In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Passage: A boy obsessed with football finds his life changing dramatically once he adds a little Samba. Danny plays on the football team at the all-boys Catholic school he attends in Belfast. Danny's three best friends, who also play on the team, all have different ambitions for their lives. Mickey wants to be a fashion designer so he can get rich and date supermodels. Gary wants to become a magician so he can get rich and meet beautiful women (and presumably saw them in half). And Spike likes to beat people up, so he wants to become a mercenary and do it for a living. But Danny dreams of making football his life.
The players Danny most admires are South Americans, such as Pele and Carlos Riga, who he feels have a special rhythm and flexibility. Wanting to add some of these qualities to his own game, Danny has an idea: he'll take Samba lessons, in the hope that dancing like a South American will help him play like a South American. To the surprise of himself and his friends, Danny turns out to be a pretty good Latin dancer and finds himself smitten with a student in his dance class, Lucy. However, Lucy happens to have a boyfriend, who is a fierce competitor on one of Danny's rival teams. The film also stars Brian Flanagan who plays an inspiring cameo role along with members of Celbridge Town Football Club.
Who are Danny's three best friends?

Passage: Unable to purchase a bottle of beer due to Prohibition (despite it being repealed 13 years ago), the Stooges opt to brew some of the stuff themselves.  The recipe that they use calls for three small cubes of yeast.  A mix-up with the telephone causes each Stooge to think he is the one to put in the yeast.  Nine cubes end up in the tub being used to make the beer.  The yeast continuously expands causing them to pour the beer into every container they can find, until Curly brings in the bath tub.  They successfully bottle their brew only to leave the bottles too close to an open flame.  Many of the bottles explode sending corks and suds all over the kitchen.
Unfortunately, Curly ends up selling a bottle at the black market price to a detective, landing the trio in jail. They were due to serve a short amount of time, but Curly tries to smuggle a barrel of beer in jail under his overcoat.  The barrel explodes under the heat of lights while the trio has their mugshots taken.
While in prison, the Stooges begin to plot their escape, and end up destroying the saws being used to whittle down the iron bars in their cell. A few days later, the Stooges have a run-in with a fellow convict, leading them to knock the warden (Vernon Dent) out cold, and landing them on the rock pile. While hammering away, the boys stumble on an old friend also in the clink, Percy Pomeroy, and work together to flee the prison. They are ultimately captured, and sent to solitary confinement.
After nearly half a century later, the graying trio are finally released as senior citizens, in which Curly quips upon leaving "You know what I'm-a gonna do? I'm gonna get myself a tall, big, beautiful bottle of beer!"  Moe and Larry become irate and throw Curly back into the jail, leaving him there.
What is the full name of the Stooges' old friend in jail?

Passage: Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential". There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".Several critics mentioned Bertin's hands. Twentieth-century art historian Albert Boime described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic Félix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines – this flatulent hand, the rumbling of which I can hear!" Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".The work's realism attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive". She notes that there is a certain amount of projection of the artist's personality and recalls Théophile Silvestre's description of Ingres; "There he was squarely seated in an armchair, motionless as an Egyptian god carved of granite, his hands stretched wide over parallel knees, his torso stiff, his head haughty". Some compared it to Balthasar Denner, a German realist painter influenced by Jan van Eyck. Denner, in the words of Ingres scholar Robert Rosenblum, "specialised in recording every last line on the faces of aged men and women, and even reflections of windows in their eyes." The comparison was made by Ingres' admirers and detractors alike. In 1833, Louis de Maynard of the Collège-lycée Ampère, writing in the influential L'Europe littéraire, dismissed Denner as a weak painter concerned with hyperrealistic "curiosities", and said that both he and Ingres fell short of the "sublime productions of Ingres' self-proclaimed hero, Raphael."The following year Ingres sought to capitalise on the success of his Bertin portrait. He showed his ambitious history painting The Martyrdom of Saint Symphorian at the 1834 Salon, but it was harshly criticised; even Ingres' admirers offered only faint praise. Offended and frustrated, Ingres declared he would disown the Salon, abandon his residence in Paris for Rome, and relinquish all current positions, ending his role in public life. This petulance was not to last.Bertin bequeathed the portrait to his daughter Louise (1805–1877) on his death. She passed it to her niece Marie-Louise-Sophie Bertin (1836–1893) wife of Jules Bapst, a later director of the Journal des débats. They bequeathed it to their niece Cécile Bapst, its last private owner. In 1897 Cécile sold it to the Musée du Louvre for 80,000 francs.

What was critic Félix Tournachon describing when he said "antastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines – this flatulent hand, the rumbling of which I can hear!"?