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.

[EX Q]: Passage: The original oil painting measures 380 by 580 centimetres (150 by 230 in). It depicts Arsenije leading tens of thousands of Serbs into exile, riding a horse and flanked by a Serb flag. In direct reference to the Bible, the image is reminiscent to that of Moses leading the chosen people out of Egypt. The irony, Judah notes, is that the Patriarch is leading his people away from their promised land. The Patriarch and four other figures dominate the composition, staggering unevenly across the canvas as opposed to moving in a straight line. "They punctuate the foreground," Filipovitch-Robinson writes, "directing the eye through the diagonals and curves of their bodies and gesture to the next line of figures behind them. Each subsequent line leads to the next." All age groups are represented in the painting, and Jovanović pays special attention to their facial details. Thousands of figures on horseback and on foot appear in the background before eventually receding into the horizon. The left background shows Serbian warriors pointing their lances at the sky while the right background shows lumber wagons carrying families into exile. At the right foreground, an old man herds his sheep. To the right of the Patriarch, a mother and her infant son sit atop a horse carrying their belongings. The woman is the young wife of militia leader Jovan Monasterlija and the child his son. A mustachioed warrior walks before them with swords fastened to his belt and a rifle resting against his shoulder, "striding purposefully into the future". The warrior's right arm is smeared with blood and bound by a white sling.
[EX A]: What is the last name of the militia leader that the Patriarchin the painting is married to?

[EX Q]: Passage: William Etty was born in 1787 in York, the son of a miller and baker. He showed artistic promise from an early age, but his family were financially insecure, and at the age of 12 he left school to become an apprentice printer in Hull. On completing his seven-year indenture he moved to London "with a few pieces of chalk-crayons in colours", with the aim of emulating the Old Masters and becoming a history painter. Etty gained acceptance to the Royal Academy Schools in early 1807. After a year spent studying under renowned portrait painter Thomas Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings. In 1821 the Royal Academy exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting and for his fascination with contrasts in skin tones.
Following the exhibition of Cleopatra, Etty attempted to reproduce its success, concentrating on painting further history paintings containing nude figures. He exhibited 15 paintings at the Summer Exhibition in the 1820s (including Cleopatra), and all but one contained at least one nude figure. In so doing Etty became the first English artist to treat nude studies as a serious art form in their own right, capable of being aesthetically attractive and of delivering moral messages. Although some nudes by foreign artists were held in private English collections, Britain had no tradition of nude painting, and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. The supposed prurient reaction of the lower classes to his nude paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. (Etty's male nude portraits were primarily of mythological heroes and classical combat, genres in which the depiction of male nudity was considered acceptable in England.) From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes but made conscious efforts to try to reflect moral lessons in his work.
[EX A]: What is the last name of the person whose family was financially insecure?

[EX Q]: Passage: During the rage of Hurricane Katrina, Detective Andy Devereaux discovers the body of his former partner in a close to underwater warehouse. Quickly forgetting about his discovery, he joins a newly transferred detective named Stan Johnson (Curtis "50 Cent" Jackson) trying to end a conflict involving looters. 
Post-Katrina, Andy and Stan are now partners. They work with corrupt detectives Pepe and Barney, who are caught up in the murder of an undercover narcotics agent. Investigating the escalating police corruption in New Orleans is FBI Agent Brown. Brown brings up his thoughts to Police Captain Friendly who insists he is doing his best to solve the problems in his department.
Meanwhile, police therapist Nina Ferraro tries to help the detectives with their struggles, with little avail. She is particularly interested in Andy, whose father, also a detective, was murdered in the line of duty. 
Things are complicated further with Agent Brown's investigation into Andy and his crew. Brown tells Andy that he has an informant who is leaking out the details, and Andy, disbelieving at first, begins to resign himself to the fact that one of his men is betraying him. 
After Captain Friendly is assassinated by a local gangster named Chamorro, Andy, Stan, Pepe, and Barney decide to take the law into their own hands and go after Chamorro. While interrogating Chamorro, they find out that Brown has been supplying the drug dealer with information about the police raids, to help his own investigation. In a violent shootout, Barney accidentally shoots and kills Pepe.
Andy and Stan escape, only to return to the warehouse where they met. There Andy realizes that Stan is the informant. After the two start arguing, Brown shows up and there is another shootout, ending in Brown's death. Andy comforts a sobbing Stan, then Andy kills his partner, as he possibly did with his previous one.
[EX A]:
What's the full name of the person now partnered with the detective who found his previous partner's body?