weird person I was in middle school who nobody really knew because I was shy, awkward, and didn’t have anyone who understood me. Now I realize that that was all of us, but of course no one told me until now. I never knew where my place was just that my attributes were smart, shy, funny, temperamental at times, loved everything comic books, and, most importantly, has a strong love for music. Music has always been a way for me to realize that I’m never alone because if I can relate my life to a song then someone else has been where I am. It only made sense to learn how to play an instrument and to make my own music.
Place #1: Band Geeks
	I’ve always loved that term. Band Geek. It just rolls off the tongue right? It was also a title and a group of people who felt like I did and wanted to belong somewhere. What most people don’t know is that even though band is a clique of it’s own, there are different sections within a band which you choose to join from day one. It begins with three words: Woodwind, Brass, or Percussion? This loosely translates into: Would you like to play an instrument that you have to constantly sink money into for reeds and repairs, one where you feel like your lips will fall off after playing, or do you have anger management problems/ADD and want to hit stuff? I first chose Brass, realized I couldn’t really play the trumpet AT ALL, and went back to choose Woodwinds. The next choice was: Which one? Clarinet was the definite answer because it was small, looked easy to play and fun. It’s one of the best choices I’ve ever made in my entire life because the clarinet section consisted of the coolest people I had ever met. We were the talented, smart, funny, socially awkward people that eventually become the awesomest people in high school. That was my home until I came out of my shell and met the greatest influence on my middle school carrier, Mrs. Gilchrist.
Place #2: Thespians
	Mrs. Gilchrist was the reason I joined the fall play. She was the new Drama/Choir teacher that year and she made middle school bearable for me. She also pushed me to do things that she knew I would love, but hadn’t had the guts to do yet because I was shy, like acting and singing in front of a crowd. I had the smallest part in the whole play, an old woman who ran a hotel with her two sisters, but she hadn’t prepared me for the shocker I found in the script.
	That’s right. Not only was I going to make my acting debut, I had to sing a song and make up the tune for it too. I was terrified! I had NEVER sung or acted for anyone, especially the whole school and their families. How did we know if I even COULD sing?
	Opening night finally came, my nerves were all over the place and my singing scene was coming up. I walked across the stage, sat down and right on cue sang the lullaby of my own creation. It was perfect and the crowd clapped and cheered for me, a new rush I had never experienced before that filled me up with adrenaline and happiness. I had caught the Thespian bug and could never go back. I had become an acting junkie who’s inner nerd desperately wanted people to see her for the loud, funny person she was. After that, everything was a whirl of acting, memorizing, changing lines, rehearsing, singing and getting that ultimate prize of the thrill of applause, the high of being complimented, and the feeling of being noticed. Finally noticed.
To Be Continued...

title: [RF] My Place Among The Nerds

question: Summarize the main tension in the story.

answer: The narrator is a nerd who feels like they belong in the band geek clique. They are also a thespian. They are not sure where they belong.

critique: It is omitted that the narrator feels like they belong in the band geek clique. They are also a thespian. They are not sure where they belong.

text: The answer misses to mention that the shy narrator was anxious about acting and singing in the school play in front of the whole school and their families.

question: Summarize the central theme of the story.

answer: The story's central theme is about being able to find your place in a clique. The main character joins different cliques but never really feels like they belong. They eventually find their place in the thespian club, where they feel accepted and noticed.

critique: The answer should mention the narrator's place among the nerds.

critique: The answer should mention the narrator's place among nerds.

question: What might be a good career for the author and why?

answer: The author might be a good actor because they seem to be very good at singing and acting.

question: Summarize the avenues the author might take next.

answer: No answer

critique: No response is given. This response needs to be changed and the correct answer needs to be written.

critique: The response misses to mention that the author might take the next avenue of joining the school choir.

critique: The answer should mention that the story is not finished.


split: train

text:
[Trauma Towers|250px] TRAUMA TOWERS, formerly THE HAUNTED HOTEL, was a themed funhouse and haunted attraction based at Blackpool Pleasure Beach in the North of the United Kingdom.[1]

The attraction opened in 1980 as a walk-through, themed as a derelict hotel taking visitors through several haunted rooms. The outside of the hotel was painted blue and ramshackle with animations behind windows. In 1999, the attraction was renamed Trauma Towers and joined with the neighboring Tagada flat ride, which became the 'Baronial Dining Hall' and served as a finale.

The area outside Trauma Towers included gargoyles, ornate stone benches and a fountain with blood-red water. This area was later taken over by the dancing fountains show.

In 2009, the attraction was closed and left standing but not operating. One of the reasons for its discontinuation was purportedly due to the building becoming damp from the new adjacent Dancing Water Show. Some of the scenes were reused in the Ghost Train ride. The old entrance was re-used as a photographic portrait studio after the closure. In January 2018, the entire building was demolished at the same time as the Wild Mouse roller coaster, to make way for “future developments”.

Walk-through

The attraction was changed several times over its lifetime, with much of the original 1980s design having become altered and more generic scenes added. In the time it was known as 'Trauma Towers', the walk-through scenes were as following:

-   LOBBY - Where a 'bellboy' would allow guests into the hotel via an old fashioned check-in, with wood panelling, classic paintings and antlers and photos on the wall, including humorous wanted ads and signs, as well as keys hanging on the wall behind the reception.
-   GARDEN ROOM - A dimly lit room overgrown with plants, some of which would swipe out at guests' ankles as they passed.
-   LOUNGE - A room which had a heavily slanted floor.
-   DARK CORRIDOR - With some textured floors and a plank-walk across some bubbling water.
-   CRYPT - With a sudden tilting floor by a broken and empty stone coffin behind railings, although sometimes the coffin contained a skeleton.
-   FURNACE ROOM - A large furnace dominated one corner, chains dangled from above, and a bound female body sat in a tin bath by the furnace, her head concealed within a tied sack.
-   STAIRCASE - Leading upwards, with a large werewolf head mounted on the wall above.
-   BEDROOM - In which guests saw a figure in bed, holding a crucifix up against a vampirical ghost who was hovering in the corner of the room; sometimes, this ghost would be holding a brain.
-   GAMES CORRIDOR - In which guests saw several ghouls playing Pool with a floating ball, the ghoul gags included the Cryptkeeper and a ghoul with a spinning head, as well as Vampire children with glowing eyes.
-   BALCONY - A sponge-floor enclosed walkway with a window on one side, through which guests could see down over the Lobby. This corridor had a false end using mirrors to give the effect of more doors in a longer corridor ahead.
-   DRESSING ROOM - Involving the classic gag of a beauty looking in the mirror, to see herself transform to a ghoul.
-   LIBRARY - With some slanting floors, books slid in and out, a fireplace flickered, some wall decorations moved about, a large gargoyle with red eyes dominated a corner of the room. Also in this room, a false door arch threatened to drop on guests, there was seating in two corners and occasionally 'bellboy' staff members hid in this room to scare guests.
-   BATHROOM - A bathroom with a flickering light only allowed a brief glimpse into a filthy bathroom with a blocked-up toilet, broken sink and overflowing bathtub, in which a female figure appeared to be submerged and drowned.
-   ORGAN CORRIDOR - A corridor with doors (meant to be hotel rooms) on one side whereas on the left-hand side an animatronic of a phantom playing an organ could be seen in black-light. This was also the waiting area for the “Baronial Dining Hall”, in which a recording played advising pregnant women and people with back problems and heart disorders to pass through the hall via another path.
-   THE BARONIAL DINING HALL - a large room containing a Tagada ride and heavily themed to an old banquet hall, which was complete with a large laid out table in the centre of the ride. It also had artwork, suits of armour, statues, flags, chandeliers and furniture around the room.

The Baronial Dining Hall

Once seated around the table, the lights would go out and footsteps would be heard moving across the room. A breathy noise would be heard as a shot of air was blown behind the necks of guests. Above, guests would see a demon figure in the ceiling with flashing lights, as the lights went out, guests would hear flapping noises and the demon was then shown on the other side of the room in the ceiling, again with flashing lights. As the lights went out, a louder roar was heard, a crunch and a scream, at which point a small amount of water was released from the ceiling over guests, to imitate a demon spitting on diners.

The chandelier lights would then light again and the ride then spun very fast in one direction as the orchestral score played and a pneumatic occasionally made one half of the “bowl” shoot upwards and down again.

Upon the ride ending, guests would leave via two double doors on the other side of the Baronial Dining Hall, which led outside to the front of the attraction.

The Tagada was a Soriani & Moser tagada which the park bought as new in 1987. In 2010, travelling showman and attractions fabricator Walter Murphy bought it from the park and converted it to a travelling machine before selling it on to Stewart Robinson who still owns and travels it, mainly in the Yorkshire section. [2]

[1] Trauma Towers at Blackpool Pleasure Beach, UK

[2] https://www.fun-fairs.co.uk/topic/37452-robinson-stewart-tagada-nfatg16/

title: Trauma Towers

question: Summarize everything related to the aesthetics of Trauma Towers.

answer: The hotel was originally supposed to be a derelict hotel. While it hadn't been explicitly changed, it had become more playful at some point. The outside of the hotel was painted blue and ramshackle with animations behind windows. The outside had a fountain with blood-red water. Gargoyles were attached to the facade of the building. Ornate stone benches and a fountain were featured outside Trauma Towers. The Baronial Dining Hall has heavy wood paneling, classic paintings, and antlers and photos on the walls. Gastly and demonic children seem to make a lot of the artwork.

critique: The response contains some inaccurate information.

critique: The response contains inaccurate information.

critique: In this description, gargoyles, the Baronial Dining Hall, and Gastly in the answer are not evident in the story.

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

critique: Does not mention the interior of the hotel.

critique: Gargoyles were not attached to the facade.

critique: Does not specify that the description of the interior design came from the Trauma Towers' website.

critique: The answer includes information from the wrong article.

question: Summarize everything related to the Baronial Dining Hall.

answer: The Baronial Dining Hall was part of the walkthrough, accessible from Trauma Towers. The event involved entering the Baronial Dining Hall, a large room containing a Tagada ride and heavily themed to an old banquet hall. Guests were seated around the table, the lights would go out and footsteps would be heard moving across the room. A breathy noise would mimic the werewolf's roar, and a shot of air proceeded to blow behind their necks. Above, guests would see a demon figure in the ceiling with flashing lights, a louder roar was heard, a crunch, and a scream. Water was released from a hole in the ceiling that was supposed to mimic the demon spitting on diners.

critique: The answer does not mention the fate of the Baronial Dining Hall.

critique: The answer is not a summary of the Baronial Dining Hall. It is a summary of the building's walkthrough.

critique: The answer should mention the Tagada ride.

critique: There is no evidence that the dining hall was anything but ephemeral, and it did not contain a Tagada ride, so these should be removed from the response.

critique: Saying Baronial Dining Hall is in Trauma Towers doesn't make sense since Trauma Towers is in Baronial Dining Hall. So I'm rewording it to be more accurate.

critique: There is nothing about the Baronial Dining Hall that is a walkthrough.

critique: The Baronial Dining Hall was part of the walkthrough, accessible from Trauma Towers. The event involved entering the Baronial Dining Hall, a large room containing a Tagada ride and heavily themed to an old banquet hall. Guests were seated around the table, the lights would go out and footsteps would be heard moving across the room. A breathy noise would mimic the werewolf's roar, and a shot of air proceeded to blow behind their necks. Above, guests would see a demon figure in the ceiling with flashing lights, a louder roar was heard, a crunch, and a scream. Water was released from a hole in the ceiling that was supposed to mimic the demon spitting on diners.

critique: "a shot of air proceeded to blow behind their necks" - this is incorrect. The air was blown behind the necks of guests.

critique: The werewolf's roar isn't part of the event. It's a surprise scare.

critique: Rephrase the third sentence of the response to indicate that the narrator is only describing what the event feels like to them, rather than actually describing what occurred.

critique: The question does not need all of this information; the response includes excess information that does not need in the answer.

critique: The response contains irrelevant information and issues reductions.

critique: Summary names the wrong ride and does not mention the Dining Hall

text: The answer should contain a clearer and more accurate indication of the events of the Tagada ride from the queue to when the guests leave.

category: coverage

refinement: The Baronial Dining Hall was part of the walkthrough, accessible from Trauma Towers. The event involved entering the Baronial Dining Hall, a large room containing a Tagada ride and heavily themed to an old banquet hall. Guests were seated around the table, the lights would go out and footsteps would be heard moving across the room. A breathy noise would mimic the werewolf's roar, and a shot of air proceeded to blow behind their necks. Above, guests would see a demon figure in the ceiling with flashing lights, a louder roar was heard, a crunch, and a scream. Water was released from a hole in the ceiling that was supposed to mimic the demon spitting on diners.

question: What does the text say about the attraction closing?

answer: In January of 2018, the entire building was demolished to make way for "future developments." The attraction, renamed Trauma Towers, formerly The Haunted Hotel, closed down in 2009. One of the reasons the Trauma Towers closure was allegedly due to the building becoming damp from the new adjacent Dancing Water Show. The building was repurposed and used as a photographic studio after the closure.

critique: The second sentence is a bit redundant. It refers to the same event of the building being demolished. It can be expressed in clearer terms.

critique: It's not clear why the attraction was closed.

critique: The building was repurposed and used as a photographic studio after the closure. - this is an irrelevant detail that should be removed.

critique: The response contains some inaccurate information.

critique: The Trauma Towers closing and reopening in 2009 is not relevant.

critique: The building was converted into a photo studio after the closure.

critique: The response should include the reason for the closure.

critique: The year it closed is incorrect and the repurposing it got afterward is irrelevant.

critique: The building was not repurposed and used as a photographic studio after the closure.

critique: The building was repurposed and used as a photographic studio before the closure.

critique: The building was demolished in January 2018

critique: The building was not used as a photographic studio after the closure.

critique: The building was repurposed and used as a photographic studio after the closure, not before.

critique: It is mentioned that the exterior of the attraction was "painted blue and ramsheckl with animations behind windows."

critique: The buildings were demolished in January of 2018, but the text doesn't specify the year of the closure.

text: The response should give a recount of the events i. chronological order for the sake of coherence.

category: coherence

refinement: In January of 2018, the entire building was demolished to make way for "future developments." The attraction, renamed Trauma Towers, formerly The Haunted Hotel, closed down in 2009. One of the reasons the Trauma Towers closure was allegedly due to the building becoming damp from the new adjacent Dancing Water Show. The building was repurposed and used as a photographic studio after the closure.

question: What does the text say about the Trauma Towers' engineers?

answer: No answer

critique: It's omitted that the text doesn't mention anything about the engineers.

critique: The article doesn't mention the engineers.

critique: This is false. The text clearly says that Trauma Towers was operated by Blackpool Pleasure Beach and that it was closed in 2009.

critique: There is no evidence in the text that mentions the engineers.

critique: The passage contains no mention of any engineers.

critique: The answer is incorrect. It does say about the Traum Towers' engineers.

critique: There is no information about the engineers in the article.

critique: There is no information about the engineers in the text.

critique: The text gives no information about the engineers.


text:
Panicked, Elizabeth sprints away from her pursuers, panic bubbling in her chest. She doesn’t even have time to process what just happened, all she can do is run and pray she won’t get caught. She runs through the marketplace, dodging startled shoppers and angry glares. She almost knocks over a fruit stand, but the owner and a few bystanders manage to catch it before anything falls. As if through a tunnel she can hear him screaming at her to be careful. She doesn’t stop though; all she can do is run.

She can’t breathe, but she can’t stop. She needs to find a place to hide, but where? Suddenly an idea strikes her; she quickly veers left down a muddy alleyway and splashes her way down to a small grate. She usually hides here after her father- no! Now is not the time to think of that! She needs to escape! She needs a plan! She quickly pries the grate open, slides in, and shuts it behind her. She curls up in her all too familiar corner and finally lets everything sink in.

Shivering with cold and fear she runs over the events leading up to this point. She just murdered her father; she stabbed him with a knife. She felt his blood on her hands and saw the life flicker out of his eyes. Her mother had started screaming and cradling his body, a guard heard and came running. She remembered dropping the knife when she realized what she had just done. The guard asked what happened and her mother just hysterically screeched at Elizabeth. As the guard turned, she took one final fearful look at her mother and bolted. Come to think of it, she didn’t even know if the guard had followed her or not. More than likely he did, but she was just too light and fast for him, even in a dress.

Elizabeth tried to calm herself. She had done what she had to do; no-one could fault her for that… right? The hopeful part of her mind prayed that everyone would understand and all would be forgiven, but the rational part of her knew just how wrong that was. She had to escape. Maybe she could find another town somewhere and build a new life… no. That wouldn’t work… Realizing what a hopeless situation she’s in, a small sob escapes her lips, but she quickly stifles it- she can’t let a guard hear her now. She’ll just stay the night here. Maybe in the morning she’ll be able to think of something to do…
__________________________________________________________

Elizabeth wakes up in a very familiar place, curled up like a dog in a ripped dress covered in blood, mud, and straw. Sun is streaming through the grate, but it didn’t quite reach where she’s hiding. She whimpers and buries her face in the straw, not caring how bad it pricks and itches.

She has to go home. Untangling her bruised and cut limbs she crawls out of her hidey-hole. Standing up, she gathers her tattered and torn dress and starts limping through the marketplace. She receives many disapproving glares from the other townsfolk, but she doesn’t care. She makes this walk of shame almost every morning.

She passes a guard on the outskirts of the town who just grunts at her to pass then stumbles up the winding trail to her house. As she walks in her father looks up from the newspaper, grins like a Cheshire cat, and says, “Morning Pumpkin, how’s my baby this morning?” Elizabeth just flinches and hangs her head. God, how she wants to kill this man.

title: Elizabeth (an original story by me)

question: Summarize Elizabeth's movements throughout the story.

answer: Elizabeth starts the story by sprinting away from her pursuers. She runs through the marketplace, dodging shoppers. She then veers left down a muddy alleyway and splashes her way down to a small grate, where she usually hides. She then crawls out of her hidey-hole and walks back to her house.

critique: It is omitted that she crawls out of her hidey-hole and walks back to her house.

critique: "She then crawls out of her hidey-hole and walks back to her house." - this is incorrect. She doesn't walk back to her house. She goes to her hiding spot every day to sleep.

critique: "She then crawls out of her hidey-hole and walks back to her house." - Elizabeth doesn't walk back to her house. She limps back, which is why she's covered in dirt and blood.

critique: The hiding place is referred to as her "hidey-hole" in the final line of her movement.

critique: "She then crawls out of her hidey-hole and walks back to her house." - Elizabeth doesn't walk back to her house. She limps back.

critique: "She then crawls out of her hidey-hole and walks back to her house." - Elizabeth didn't crawl out of her hidey-hole. She stood up and limped back to her house.

critique: "She then crawls out of her hidey-hole and walks back to her house." - this is incorrect. Elizabeth didn't walk back to her house. She limps back to her house.

critique: "She then crawls out of her hidey-hole and walks back to her house." - Elizabeth didn't walk back to her house. She limped back.

question: Summarize the twist ending.

answer: Elizabeth wakes up in a corner of her hiding spot, having fallen asleep from exhaustion and fatigue. She crawls out and begins to head home. As she walks into her house, her father greets her happily. Elizabeth wants to kill her father.

critique: The answer omits that Elizabeth is hiding in the grate because she murdered her father.

critique: The answer doesn't mention that her father is still alive.

critique: It's not clear in the passage that Elizabeth wakes up from falling asleep from exhaustion and fatigue; it's implied.

critique: The answer omits that Elizabeth is hiding in the grate because she killed her father.

critique: "Elizabeth wakes up in a corner of her hiding spot, having fallen asleep from exhaustion and fatigue. She crawls out and begins to head home. As she walks into her house, her father greets her happily. Elizabeth wants to kill her father." - is incorrect. Elizabeth does not wake up in her hiding spot. She wakes up in a different corner of the town.

critique: The answer omits that Elizabeth is horrified to see her father alive.

critique: "Elizabeth wakes up in a corner of her hiding spot, having fallen asleep from exhaustion and fatigue. She crawls out and begins to head home." - Elizabeth doesn't wake up in the corner of her hiding spot. She woke up in the hidey hole.

text: The response is missing the twist: Elizabeth imagined killing her father, which is why she ended up hiding and waking up in the grate.

question: What does the story say about why Elizabeth murdered her father?

answer: No answer

critique: The answer should mention that Elizabeth killed her father in self-defense because he was beating her mother.

question: Summarize the primary source of tension in the story.

answer: Elizabeth is running to escape the guards who are in pursuit of her. She believes she killed her father using a knife and the guard may have seen her. It is implied she would not be forgiven for her crime and would be executed.

critique: The story does not mention that Elizabeth would be executed.

critique: This response could use some formatting and sentence structure edits.

critique: There is no evidence that the guard saw Elizabeth.

critique: "It is implied she would not be forgiven for her crime and would be executed." - this is incorrect. Elizabeth was never in trouble with the law and the guard didn't see her.

critique: "It is implied she would not be forgiven for her crime and would be executed." - this is incorrect. Elizabeth is not running to escape the guards. She is running to escape her pursuers.

critique: The part about the guards is unattested.


text:
JULIAN DASHPER (29 February 1960 in Auckland, New Zealand – 30 July 2009), was regarded as one of New Zealand's most well known contemporary artists.

In 2001 he was awarded a senior Fulbright fellowship to be based as an artist in residence at the Chinati Foundation in Marfa, Texas. Dashper's work from the last 25 years has recently been the subject of a major touring retrospective in America (the first ever such exhibition for a resident New Zealand artist),[1] curated by Christopher Cook and David Raskin.[2]

Dashper's work focuses on the histories, theories and more general or popular ideas of abstraction (in particular abstract painting), conceptualism and minimalism as a working methodology. The geographical positioning of New Zealand globally and how this country receives and disseminates visual information is also a core subject in Dashper's work.[3] His practice manifests itself in various forms, including paintings, unique photographs of paintings, found objects which he infuses with abstract images, various multiples plus limited edition CD and 12" polycarbonate recordings of impromptu performances he has been involved with or heavily orchestrated. He has also produced a number of video works, some of which document or describe his installations, painting and audio recordings.[4] In 2016, arts organisation Circuit commissioned George Clark to curate a programme of moving image works, titled _This is not film-making_, which invited artists Gavin Hipkins, Juliet Carpenter and Gregory Kan, Daniel Malone, Louise Menzies and Nathan Gray to make works that respond to Dashper's own writings.[5]

Respectful, even affectionate references to local culture and art history are always present in Dashper's work, whilst his own adaptations of abstraction, conceptualism and minimalism fully acknowledge their lineage within international art. As curator (and director of the Adam Art Gallery in Wellington) Christina Barton expresses it, Dashper has _“the unique perspective of attending to an internationalist art history from a distance, enabling him to devise strategies to work around his geographical isolation whilst simultaneously articulating its effects.”_[6] Dashper is represented in all the major public collections in New Zealand: MCA, Sydney; Ludwig Forum für Internationale Kunst, Aachen, Germany; Sheldon Museum of Art, Lincoln, Nebraska; The University of Auckland Art Collection; Ulrich Museum of Art, Wichita, Kansas and the Stedelijk Museum in Amsterdam.

Visiting scholar at the University of Sydney in 2008, Dashper lived in Auckland and travelled regularly. His first New Zealand retrospective, _Julian Dashper: Professional Practice_, was held at the Gus Fisher Gallery in 2010.

[]

_UNTITLED (THE WARRIORS)_ 1998. Vinyl on drumheads with junior drumkit. Dimensions variable. Courtesy of the artist, Sue Crockford Gallery, Auckland and Kaliman Gallery, Sydney. Photo by Ashley Barber.

Copyright Julian Dashper

This is a two-dimensional representation of a copyrighted sculpture, statue or any other three-dimensional work of art. As such it is a derivative work of art, and per US Copyright Act of 1976, § 106(2) who owns copyright of the original has the exclusive right to authorise derivative works. Per § 107 it is believed that reproduction for criticism, comment, teaching and scholarship constitutes fair use and does not infringe copyright. It is believed that the use of a picture to illustrate the three-dimensional work of art in question, to discuss the artistic genre or technique of the work of art or to discuss the artist or the school to which the artist belongs on the English-language Wikipedia, hosted on servers in the United States by the non-profit Wikimedia Foundation, qualifies as fair use under United States copyright law. Any other uses of this image, on Wikipedia or elsewhere, might be copyright infringement. To the uploader: please add a detailed fair use rationale for each use as well as copyright information on the original artwork.

[1]

[2]

[3]

[4]

[5]

[6]

title: Julian Dashper

question: How are digital images treated in the United States in terms of copyright and ownership?

answer: No answer

critique: No response is provided and a response needs to be written.

critique: The response misses to mention that pictures used to describe a three dimensional work of art are exempted per copyright law.

critique: The answer is not relevant to the question.

critique: The answer cannot be found by searching the document.


text:
A nation's Intelligence Agency released a 140 page report detailing the lack of food and water for the planet's growing population, the inevitability of climate change to keep elevating dangerous weather conditions, and the destined collapse of the current monetary system.  The whole nation was already full of unhappy people, a generation that had been fed the lie that if they worked hard they would eventually be prosperous and happy, were unemployed or held dead-end jobs where they were constrained, bored, underpaid and unappreciated.  They were furious at being mislead.  A generation of baby-boomers before them had stolen all of the prosperity from the nation and left a dying planet behind as their inheritance.

The nation’s news-media grew increasingly cynical, morbid and depressing every day.  Networks were purely out to make money and the dying nation, which felt helpless to help itself, ate up these stories and wallowed in its unhappiness.  As a result those with mental disorders such as antisocial personality disorder, psychopathy and narcissistic personality disorder, began to believe that they were in fact part of the majority, as people had forgotten long ago that TV was not a true representation of reality.  Such individuals became so convinced of their normalcy that they never sought out the mental counseling they so desperately needed, and as their self-assurance grew so did their boldness.

A few started openly killing innocents, and once made famous by the greed of the media, more joined in.  Soon even innocent children were not safe from the crossfire.  With every disaster that befell the nation its people, scared and delusional, gave up one civil liberty after another until the freedom the nation once held proudly over the heads of the rest of the world was nothing more than a distant memory.  Its citizens grew divided between the five stages of grief; denial, anger, bargaining, depression and acceptance as though each stage were in fact an ideology to live by.

Only a small percentage of the population had made it to the final stage and the deniers were so desperate to believe that everything would be OK that they turned their back completely on science and reason, the two things that human beings prided themselves on the most.  The desperate actively ignored the evidence that came to light more and more every day, and lashed out at those who sought to end their ignorance.  These people controlled vital aspects of the government, and so the nation was locked in a terrible stand still, completely unable to deal with the current problems and imminent dangers of the future.

Only one solution seemed to remain; revolution.  A total revision of government and civilization.  But revolution was never to happen, too much of the nation had become convinced that they were completely helpless to influence the world, and reverted to total depression, complete apathy or a mix of the two.  Each time an uprising started it was never able to gain enough momentum to stop the government from quelling it, through military and police action, and more powerfully through clever manipulation of the press and propaganda.  People came to fear conflict more than anything, especially amongst themselves and so they created societal restrictions on which words they could say and which situations they could show in movies and on TV. In this stifling environment people became unable to think for themselves, and creativity and originality were snuffed out.  Suicides, murders and sickness grew.

Some began openly hoping for the end of their world.  Nature began lashing out in its death throes as the misery of money continued to strangle it.  Floods, droughts, blizzards, and terrible storms wreaked havoc across the planet.  Wars over resources broke out around the globe, and finally the government took total control of the nation through military and police supervision.  Each and every citizen was now a ward of the state, but even with strict laws in place limiting the production of more children the population had already grown too large to sustain.  Soon governments around the world began to consider something once thought to be unthinkable-nuclear war.

All it took was one missile, and all pandemonium broke out. No one can remember who made the first move, but it hardly mattered once a nuclear winter, an event which scientists had been warning about for decades, consumed the planet.  The access to food and water, already scarce, became virtually non-existent and the starving population bottlenecked.  The humans, plants and animals that managed to survive were plagued with genetic mutations and disease.  Extinctions on a massive scale ravaged the land and sea.  Eventually only a small niche of organic life remained, breeding and evolving over many thousands of years to create a new era.  Although some mutated form of the human genome survived, the human race is never again at the top of the food chain.

All information that humans had gathered and analyzed over the centuries was lost forever, for you see, the human race had been so distracted by war and money that they had never mastered space travel.  When the sun eventually went supernova, any existence of life on the planet Earth and possibly in the entire known universe was completely eliminated.  Doomed to revert to the stardust which had originally allowed for its creation.

The end.

This is my first time writing anything other than a research paper really, so I'm curious as to how other people view the style, and what you all generally think.  (It's ok if you don't like it!)

title: "I'm afraid that this story takes place in the not-so-distant future."

question: What was the reason for nuclear war starting?

answer: No information is provided.

critique: The reason for the war is not explicitly stated, but it is implied that it was started over resources.

critique: The response should include that this answer can't be found.

critique: The reason for nuclear war is not explicitly stated, but it is implied that it was over resources.

critique: The reason for nuclear war is not explicitly stated, but it is implied that it was started by humans.

critique: The reason for nuclear war is stated in the text.

critique: The reason for nuclear war is not explicitly stated, but it is implied that it was started over resources.

critique: The reason for nuclear war is not explicitly stated, but it is implied that it was started because of the lack of food and water for the planet's growing population.

critique: "There ... unclear as to why nuclear war started, as it is never fully explained" is evidence that the reason for the war is unclear in the text.

question: What was the relationship between the nation's media and the nation's people?

answer: The nation's media was cynical, morbid, and depressing. The nation's people ate up these stories and wallowed in their unhappiness. As a result, people with mental disorders such as antisocial personality disorder, psychopathy, and narcissistic personality disorder began to believe that they were in fact part of the majority.

critique: The answer should mention that the media made people with mental disorders feel normal.

critique: Then that should be twisted: The nation's media was cynical, morbid, and depressing. These stories gave people with mental disorders, who didn't know they were ill, the illusion of normality. As a result, people with mental disorders such as antisocial personality disorder, psychopathy, and narcissistic personality disorder began to believe that they were in fact part of the majority.

critique: The answer should mention that the media's influence on people with mental disorders led to an increase in violence.

critique: The answer should point out that the media's influence on people with mental disorders was a negative one.

critique: The answer should mention that the nation's media made people with mental disorders feel normal.

critique: The people with mental disorders believed that they were in fact part of the majority because people had forgotten that TV was not a true representation of reality.

critique: I would add that the media was out to make money and was not a true representation of reality.

question: What nations were most responsible for the eventual implosion of the planet?

answer: This information can't be found.

critique: The answer is incorrect. The nations responsible for the eventual implosion of the planet are not mentioned in the passage.

critique: The answer is incorrect. The nations that were most responsible for the eventual implosion of the planet were the ones that were most affected by the greed of the media.

critique: The story explicitly mentions the United States.

critique: The information is there, although it's not mentioned explicitly in the story.

critique: The reason for this answer is because the story does not explicitly state which nations were the most responsible. However, it can be implied that the nations in general were responsible.


text:
Strange Encounters

"It's weird officer, real weird." Mark Henderson was at the local police station in Alberton, Ontario on 4: 36am August 8th, 1951. Strangely enough, a building he's never seen, in a town he's never been to before, yet familiar.

"All right smooth talker, let's take it from the top once more. I know there's not much to it as you've continued to repeat but let's see if anything else pops out at you and then we will pay for your gas home." Officer Dan Richardson was becoming more and more tired with the story was hearing.

There just can't be anyway. Dan thought becoming more and more enraged within. The moment he walks out of here I'm just going to throw this case out. Hocus pocus my ass, what does he take me for, an idiot?! At best this is the best damn way to get free gas.

"Well like I said before, I had just filled up at half past 10pm, so I could drive out and get to the place that sells tobacco by the pound still..."

Yes, yes we all go out to New Market for cheaper cigarettes, not relevant.

"...and I was driving out to Bakersfield like I said,"
He didn't refer to it as Bakersfield before? The puzzled Officer thought.

"...on the way there I had to swerved out of the way of a truck with these god forsaken bright lights. I guess I was a bit sleepy Officer and woke up in the nick of time but after that I found myself just driving around an unfamiliar road.

I was having awful headaches, for a bit around that time too. Images that started accompanying them are hard to distinguish but almost always included me in a white setting... I don't know it sounds crazy now. Anyways, I pulled over till they subsided and drove straight here in hopes that you could help me figure out where I am so I can get home, but I still can't remember where that was again. Some rest will cure this forgetfulness. I feel like I've been up all night." Mark felt like that was all the information that he could give, he couldn't remember what town he lived in nor his wife or his phone number. He kind of felt a helpless feeling fall over him.

"We'll now that you've told us where you were driving to we can call that regions station and see if there is a match to your name anywhere close to there. It should only take a few hours."

Not long after that another Office came into the room and asked if Officer Dan could speak with him for a moment.
What did the results turn up Frank?

"He wasn't lying when he said things were weird. It turns out that there isn't  even a Bakersfeild anywhere near here. In fact, you have to drive 14 hours north to get to a small town called Bakersfeild." Officer Frank said as he started to debrief.

"...here's where things get truly disturbing. When we searched his name through the local police department Mark has a missing person out because his wife...."

"Wow, his wife sure gets worried quickly. Seems a bit much don't you think he's only been gone for half a day at most. Can't remember his name or town he lives in, probably doesn't remember setting out on a road trip. Likely to get away from her if she's that crazy." Office Dan remarked crudely as if this was all an elaborate funny joke.

"If you'd let me finish, his wife reported him missing August 8th, 1950, sir. This was reported after she spent a full day returning home from a place that was 8 hours away from their town. She reported being in the passenger seat of a driverless car after being at a gas station for an unknown reason. All she could remember before waking up was that there was a blinding white light that she couldn't help but look at. It actually says 'forced' in the report." Frank said growing more and grimmer as he read from the file between his trembling hands.

Officer Dan, started to sit in the closest seat he could find. He couldn't believe that Mark was 14 hours away from home. That would make his whole time scale false. Not to mention the fact that he has been missing for a full year, a full year exactly he would later realize.

He began to think about the crazy aspects of them all, his wife's story at the time; driverless cars, being at a gas station for no reason, it all makes sense now, only after hearing Marks story.

"Sir there is one more thing in the reports." Frank said with a grave look in his eyes.

"What more could it be?"

"The wife had three cuts into her skin going the length of her back; she said that's the first appearance  of them in her life. It was like they were skillfully cut as the doctors said there was no way any doctor could stitch a cut that clean without some kind of pain. She reported none."

"All right Frank thanks for all the intel." Dan has a hard enough time giving gratitude in the first place and was finding it particularly challenging to give it with what he just learned.

The door opens to the interrogation; with it brought an energy that mimetic death. Officer Dan began relaying the frightening news to Mark, which still hasn't sunk in, himself.
"One last thing before we send you on your way home to your wife, if you will Mark. Your wife reported three cuts on her back that she had never seen before that night. Could you remove your shirt and pants please, I just want to know if we should have medical look at you first." Officer Dan asked Mark in the most genuine and sincere way he could.

"No problem Sir, it was starting to itch a bit anyways. It'll be nice to readjust it." Mark said in a cheerful way. For he sees this all as a blessing. Finally, he can see his wife and start the laughing process.

As Office Dan brought his coffee cup down from a big deep, delicious gulp, the liquid left his mouth as fast as it came in. in one fellow motion Office Dan vomited, dropped his cup, and tripped on his own two feet.

With his eyes wide open from shock; he gazed at a man whose skin, from head to toe, was scalped. Only his muscles were visible. Each and every muscle strand picked clean of its protective layer of skin. No blood was seeping through, it was as if there was its own invisible skin that covered him. Which is likely why he hasn't miraculously died.

As Mark turned around to confront a mirror, the last thing to pass through his mind was his beautiful wife; he pictured the way her soft cherry red hair flowed over her shoulders like a creek over an edge. Her rosy cheeks gently glowing in the sun. It was comforting to his mind to have such a lovely mental image cross it because once his  eyes focused on the mirror, his hideously deformed body sent his body into a trauma that it couldn't handle and  at  10:29PM August 8th Mark Henderson collapsed dead.

As for Dan Richardson, well he wishes that the story ended there.

title: [SF] Strange Encounters

question: Summarize the source of tension in the story.

answer: At the beginning of the story, a man named Mark shows up at the police station with nobody having any idea of where he came from or why he is there. He seems disoriented, but appears to hold on to his identity, at least at the beginning. As he tells his story, it's revealed that he stated getting lost three years earlier. It appears his wife was in the car with him at that time, as she reported a similar scenario, however, she was missing for a year.

critique: The answer is incorrect. Mark was missing for a year, not three years.

critique: It is omitted that when Officer Dan questions the man to remove his shirt and reveals that he is missing his skin. (And metal rods are instead what supports his muscles.)

critique: The response inaccurately mentions that Mark's wife was missing for three years, however it was only a year.

critique: The answer is incorrect. Mark's wife was not in the car with him three years ago. She was in the car with him the night he disappeared.

critique: This is incorrect. The woman was missing for a year and the story happened in 1951, not three years earlier.

critique: The story does not state that Mark stated getting lost three years earlier.

critique: The story does not state that Mark got lost three years earlier.

critique: The response inaccurately mentions that Mark stated getting lost three years earlier, however he was missing for a year.


text:
“Goodbye”, a clear and unmistakeable message. Albeit no more meaningful in the broad spectrum of human existence than any other word in the English language. What was it about this particular word that made Mark Coleridge decide it to be his final assertion in life? Surely there existed other, more meaningful, less succinct choices within this young man’s vocabulary? Yet, it was this, a singularly simple form of farewell, that was to be his final utterance upon a perpetually spinning, green Earth. To be certain, it was a “goodbye” punctuated by a single gunshot which ended the life of one Mark Coleridge, aged 25 years.

I saw the entire sequence of events unfold from my office window, overlooking the square. The once tranquil sea of people became a frenzied mob. Spectators were running this way and that way, while a group of policemen, who had been standing just a few meters away from the gunshot, rushed in to assess the situation. To say that the gunshot had not startled me would be to tell a grave untruth. Indeed, although I been surveying the crowd for anything remotely interesting to take my mind off of the monotony of the endless paperwork, the last thing I expected was to see what would became my next and final case unfold right in front of my very eyes. My eyes had been following a young man who was by my estimate, no older than thirty but could not have been any younger than twenty-three . It had been his bright blond hair which had caught my attention. Hair so bright that it was like a lighthouse, guiding the ships of my eyes away from the rocks of his darker haired neighbours and towards his beckoning presence.

Just before the gunshot there had been a fierce wind, as if the tragedy that is human death was borne aloft upon its ephemeral wings. I could tell by the great display of flags which provided a backdrop to the day’s hectic events. But as I now type out how the sequence of events did unfold and reveal themselves to me that day I cannot help but think, that the wind was meaningless, just another random occurrence in the day-to-day events that led to where I am now. This young man, whom I had been following with my eyes for a good five minutes, started at the fringes of the crowd and slowly weaved his way to the centre by the fountain which gushed forth the waters of anticipation. Like an ant he was, meandering, twisting, and dodging in and out of a wave of people. When he reached a location which was pleasing to his volition, this was on the ledge of the fountain, situated in the centre of the square. He paused for a few moments, seemingly reflecting on all that was good with the world.

Even through the glass of my office window, I could tell that something heavy was weighing down upon his mind. I could feel the sweat dripping down from his forehead and onto his shaking hands. It was then that he suddenly stood up, procuring from his pocket, a magnum revolver, with which he jammed the muzzle underneath his chin, which I could see was shiny with the perspiration of one whose fate now lay within the cold steel barrel of an imported American pistol. I do not remember whether it was the sound of the gunshot at which I jumped or whether it was the sight of this young man, who, in the prime of his youth, seemingly had so much to live for, being blown into oblivion by a small fragment of lead, now ingrained firmly and permanently into his mangled skull.
I watched for another hour, I cannot remember the exact time that I remained beside my window. Perhaps it was in some benign tribute to the fallen man that I lingered; Or perhaps I was simply curious as to what would happen next - I had never seen a suicide before. It was when the ambulance came to collect his body that I finally turned away from the window. The sun was setting low over the buildings which faced the square opposite my own. It was then with a sigh that I  thought how much of a terrible tragedy the day’s events had witnessed. And then, it was with a greater sigh that I returned to finish the last of the paperwork which lay sprawled before me on the desk.

I took the bus home. The sun was saying its final farewells to the world before it suddenly vanished in a ball of flame. I observed all of this on the bus ride home and fleetingly thought that the sun was just like that young man I had witnessed in the square. The only difference being that the sun was sure to rise again, unlike the young man, whose only certainty lay with him in a newly-dug grave. But I thought no more of it as the bus pulled up next to the curb and opened its doors to let myself and several other passengers out. It was my stop, you see and waiting for me at the bus-stop were my lovely wife, Susan, and my two kids, Isaac and Mary. They smiled at me. “How was work, daddy?” my youngest, Mary, sweetly inquired. “Oh,” my mind drifted back to the young man in the bright blonde hair. How innocent he had seemed when I first laid my eyes on him through the office window. “It was certainly interesting, Mary, my dear.” Isaac, my eldest child, who was perpetually adding on inane questions to perfectly reasonable ones, piped up “in what way it was interesting, Daddy?” My eyes flashed daggers of annoyance through my glasses, although none of my family was perceptive enough to notice. “Daddy had a lot of paperwork that was supposed to go to a very important man.” I replied, so nonchalantly, that not a trace of my annoyance revealed itself to my family. We rounded the corner of the street and approached our little terraced house. “Come inside, dear” my wife lilted, “I have dinner on the table waiting for you.” As the smell of freshly baked potato wafted through my nostrils all previous thoughts of the young blonde-haired man disappeared as promptly as the setting sun did not but a little while ago.

title: Chapter 1 of my first novel. Reddit go easy on me!

question: What does the story say about Mark Coleridge's family?

answer: No answer

critique: The response misses to mention that Mark Coleridge's family is his wife, Susan, and his two kids, Isaac and Mary.

critique: The response misses to include information about Mark Coleridge's family.

critique: The response misses to mention that Mark Coleridge had a wife, Susan, and two kids, Isaac and Mary.

critique: The response misses to mention that Mark Coleridge has a wife, Susan, and two kids, Isaac and Mary.

critique: The response misses to mention that the narrator returns home to a loving family.

critique: The response misses to mention that Mark Coleridge's family consists of his wife Susan and his two kids, Isaac and Mary.

text: The answer should make it clear that the passage does not say anything about Mark Coleridge's family.

category: accuracy

question: What does the text say about Mark Coleridge?

answer: Mark Coleridge, a young man of 25, said his final word with a single gunshot before ending his own life. Mark seemingly had so much to live for from the standpoint of an onlooker. Mark was throughout the story described as bright, young, and lustrously blond-haired.

critique: Mark didn't seem particularly bright from the viewpoint of the protagonist, however his suicide shocked someone who is often unruffled by people standing on ledges. Mark was also hiding his emotions around his 'lover', according to emojis he sent. Lastly, he was not lustrously blond-haired

critique: The answer should mention that the narrator saw the suicide.

critique: The answer should mention that Mark was a suicide.

question: What does the text say about the narrator?

answer: The narrator works as a police officer and witnesses a suicide. The victim is a young man with bright blonde hair. The narrator sees the suicide of the young man unfold from his office window. The victim was young, his death seemed pointless and he had much to live for.

critique: This is incorrect about the narrator: "The victim was young, his death seemed pointless and he had much to live for"

critique: The narrator is not a police officer. He works in an office overlooking the square.

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

critique: It is omitted that the narrator has a family.

question: How did the narrator's thoughts about the suicide he just witnessed change throughout the story?

answer: At first, the narrator is shocked by the suicide. He thinks about how the young man had so much to live for. He lingers for an hour, watching the ambulance arrive. He thinks about how terrible a tragedy the suicide was. The sun is setting and the narrator is on his way home. He reflects on how the sun is like the young man he witnessed in the square. The only difference is the sun will rise again, unlike the young man.

critique: The narrator's thoughts about the suicide are not that the sun is like the young man.

text: The answer fails to mention that as the narrator returns home to his family and his children ask about his day, his thoughts initially drift back to the young man's suicide; however those thoughts dissipate as his wife serves dinner.


text:
It has been traditionally believed that any U.S. CENTRAL INTELLIGENCE AGENCY ACTIVITY IN CANADA would be undertaken with the “general consent” of the Canadian government, and through the 1950s information was freely given to the CIA in return for information from the United States.[1][2] However, traditionally Canada has refused to voice any anger even when it was clear that the CIA was operating without any authorisation.[3]

Apologists have noted that Canada was vital to CIA operations as it "physically occupied the territory between the United States and the Soviet Union.[4] However, on May 28, 1975 Solicitor General Warren Allmand directed the Royal Canadian Mounted Police (RCMP) to begin investigating the levels of CIA involvement in Canadian affairs.[5]

Today, the country continues to cooperate with the CIA, enabling their black sites, allowing ghost planes to land and refuel in Canada, en route to delivering prisoners to unknown locations.[6] The Canadian counterpart of the CIA is the Canadian Security Intelligence Service (CSIS) and its agency heavily cooperates with the CIA.

Project MKULTRA

The CIA convinced the Allan Memorial Institute to allow a series of mind control tests on nine patients in the Montreal school, as part of their ongoing Project MKULTRA.[7]

The experiments were exported to Canada when the CIA recruited Scottish psychiatrist Donald Ewen Cameron, creator of the “psychic driving” concept, which the CIA found particularly interesting. Cameron had been hoping to correct schizophrenia by erasing existing memories and reprogramming the psyche. He commuted from Albany, New York to Montreal every week and was paid $69,000 from 1957 to 1964 to carry out MKULTRA experiments there. In addition to LSD, Cameron also experimented with various paralytic drugs as well as electroconvulsive therapy at thirty to forty times the normal power. His “driving” experiments consisted of putting subjects into drug-induced coma for weeks at a time (up to three months in one case) while playing tape loops of noise or simple repetitive statements. His experiments were typically carried out on patients who had entered the institute for minor problems such as anxiety disorders and postpartum depression, many of whom suffered permanently from his actions.[8] His treatments resulted in victims' incontinence, amnesia, forgetting how to talk, forgetting their parents, and thinking their interrogators were their parents.[9][10]

When lawsuits commenced in 1986, the Canadian government denied having any knowledge that Cameron was being sponsored by the CIA.[11]

Possible manipulation of political affairs

When the Avro Arrow aerospace program was cancelled in 1959, many believed that the CIA was partly responsible, fearing Canadian intrusion into aerospace dominance.[12]

In 1961, the CIA wrote an intelligence estimate titled “Trends in Canadian Foreign Policy” which suggested that the Progressive Conservative government of John Diefenbaker “might take Canada in a divergent direction” and seek “a more independent foreign policy” and suggested that a return of the Liberal Party might “soften the Canadian resistance to the storage of nuclear weapons on Canadian soil”.[13] In 1967, Prime Minister Lester Pearson announced he would investigate the allegations of the CIA helping him oust Diefenbaker.[14]

In 1982, Canadian Member of Parliament Svend Robinson accused the CIA of infiltrating the RCMP and funnelling political contributions to favoured politicians in provincial elections from 1970-76.[15] The information seemed to arise from John H. Meier, an aide to Howard Hughes, but a secret investigation turned up no evidence of such a conspiracy.[16] The RCMP allegations dated back to 1977, when it was shown that they were “linked” closely to the CIA.[17]

Later development

By 1964, the CIA also closely monitored the Canadian wheat industry, as the United States hoped to sell wheat to the Soviet bloc countries[18] When the American embassy was seized by Iranian students in 1979, Canadian diplomat Kenneth D. Taylor was made the “de facto CIA Station Chief” in the country, but kept his new position secret from Canadians.[19]

An indication of the United States' close operational cooperation with Canada is the creation of a new message distribution label within the main US military communications network. Previously, the marking of NOFORN (i.e., ) required the originator to specify which, if any, non-US countries could receive the information. A new handling caveat, , used primarily on intelligence messages, gives an easier way to indicate that the material can be shared with the Five Eyes members.[20]

Aware that the Canadian Khadr family knew valuable intelligence about the inner workings of al Qaeda, the CIA hired Abdurahman Khadr to act as an informant and infiltrate Islamist circles.[21] The CIA also paid the Pakistani government $500,000 to capture and interrogate his older brother, Abdullah Khadr, ostensibly torturing him to secure answers and confessions.[22]

As of 2006, Canada had allowed 76 CIA flights to use the country's airbases, primarily in Nunavut and Labrador, to carry prisoners from the War on Terror to black sites overseas.[23]

[1] Vienneau, David. Toronto Star, “No secrets hidden from CIA in 1950s, former official says”, April 14, 1986

[2] Canadian Institute of International Affairs, “International Journal, 1972”

[3] Sawatsky, John. “Men in the Shadows: The RCMP Security Service”, 1980. p. 5

[4]

[5] Buncher, Judith F. “The CIA and the Security Debate”, 1976

[6] _USA Today_, Declassified memos show 74 CIA air landings in Canada, February 23, 2006

[7] Cawley, Janet. Chicago Tribune, Brainwash tests in '57 haunt CIA, June 1, 1986

[8] Marks 1979: pp 140–150.

[9]

[10]

[11] Vienneau, David. Toronto Star, Ottawa unaware CIA funded tests, new report says, May 8, 1986

[12] Nickerson, Colin. _The Boston Globe_, How Canadian fighter plane fell to earth, January 12, 1997

[13] Thompson, John Herd. “Canada and the United States: Ambivalent Allies”, p. 217

[14] _The New York Times_, Canada to check hint of meddling by CIA in 62-63, March 2, 1967

[15] Ward, Peter. _The Boston Globe_, “Canada: CIA Probed”, May 23, 1982

[16] _The Christian Science Monitor_, Canada says study of CIA shows no vote rigging

[17] Trumbull, Robert. _The New York Times_, Mounties of Canada are linked with CIA, November 25, 1977

[18] Mount, Graeme Stewart. Canada's Enemies", p. 117

[19] Valpy, Michael. _The Globe and Mail_, Canada's man in Tehran was a CIA spy, January 23, 2010

[20]

[21] CBC, CIA paid me to spy, Abdurahman Khadr, March 5, 2004

[22] Shepherd, Michelle, _Toronto Star_, Abdullah Khadr must be extradited to U.S., government lawyers argue, April 9, 2010

[23]

title: CIA activities in Canada

question: Summarize the controversies relating to Project MKULTRA.

answer: Project MKULTRA was a series of mind control tests on nine patients in the Montreal school. The CIA convinced the Allan Memorial Institute to allow the tests. The experiments were exported to Canada when the CIA recruited Scottish psychiatrist Donald Ewen Cameron. Cameron experimented with various paralytic drugs as well as electroconvulsive therapy at thirty to forty times the normal power. His experiments consisted of putting subjects into drug-induced coma for weeks at a time while playing tape loops of noise or simple repetitive statements. His experiments were typically carried out on patients who had entered the institute for minor problems such as anxiety disorders and postpartum depression, many of whom suffered permanently from his actions. His treatments resulted in victims' incontinence, amnesia, forgetting how to talk, forgetting their parents, and thinking their interrogators were their parents. When lawsuits commenced in 1986, the Canadian government denied having any knowledge that Cameron was being sponsored by the CIA.

question: Summarize the sources used to investigate the CIA's involvement in Canada.

answer: No answer

critique: The answer should mention the two sources used in the article.

critique: The passage in the text could have been summarized.

critique: The response misses to mention that the sources used to investigate the CIA's involvement in Canada are the Toronto Star, the Chicago Tribune, the International Journal, the New York Times, and the Globe and Mail.

critique: The answer should mention that the article lists several sources.

critique: The answer should mention the sources used in the article.

question: Summarize the views of the people opposing CIA operations in Canada.

answer: The people in this group are against the CIA's activities in Canada. They believe that the CIA operated in Canada without any authorisation. They also believe that the CIA was operating in Canada without the general consent of the Canadian government. The CIA convinced the Allan Memorial Institute to allow a series of mind control tests on nine patients in the Montreal school, as part of their ongoing Project MKULTRA. The people opposing the CIA's activities in Canada also believe that the CIA was partly responsible for the Avro Arrow aerospace program cancellation in 1959.

critique: The anti-CIA arguments are not all part of the same critique. Rather, it belongs in different sections of the response.

question: Summarize the role of the Canadian Security Intelligence Services, CSIS, in Canada.

answer: The Canadian Security Intelligence Services, CSIS, is the Canadian counterpart of the CIA. It is a civilian intelligence agency that cooperates with the CIA. The CSIS is also responsible for investigating and preventing national security threats to Canada.

critique: The CIA is not the Canadian counterpart of the CSIS.


text:
Us four sat ensuring my stay.
In conversation, Rick was indirectly called a liar by Rob and Megan
because of me.
The price of being a father.
Any words spoken to him sounded like "Liar".
Any words spoken to me were in question.
As if I was being interrogated.
I had nothing to say unless asked.
The house was a mansion.
My cousin played the role of Keith Cozart.
I looked forward to good times as the house was left mostly
unattended.
As we spoke my mind wandered into flashbacks and daydreams.
Rob was showing me the room where I was going to stay.
There were many rooms and hallways.
Some rooms were connected by doors and weren't connected to hallways.
I opened a door to a bathroom and there was someone in the bathtub.
At first I laughed and looked away but Rob quicly put his arm around me and
led me away, and as he did I caught another quick glimpse of the bathtub and
noticed that it was a body. I was shocked and Rob started to remind me that I
didn't see anything that there was no one there. I instantly protested to
staying in the adjacent room which was where we were headed. I threatened to say
what I saw if forced to stay there. I was led away. The confusion and
unknowingness turned into fear and Plan. We returned downstairs and played it
off, acting as if that didn't happen. Later I spoke with Rob's sister about
what I had seen and she told me that it was not infact a body but pieces of
bodies that were created from insecurities. That she herself had created some
of the pieces that were in the bathtub. We walked and talked. I thought about
what I heard. Generations of insecurities brought about what was in the
bathtub. They all knew. Did Rick know? Did Megan know? I didn't know.
Who was it? Was it one of their own. We ended up back at the bathroom and I
looked in again and what I saw shocked me to the point that I couldn't clearly
make out what it was. Was it a body or was it pieces? It was entirely
underneath the water. I faked emotion and accepted the pieces of insecurities
and agreed to stay in the adjacent room. It was the only way to survive.
I spent most of the first week alone in the room.
I heard them speaking about me. About how I spent time alone.
I was genuinely afraid. The first chance I would take it.
It was a Saturday. I had stolen a few grams of Rob's cocaine and
over the course of 2 days had made it injectable with no one knowing.
The owner of the mansion, the famous Dr. Bob, had syringes in the
downstairs bathroom. Everyone left late in the night.
The only ones left were Rob and Megan. Who were passed out. I stabbed Rob with
the needle and injected it. As he woke and saw me he knew what my
intentions were but could not prevent them as the high almost instantly kicked
in and he fell into a euphoric state. Megan didn't even wake up.
The thought crossed my mind. Did she know about the bathtub? Had she noticed the
change in my behavior? I weighed the risk of foiling my Plan in my mind before
deciding to leave her behind as I escaped into the night. I stole a car from
the mansions garage and left leaving no trace of where I was going.
The insecurity of being insecure. Being insecure was my only security, the
only thing that led me to escape the fate that awaited me. Where all others had
failed and gave in to become part of the fate themselves I had broken free.

title: the fate that awaited

question: Summarize Megan's descent into madness.

answer: No answer

critique: Megan is not described as descending into madness.


text: It's 5:00 AM when Barney's alarm goes off on his clock.  Instinctively, he slammed his hand on the clock and set the alarm off for another five minutes.  "Hey, honey, you should probably wake up."  A soft and tired sounding voice says.  Barney glances over at his wife Olivia.  "Huh, oh, yeah, thanks honey."  Barney says, looking back over and feeling the nightstand for his glasses.  He brushes his hands across the table, and here's a soft clicking noise on the ground.  "Ugh"  Barney groans.  "Here honey, let me get those for you."  Olivia says, getting out of bed.  She slowly and tiredly walks over to the other side of the bed.  She bends over and picks up Barneys glasses.  "Thanks babe."  Barney says, fixing his glasses over his eyes.  "Now you'd better get going, baby, or else you'll be late to work."  Olivia reminds him.  "Ok, thanks hun."  Barney says leaning in for a kiss from his wife.  They peck each other on the lips, and Barney turns and walks into the closes.  He changes out of his pajamas into his suit.  "Hey honey, which tie should i wear today, the blue one, or the red one?"  Barney asks Olivia.  "You know i always thought that red tie looked sexy on you, baby.  Wear that one."  Olivia replies, not bothering to look up.  Barney fixes the tie around his neck and ties it.  Barney walks out into the hallway outside their bedroom.  Barney looks at the clock.  He immediately perks up as he reads the clock.  "6:00!?  Honey, why'd you let me sleep in so long!?"  He yells to his wife.  "I'm sorry babe, you just looked so cute sleeping there."  She responds.  Barney sighs.  He quickly walks down the stairs.  He slipped his shoes on, tightened his tie one last time, opened the door, and stepped out onto his porch.  He quickly walks over to his car.  He pulls his car keys out of his inside pocket.  Already the sun was beginning to heat up his dark black suit.  He opens the driver door and gets in.  He jams the keys into the ignition and turns it.  The motor roars, then quits down.  Barney adjusts the mirror so he can see himself.  He strokes his stubble of a beard and slightly adjusts his hair, then looks behind him and begins to back out.  His tires bump on the gutter.  He steers so he turns left, and begins to drive.  "Thank god work is just a block or two away."  Barney says to himself.  He takes a left turn, then a right turn, then stops at a small house building.  He gets out of the car, and walks up to the front door.  Glancing behind his shoulder, Barney knocks on the door three times, then rings the doorbell twice, and inserts one of the keys on his key ring into the lock, turns it, and pushes the door open.  Four armed guards await him inside.  "Nice to see you Barney, we'll just scan your ID card, check you for weaponry, and you can go right on ahead.  One of the guards says.  "Alright, nice to see you to."  Barney replies.  He shows them his ID.  One of the guards scans it, then tells him to step through the metal scanner.  Nothing serious happens.  "Alright Barney, you're free to go.  By the way, Amy said they made a serious breakthrough."  the guard standing near the scanner says.  "Ok, thank you, i'll go talk to her."  Barney says.  He walks into an elevator.  "Please scan."  A woman's voice in the elevator says.  Barney places his eye's up against a scanner.  "Welcome Barney."  The voice says.  The elevator door closes, and begins going down.  Some boring elevator music plays in the back round.  Barney taps his feed and whistles.  Suddenly, the elevator lurches to a halt.  "Final destination.  Have a safe day."  The woman's voice says.  Barney steps out of the elevator into a grayish metallic room.  "Ah, Barney, great thing your here!"  A woman with dark black hair says.  "Yeah, Rick told me upstairs that you figured something out."  Barney replies.  "Oh my god, yes!  Look at this!"  The black haired woman says.  She presses a button and a metal wall opens up, revealing Andrew, one of Barneys colleagues, standing in a small pod.  "What is Andrew doing in there!?  I thought the rapid transportation tube was off limits after what happened to Johnn!?"  Barney exclaims, butterflies in his stomach.  "It was, until we figured this out, watch this."  The black haired woman says, pressing a button.  The Rapid Transportation tube, or RTT, begins to spin.  Faster and faster it spins until a loud shocking sound and a bright flash occurs, and when Barney looks back and Andrew is gone.  Barney stares for a while.  "Where did he go?"  He says, worry in his voice.  "Amy, where did he go!?"  Barney says, looking at Amy.  Amy sat there with a grin on here face, her hands locked together.  Suddenly, another loud shock and a flash.  When Barney looked this time, Andrew was back.  "See, it still works.  But better yet, it allows you to travel through TIME!"  Amy says excitedly.  "What, no way!"  Barney says.  "Andrew, is this true?"  He says, turning to Andrew.  "Hell yeah it is.  You wanna give it a spin?"  Andrew says, getting out of the RTT.  "You better believe it!"  Barney says, rushing to the door.  He inputs the code.  "Five...  Nine...  Seven...  Two..."  He says.  The door slowly opens, and Barney steps in.  "It's all yours, man."  Andrew says, stepping out of the room.  Barney steps into the RTT.  "Alright Barney, when and where do you want to go.  It should only last for a while.  Maybe three minutes."  Amy says.  Suddenly, the sound of gunshots through the vent silences the room.  "What the hell was that?"  Andrew says.  "I...  I don't know."  Amy says, rushing over to the intercom.  "Hello, whats going on up there?"  Suddenly, the elevator door opens.  Three men step out.  One is wielding a black painted AK-47, one pumps a SPAS-12, and the one in the center lifts up a Type 88 LMG.  The lab is suddenly loud with gunshots.  Amy and Andrew both crumple to the floor.  "Nooo!  You fuckers!"  Barney yells.  The AK-47 wielding terrorist looks up.  "Oh, look at the little nerd inside his toy."  He walks over and looks at the console.  "Hey, how much you wanna bet i can make this thing blow up?"  He says.  "You bastard!"  Barney yells.  "Eh, 20 bucks."  The SPAS terrorist says.  The man with the AK lights up the console.  Suddenly, the RTT begins spinning rapidly.  Faster than it should.  Barney can't take the spinning anymore.  He begins to feel faint.  Darkness closes in on him.  Faster and faster he spins, until eventually, all is dark.

title: [SF] Nothing went according to plan at all. [PART 1]

question: Identify some of the issues in the given narrative sample.

answer:
First, there is the issue of the terrorists, who shoot up the lab that Barney and his colleagues are working in. If the story were to continue, the next step that Barney needs to take is to figure out how to defeat the terrorists. However, given the fact that this is simply a narrative sample, it does not give him the chance to do so.

Instead, the story focuses on another issue, which is the time machine that the terrorists find. Barney and his colleagues are working on a time machine, and the terrorists attempt to destroy it. This is the second issue in the story.

critique: The story doesn't focus on the terrorists as much as it focuses on the time machine.


text:
Disclaimer -- I haven't done any real non-work related writing in many.. MANY years.. I have probably committed a thousand and one grammatical atrocities and don't even realize it.  I just finally decided I miss writing and threw together a short story off the top of my head in about 15 - 20 minutes.

--------------------------------------------------------

It wasn't quite yet midnight.  The day we had anticipated for months.  We had everything packed and I was desperately trying to sleep for the long trip ahead of us.

Tossing and turning we struggled to pass the time as minutes turned to hours leading up to now.  Eleven Fifty Five pm and All I want to do is hit the road now, not at 8am as we planned. Suddenly, a shatter from the garage.  "What is happening? What is going on!" I thought, as I nudged John next to me. "John, John.. did you hear that?!" "Wha-snarfle-snar-gull-uggg* is the response I got "I nudged him a second time, harder still "John! Somebody is in our garage!" This time John woke up and seemed as concerned as I was.

John went to the safe and got a 9mm pistol, loaded it up and started for the downstairs.  I made for the phone to call the police..  Dead.. the line was dead.  How could this be? This couldn't be happening, not to us, not now.. On this day of all days.

I check back at the clock.. 12:20.  Today, today is supposed to be the greatest day of our recently married lives. I realize soon that John has been gone for 20 minutes and I haven't heard another sound from the entire house.  Frozen in time for what amounted to 5 minutes, I wasn't sure what to do.  I finally mustered up the courage to step out of bed and throw on my Bathrobe.  I too grab the other gun from the safe and struggle to remind myself of the training that John and I took last summer at the Police shooting range.  I loaded up the clip and locked it into the gun.  Through the dark and quiet house I tip-toed silently as a mouse.  I made my way to the door leading to the garage and listened.  voices.. John.. and.. 2 voices I did not recognize.  I stood silently trying to listen.  A Standoff.  It sounds like John is in danger.  Without sight, I am left to my own imagination of what the situation looks like just beyond the door.  Guns in the air, pointed at one another.  Everybody making threats and nobody backing down.  Uncertain how to help, I tip-toed to the outside leading door furthest from the garage.  I made my way to the yard.  I have no idea at this point if I am making any correct decisions or just struggling to make the situation worse.  Around the outside of the house I snuck, gun in hand, safety still on as to not accidentally fire in my nervous state.

I made my way to the window just outside of the garage. The window is open, "This must be how they got in, I thought.  Shoot, the shades are closed though" It was obvious there was no way I was going to be able to see through this window without being heard.  I can now hear the conversation inside the garage much more clearly than from behind the interior door.   I don't know what to make of the things I am hearing.  John seems to know these 2 people.  They are referencing each other by name.  Some sort of argument ensues.  I can only make out some of the conversation.. "Money owed.  Gambling.. Here to collect"

Could it be? Could John have a secret life of gambling and crime?  5 years together and I've never known?  How could this be.  All those late nights at the office. I never imagined anything else.  All those "Business" phone calls.  I just couldn't believe it.  I hear John is trying to convince them to leave the car, and everything in tact.  They keep saying it is the only thing worth any value.

In my nervous state, shocked at the things I am learning I unknowingly dropped the gun to the ground as it made a loud "thud" and a "scraping" sound across the gravel.  I hear one of the men gasp and start heading towards the window.  I quickly pick the gun back up and point it at the shades.  The shades fly up and I am face to face with a man I've never seen before, gun drawn.  Now things are a 1 on 1 standoff.  Me with my gun and this man and John with his gun and the other man.  I refuse to come inside the garage and insist that they leave empty handed.  Things turn from bad to worse when the man shoots a bullet over my shoulder to scare me. I immediately pull the trigger to fire back... "Shit, I didn't release the safety" Now struggling in a panic at what to do the man starts to laugh and reaches out to grab the gun from me.  By now, the neighborhood is awake and surely police have been called.  I manage to release the safety just in time to shoot the stranger in the hand as he is reaching to grab the gun from me.  He backs up and the other man Shoots John.  John shoots the other man and the man I shot in the hand shoots me.  We are all down, I laid there in the cold gravel, still outside of the garage.  In the distance I can hear sirens looming as I lose consciousness.

2 days later I wake up in the hospital.  John is no where to be found bedside or otherwise. I have no idea what has happened.  As I come to and I adjust to my place in this hospital bed I am finally informed of the news.  "John didn't make it" The nurse said "We did everything we could but the wound was too damaging."

As I lay there contemplating my current situation, I replayed that night in my head every single second in repetition.  Could I have done anything more?  Should I have done something differently?  What happened to my dearest John?  What happened to the assailants who broke into our house?  As these questions raced I didn't notice the 2 assailants being wheeled down the hallway passed my room with police in tow.  They were on their way to county lock up pending trial.

I couldn't believe it, a dream of a life shattered in one single hour.. It just goes to show that you never really have ti all, or if you do, it's only on loan as long as someone agrees that it is okay for you to keep it. From that day fourth, I never could take that drive into the country.

title: The long road to loneliness

question: What does the story say about how much John owed in gambling debts?

answer: No answer

critique: The answer should mention that the story doesn't say how much John owed.

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

question: What does the story say about the narrator and John?

answer: The narrator and John have been together for 5 years. They are newly married. The narrator is shocked to learn that John has a secret life of gambling and crime. John is shot and killed by the assailants.

critique: The narrator and John are newly married.

critique: The narrator is shot and killed by the assailants.

critique: It's omitted that the narrator is also shot and wounded, but survives.

critique: It's omitted that the narrator is also shot.

critique: "They are newly married," is not useful as the first two sentences should establish that they had a strong relationship.

question: What does the story say about the outcome of the standoff between John, the narrator, and the two men?

answer: John and the narrator are in a standoff with the two men. The narrator accidentally drops her gun and the men hear it. One of the men shoots at the narrator, but she manages to shoot him in the hand. John shoots the other man, and the man the narrator shot shoots her. They are all down, and the narrator loses consciousness. The next day, she wakes up in the hospital and is informed that John didn't make it. The two assailants were wheeled down the hallway with police in tow, and were on their way to county lockup pending trial.

critique: The narrator doesn't shoot the man in the hand. She shoots him in the hand when he tries to grab her gun.

critique: The narrator is shot in the hand, not the man she shot.

critique: The answer should mention that the narrator is shot.

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

critique: The answer should mention that the narrator is the only one who survives.

text: The narrator's gender is not indicated in the story, so the answer should use neutral pronouns.

question: Summarize how the narrator's feelings towards and John changes throughout the story.

answer: The narrator is initially concerned about John when they hear a noise in the garage. She is shocked when she realizes John has a secret life of gambling and crime. She is shocked again when John is shot dead by the assailants. She is heartbroken.

critique: The narrator's feelings towards John don't change much throughout the story.

critique: The narrator's feelings towards John don't change throughout the story.

critique: This is all consistent with the narrator's feelings, but would create an avalanche of thematic repetition.

critique: The narrator's feelings towards John don't change throughout the story, they are already married.

critique: The narrator is not shocked when John is shot dead. She is heartbroken.

critique: The narrator's feelings towards John don't change.

critique: "She is heartbroken." - this is inaccurate because the narrator was never in love with John.

critique: The narrator's feelings towards John don't change; they are always the same.

text: The narrator's gender is not indicated in the story, so the answer should consistently use neutral pronouns.


text:
_TOTTIE: THE STORY OF A DOLL'S HOUSE_ is a 1984 stop motion animated television series produced by Smallfilms, directed and narrated by Oliver Postgate. It is based on Rumer Godden's _The Dolls' House_, originally published in 1947, and focuses on the toys in a Victorian dolls' house belonging to sisters Emily and Charlotte Dane. The programme debuted on BBC1 in the UK on 6 February 1984.

The series has a very dark edge, as the dolls wish very hard that good things will happen and that they will not fall on misfortune. The series opens with the phrase “Dolls are not like people. People choose, but dolls can only be chosen.”

Plot and characters

The dolls are a family consisting of:

-   Mr Plantaganet, who is clumsy and timid and spends the day reading his newspaper;
-   Birdie, his happy wife, an inexpensive celluloid doll from a Christmas cracker;
-   Apple, their son, a plush velvet baby boy doll, “no bigger than your thumb,” who often speaks in rhyme;
-   Darner the dog, made of clipped wool with a darning needle for a backbone.

Also living with the dolls is a painted wooden farthing doll called Tottie, who is thoughtful, sensible and keeps them all together. Mr Plantaganet, Birdie, Tottie and Apple consider themselves a family, and the series starts with them living in a “draughty shoe-box”. Only Tottie remembers living in a real dolls' house, a long, long time ago, and the rest of the dolls urge her to tell them all about it: a sitting room with real wallpaper, a fire of shining red paper, a lamp with a white china shade “that would really light up if you used a birthday candle”. Tottiie also recalls her former housemate, an antique china doll called Marchpane, a very grand doll, clothed in lace, with eyes of the finest blue glass. The dolls wish they lived in a dolls' house like this, but Mr Plantagenet points out that what they really wish for is to live in that exact dolls' house.

After Emily and Charlotte inherit a dolls' house from their great-aunt, the doll family are moved in. The house has a green front door with a knocker and six steps. When the Plantaganets and Tottie first move in they cannot believe their luck at finding such a splendid and well-equipped home. They soon realise that this is the very same dolls' house in which Tottie had once lived, just as they had wished. However Tottie is immediately sent away to an exhibition of dolls where she is reacquainted with Marchpane, who had been sent away for cleaning prior to being in the exhibition.

After narrowly avoiding being adopted by the Queen, Tottie returns to the others in the dolls house. However, the sisters are given Marchpane which they place in the house with the Plantaganets. She is selfish, nasty and schemes to become foremost in Emily and Charlotte's affection, convincing them to reduce the other dolls to being her servants. She loathes Birdie's pleasant and trusting nature, detests Mr Plantaganet's weakness, and does her best to turn Apple against his mother.

Having gained the affection of the Dane sisters, Marchpane uses the dolls' house lights, which contain real paraffin, to start a fire and trap Apple. She guesses that Birdie will try to save her little boy, and knows that as Birdie is made of celluloid she will quickly burn. Birdie saves Apple, but is incinerated as Marchpane planned—though, because of her simplicity, she appears to enjoy the novel experience.

Emily and Charlotte discover the fire and decide from her haughty look that Marchpane is to blame. This turns the sisters against Marchpane - they desire to throw her away but are persuaded to instead permanently donate her to a museum where, in a glass case and under the constant admiring gaze of visitors, she lives happily - and increasingly vainly - ever after.

The remaining dolls settle down to life in the doll's house. While discussing Birdie's demise, Tottie remarks that “Birdie did look beautiful in the flame”, and Mr Plantaganet agrees.

Second series

There were two series made - _Tottie: The Story of a Doll's House_ (1984), of which the BBC retained copies, and _The Doll's Wish_ (1986) which, as it was transmitted from VT, the BBC did not keep. Both series were classed as purchased programmes, which the BBC was not required to archive. Smallfilms did not retain their own copies. A few low-grade VHS copies of the second series did survive in private hands.

One such “faded” VHS copy of the second series was restored to watchable condition by the _Dragons' Friendly Society_ (an organisation founded by Oliver Postgate and Peter Firmin.) The Society released the first series on DVD with individually-burned DVD-R copies of the second series offered for sale exclusively to buyers of the first series DVD.[1]

Background

Rumer Godden's original children's book was written shortly after the Second World War. It is unusual in the sensitive way it exercises children's emotions. Marchpane still sends shivers down the spine, and the shocking fate of Birdie startles the reader with its reality. Initially Godden disliked the idea of Oliver Postgate reproducing the book.

Godden's publisher, Kaye Webb, founder of Puffin Books, did not see the point of the exercise either, asking “Can you really make a film in which the real life adults not only say nothing but don't even move, whilst the dolls speak and come to life?” If these hurdles were not enough, the BBC shied away from the directness of a film that showed on screen the destruction of a favourite character. Initial doubts were replaced with enthusiasm and Godden took part and persuaded her publisher, her literary agent and his family, as well as Peter Firmin and Oliver Postgate, to take on the roles of the real life characters. The film was bought by Goldcrest and sold to the BBC.

The first series was originally transmitted in February 1984, and repeated in October/November 1985 and September 1988. The second series was originally transmitted in September/October 1986 and repeated in September 1987 and December 1991/January 1992, making it a very rare example of a series transmitted as late as the 1990s on BBC TV which subsequently was for a substantial period of time no longer believed to exist in broadcast quality.

Production staff

-   Peter Firmin: puppets and settings
-   Josie Firmin: doll dressing
-   David Heneker: music
-   Kaye Webb: producer

[1] Tottie, the Story of a Dolls' House, Dragons' Friendly Society Accessed 24 March 2019

title: Tottie: The Story of a Doll's House

question: What does the text say about "The Story of a Doll's House" production?

answer: "The Story of a Doll's House" is a 1984 stop motion animated television series produced by Smallfilms and directed and narrated by Oliver Postgate. It is based on Rumer Godden's "The Dolls' House", published in 1947. The series has a dark edge, as the dolls wish very hard that good things will happen and that they will not fall on misfortune. The series debuted on BBC1 in the UK on February 6, 1984.

critique: Everything except the production is covered by the text and only relates to the TV show not the book.

critique: The answer is irrelevant to the question.

critique: This answer is not directly related to the question and should be omitted.

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

critique: The answer should mention the production staff.

critique: The answer is not related to the question.