Question: What is the top price for Video works go for?

Answer: $5,600

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ The idea behind Daata is simple. Once a year, 18 video, sound and digital artists will be commissioned to do six pieces of three minutes or less, 15 editions of each piece. The works are available to be purchased and downloaded from the site. Daata has a sliding price scale. <hl> Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of $5,600 . <hl> The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist a 15 percent royalty on each sale.

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ The idea behind Daata is simple. Once a year, 18 video, sound and digital artists will be commissioned to do six pieces of three minutes or less, 15 editions of each piece. The works are available to be purchased and downloaded from the site. Daata has a sliding price scale. Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of <hl> $5,600 <hl>. The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist a 15 percent royalty on each sale.

Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of <hl> $5,600 <hl> .


Question: How many editions of each piece need to be completed?

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ The idea behind Daata is simple. Once a year, 18 video, sound and digital artists will be commissioned to do six pieces of three minutes or less, 15 editions of each piece. The works are available to be purchased and downloaded from the site. Daata has a sliding price scale. Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of $5,600. The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist a 15 percent royalty on each sale.

Answer: 15

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ The idea behind Daata is simple. <hl> Once a year, 18 video, sound and digital artists will be commissioned to do six pieces of three minutes or less, 15 editions of each piece. <hl> The works are available to be purchased and downloaded from the site. Daata has a sliding price scale. Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of $5,600. The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist a 15 percent royalty on each sale.

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ The idea behind Daata is simple. Once a year, 18 video, sound and digital artists will be commissioned to do six pieces of three minutes or less, <hl> 15 <hl> editions of each piece. The works are available to be purchased and downloaded from the site. Daata has a sliding price scale. Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of $5,600. The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist a 15 percent royalty on each sale.


Question: Who is the director of Salon 94?

The perception that video or sound art is difficult to grasp is something that Mr. Gryn hopes will change with Daata. “We are not a gallery — we are not art advisers,” he said. “What we are is a commissioning platform that works with artists who work in those mediums and who promote their art form and nurture awareness. My idea is that you make a self-sustaining business that commissions the next round of artists’ works.” By the beginning of September, all the inaugural artists had sold several editions of their works, and there were over 500 downloads of a free Jon Rafman video. By Mr. Gryn’s standards, “that is fantastic,” he wrote in an email, because it means the work is being seen and bought. Jessica Witkin, the director of the New York gallery Salon 94, which specializes in new media, drew a parallel with how collectors eventually warmed to photographic art, accepting the idea that more than one edition could be available.

Answer: Jessica Witkin

The perception that video or sound art is difficult to grasp is something that Mr. Gryn hopes will change with Daata. “We are not a gallery — we are not art advisers,” he said. “What we are is a commissioning platform that works with artists who work in those mediums and who promote their art form and nurture awareness. My idea is that you make a self-sustaining business that commissions the next round of artists’ works.” By the beginning of September, all the inaugural artists had sold several editions of their works, and there were over 500 downloads of a free Jon Rafman video. By Mr. Gryn’s standards, “that is fantastic,” he wrote in an email, because it means the work is being seen and bought. <hl> Jessica Witkin , the director of the New York gallery Salon 94, which specializes in new media, drew a parallel with how collectors eventually warmed to photographic art, accepting the idea that more than one edition could be available. <hl>

The perception that video or sound art is difficult to grasp is something that Mr. Gryn hopes will change with Daata. “We are not a gallery — we are not art advisers,” he said. “What we are is a commissioning platform that works with artists who work in those mediums and who promote their art form and nurture awareness. My idea is that you make a self-sustaining business that commissions the next round of artists’ works.” By the beginning of September, all the inaugural artists had sold several editions of their works, and there were over 500 downloads of a free Jon Rafman video. By Mr. Gryn’s standards, “that is fantastic,” he wrote in an email, because it means the work is being seen and bought. <hl> Jessica Witkin <hl>, the director of the New York gallery Salon 94, which specializes in new media, drew a parallel with how collectors eventually warmed to photographic art, accepting the idea that more than one edition could be available.

<hl> Jessica Witkin <hl> , the director of the New York gallery Salon 94, which specializes in new media, drew a parallel with how collectors eventually warmed to photographic art, accepting the idea that more than one edition could be available.


Question: How many downloads of the free Jon Rafman videos were there?

Answer: 500

The perception that video or sound art is difficult to grasp is something that Mr. Gryn hopes will change with Daata. “We are not a gallery — we are not art advisers,” he said. “What we are is a commissioning platform that works with artists who work in those mediums and who promote their art form and nurture awareness. My idea is that you make a self-sustaining business that commissions the next round of artists’ works.” <hl> By the beginning of September, all the inaugural artists had sold several editions of their works, and there were over 500 downloads of a free Jon Rafman video. <hl> By Mr. Gryn’s standards, “that is fantastic,” he wrote in an email, because it means the work is being seen and bought. Jessica Witkin, the director of the New York gallery Salon 94, which specializes in new media, drew a parallel with how collectors eventually warmed to photographic art, accepting the idea that more than one edition could be available.

The perception that video or sound art is difficult to grasp is something that Mr. Gryn hopes will change with Daata. “We are not a gallery — we are not art advisers,” he said. “What we are is a commissioning platform that works with artists who work in those mediums and who promote their art form and nurture awareness. My idea is that you make a self-sustaining business that commissions the next round of artists’ works.” By the beginning of September, all the inaugural artists had sold several editions of their works, and there were over <hl> 500 <hl> downloads of a free Jon Rafman video. By Mr. Gryn’s standards, “that is fantastic,” he wrote in an email, because it means the work is being seen and bought. Jessica Witkin, the director of the New York gallery Salon 94, which specializes in new media, drew a parallel with how collectors eventually warmed to photographic art, accepting the idea that more than one edition could be available.


Question: By the beginning of what month did the inaugural artiest sell several of their works?

Answer: September

The perception that video or sound art is difficult to grasp is something that Mr. Gryn hopes will change with Daata. “We are not a gallery — we are not art advisers,” he said. “What we are is a commissioning platform that works with artists who work in those mediums and who promote their art form and nurture awareness. My idea is that you make a self-sustaining business that commissions the next round of artists’ works.” <hl> By the beginning of September , all the inaugural artists had sold several editions of their works, and there were over 500 downloads of a free Jon Rafman video. <hl> By Mr. Gryn’s standards, “that is fantastic,” he wrote in an email, because it means the work is being seen and bought. Jessica Witkin, the director of the New York gallery Salon 94, which specializes in new media, drew a parallel with how collectors eventually warmed to photographic art, accepting the idea that more than one edition could be available.

The perception that video or sound art is difficult to grasp is something that Mr. Gryn hopes will change with Daata. “We are not a gallery — we are not art advisers,” he said. “What we are is a commissioning platform that works with artists who work in those mediums and who promote their art form and nurture awareness. My idea is that you make a self-sustaining business that commissions the next round of artists’ works.” By the beginning of <hl> September <hl>, all the inaugural artists had sold several editions of their works, and there were over 500 downloads of a free Jon Rafman video. By Mr. Gryn’s standards, “that is fantastic,” he wrote in an email, because it means the work is being seen and bought. Jessica Witkin, the director of the New York gallery Salon 94, which specializes in new media, drew a parallel with how collectors eventually warmed to photographic art, accepting the idea that more than one edition could be available.

By the beginning of <hl> September <hl> , all the inaugural artists had sold several editions of their works, and there were over 500 downloads of a free Jon Rafman video.


Question: What does Mr. Gryn hope will change?

Answer: The perception that video or sound art is difficult to grasp

<hl> The perception that video or sound art is difficult to grasp is something that Mr. Gryn hopes will change with Daata. <hl> “We are not a gallery — we are not art advisers,” he said. “What we are is a commissioning platform that works with artists who work in those mediums and who promote their art form and nurture awareness. My idea is that you make a self-sustaining business that commissions the next round of artists’ works.” By the beginning of September, all the inaugural artists had sold several editions of their works, and there were over 500 downloads of a free Jon Rafman video. By Mr. Gryn’s standards, “that is fantastic,” he wrote in an email, because it means the work is being seen and bought. Jessica Witkin, the director of the New York gallery Salon 94, which specializes in new media, drew a parallel with how collectors eventually warmed to photographic art, accepting the idea that more than one edition could be available.

<hl> The perception that video or sound art is difficult to grasp <hl> is something that Mr. Gryn hopes will change with Daata. “We are not a gallery — we are not art advisers,” he said. “What we are is a commissioning platform that works with artists who work in those mediums and who promote their art form and nurture awareness. My idea is that you make a self-sustaining business that commissions the next round of artists’ works.” By the beginning of September, all the inaugural artists had sold several editions of their works, and there were over 500 downloads of a free Jon Rafman video. By Mr. Gryn’s standards, “that is fantastic,” he wrote in an email, because it means the work is being seen and bought. Jessica Witkin, the director of the New York gallery Salon 94, which specializes in new media, drew a parallel with how collectors eventually warmed to photographic art, accepting the idea that more than one edition could be available.


Question: About how many scenes did Mr. Rylance say there were per episode?

“It’s an extraordinary job for me,” Mr. Rylance said after shooting multiple takes of a confrontation with an ailing Catherine of Aragon (Joanne Whalley). “There are about 70 or 80 scenes per episode, and I’m in most of them. The difficulty is that you are playing a character who never reveals what he is thinking. So you can’t compromise his expressionlessness, but you have to convey what might be going on for him.” Although the series has arrived after the plays, Colin Callender, a former president of HBO films whose production company Playground produced the series (with Company Pictures, “Masterpiece” and BBC Two), began negotiations to secure the rights in 2012. Mr. Callender said that as soon as he read the books, he envisaged a television production.

Answer: about 70 or 80 scenes

“It’s an extraordinary job for me,” Mr. Rylance said after shooting multiple takes of a confrontation with an ailing Catherine of Aragon (Joanne Whalley). <hl> “There are about 70 or 80 scenes per episode, and I’m in most of them. <hl> The difficulty is that you are playing a character who never reveals what he is thinking. So you can’t compromise his expressionlessness, but you have to convey what might be going on for him.” Although the series has arrived after the plays, Colin Callender, a former president of HBO films whose production company Playground produced the series (with Company Pictures, “Masterpiece” and BBC Two), began negotiations to secure the rights in 2012. Mr. Callender said that as soon as he read the books, he envisaged a television production.

“It’s an extraordinary job for me,” Mr. Rylance said after shooting multiple takes of a confrontation with an ailing Catherine of Aragon (Joanne Whalley). “There are <hl> about 70 or 80 scenes <hl> per episode, and I’m in most of them. The difficulty is that you are playing a character who never reveals what he is thinking. So you can’t compromise his expressionlessness, but you have to convey what might be going on for him.” Although the series has arrived after the plays, Colin Callender, a former president of HBO films whose production company Playground produced the series (with Company Pictures, “Masterpiece” and BBC Two), began negotiations to secure the rights in 2012. Mr. Callender said that as soon as he read the books, he envisaged a television production.


Question: What did Mr. Rylance say was the difficult was with his character?

Answer: The difficulty is that you are playing a character who never reveals what he is thinking

“It’s an extraordinary job for me,” Mr. Rylance said after shooting multiple takes of a confrontation with an ailing Catherine of Aragon (Joanne Whalley). “There are about 70 or 80 scenes per episode, and I’m in most of them. <hl> The difficulty is that you are playing a character who never reveals what he is thinking . <hl> So you can’t compromise his expressionlessness, but you have to convey what might be going on for him.” Although the series has arrived after the plays, Colin Callender, a former president of HBO films whose production company Playground produced the series (with Company Pictures, “Masterpiece” and BBC Two), began negotiations to secure the rights in 2012. Mr. Callender said that as soon as he read the books, he envisaged a television production.

“It’s an extraordinary job for me,” Mr. Rylance said after shooting multiple takes of a confrontation with an ailing Catherine of Aragon (Joanne Whalley). “There are about 70 or 80 scenes per episode, and I’m in most of them. <hl> The difficulty is that you are playing a character who never reveals what he is thinking <hl>. So you can’t compromise his expressionlessness, but you have to convey what might be going on for him.” Although the series has arrived after the plays, Colin Callender, a former president of HBO films whose production company Playground produced the series (with Company Pictures, “Masterpiece” and BBC Two), began negotiations to secure the rights in 2012. Mr. Callender said that as soon as he read the books, he envisaged a television production.

<hl> The difficulty is that you are playing a character who never reveals what he is thinking <hl> .


Question: What company was Colin Callender the former president of?

Answer: HBO films

“It’s an extraordinary job for me,” Mr. Rylance said after shooting multiple takes of a confrontation with an ailing Catherine of Aragon (Joanne Whalley). “There are about 70 or 80 scenes per episode, and I’m in most of them. The difficulty is that you are playing a character who never reveals what he is thinking. So you can’t compromise his expressionlessness, but you have to convey what might be going on for him.” <hl> Although the series has arrived after the plays, Colin Callender, a former president of HBO films whose production company Playground produced the series (with Company Pictures, “Masterpiece” and BBC Two), began negotiations to secure the rights in 2012. <hl> Mr. Callender said that as soon as he read the books, he envisaged a television production.

“It’s an extraordinary job for me,” Mr. Rylance said after shooting multiple takes of a confrontation with an ailing Catherine of Aragon (Joanne Whalley). “There are about 70 or 80 scenes per episode, and I’m in most of them. The difficulty is that you are playing a character who never reveals what he is thinking. So you can’t compromise his expressionlessness, but you have to convey what might be going on for him.” Although the series has arrived after the plays, Colin Callender, a former president of <hl> HBO films <hl> whose production company Playground produced the series (with Company Pictures, “Masterpiece” and BBC Two), began negotiations to secure the rights in 2012. Mr. Callender said that as soon as he read the books, he envisaged a television production.


Question: What did Mr. Callander envisage once he read the book(Wolf Hall)?

Answer: a television production

“It’s an extraordinary job for me,” Mr. Rylance said after shooting multiple takes of a confrontation with an ailing Catherine of Aragon (Joanne Whalley). “There are about 70 or 80 scenes per episode, and I’m in most of them. The difficulty is that you are playing a character who never reveals what he is thinking. So you can’t compromise his expressionlessness, but you have to convey what might be going on for him.” Although the series has arrived after the plays, Colin Callender, a former president of HBO films whose production company Playground produced the series (with Company Pictures, “Masterpiece” and BBC Two), began negotiations to secure the rights in 2012. <hl> Mr. Callender said that as soon as he read the books, he envisaged a television production . <hl>

“It’s an extraordinary job for me,” Mr. Rylance said after shooting multiple takes of a confrontation with an ailing Catherine of Aragon (Joanne Whalley). “There are about 70 or 80 scenes per episode, and I’m in most of them. The difficulty is that you are playing a character who never reveals what he is thinking. So you can’t compromise his expressionlessness, but you have to convey what might be going on for him.” Although the series has arrived after the plays, Colin Callender, a former president of HBO films whose production company Playground produced the series (with Company Pictures, “Masterpiece” and BBC Two), began negotiations to secure the rights in 2012. Mr. Callender said that as soon as he read the books, he envisaged <hl> a television production <hl>.

Mr. Callender said that as soon as he read the books, he envisaged <hl> a television production <hl> .


Question: Who is Mr. Lewis best known for playing?

“Here comes this series, based on two Booker Prize novels with magnificent actors and a substantial investment of time and money,” Mr. Kosminsky said. “The BBC is saying, this is the kind of thing only the BBC can do.” After the series was broadcast in Britain, there was exhaustive media coverage discussing everything from Tudor economics to fashion, and engendering a predictable amount of historical debate. “There’s an important distinction to make,” said Mr. Lewis, best known for playing Nicholas Brody in the series “Homeland.” Sitting on the lawn in full big-shouldered costume, looking every inch the handsome, charismatic and still-trim monarch he plays in the series, he added: “We are not telling Tudor history; we are creating ‘Wolf Hall’ from novels, which are already a rereading of Tudor history.” The apparently inexhaustible appetite for versions of Ms. Mantel’s story is partly the result of Britain’s perpetual fascination with the Tudor dynasty but is mostly testament to her vividly original reading of the period: Henry’s desperation for a male heir, the break with the Roman Catholic Church, the beginnings of Protestantism, the dissolution of the monasteries and the eventual execution of Anne, the point at which the second book ends. (Ms. Mantel is writing a third installment, “The Mirror and the Light,” which will chronicle the last four years of Cromwell’s life.) All these events are mediated through the perspective and personality of Cromwell, usually depicted by historians as an unscrupulous and cruel power-monger, but here given a far more enigmatic profile as Ms. Mantel’s narrative follows his rise from blacksmith’s son to heights of power second only to the king. As Cromwell frees his master from his marriage to Catherine of Aragon so that he may marry Anne Boleyn, then orchestrates her downfall, he emerges as clever, witty and urbane, multilingual, inexhaustibly energetic and a master of the dog-eat-dog political chess game that is Henry’s court.

Answer: Nicholas Brody

“Here comes this series, based on two Booker Prize novels with magnificent actors and a substantial investment of time and money,” Mr. Kosminsky said. “The BBC is saying, this is the kind of thing only the BBC can do.” After the series was broadcast in Britain, there was exhaustive media coverage discussing everything from Tudor economics to fashion, and engendering a predictable amount of historical debate. <hl> “There’s an important distinction to make,” said Mr. Lewis, best known for playing Nicholas Brody in the series “Homeland.” <hl> Sitting on the lawn in full big-shouldered costume, looking every inch the handsome, charismatic and still-trim monarch he plays in the series, he added: “We are not telling Tudor history; we are creating ‘Wolf Hall’ from novels, which are already a rereading of Tudor history.” The apparently inexhaustible appetite for versions of Ms. Mantel’s story is partly the result of Britain’s perpetual fascination with the Tudor dynasty but is mostly testament to her vividly original reading of the period: Henry’s desperation for a male heir, the break with the Roman Catholic Church, the beginnings of Protestantism, the dissolution of the monasteries and the eventual execution of Anne, the point at which the second book ends. (Ms. Mantel is writing a third installment, “The Mirror and the Light,” which will chronicle the last four years of Cromwell’s life.) All these events are mediated through the perspective and personality of Cromwell, usually depicted by historians as an unscrupulous and cruel power-monger, but here given a far more enigmatic profile as Ms. Mantel’s narrative follows his rise from blacksmith’s son to heights of power second only to the king. As Cromwell frees his master from his marriage to Catherine of Aragon so that he may marry Anne Boleyn, then orchestrates her downfall, he emerges as clever, witty and urbane, multilingual, inexhaustibly energetic and a master of the dog-eat-dog political chess game that is Henry’s court.

“Here comes this series, based on two Booker Prize novels with magnificent actors and a substantial investment of time and money,” Mr. Kosminsky said. “The BBC is saying, this is the kind of thing only the BBC can do.” After the series was broadcast in Britain, there was exhaustive media coverage discussing everything from Tudor economics to fashion, and engendering a predictable amount of historical debate. “There’s an important distinction to make,” said Mr. Lewis, best known for playing <hl> Nicholas Brody <hl> in the series “Homeland.” Sitting on the lawn in full big-shouldered costume, looking every inch the handsome, charismatic and still-trim monarch he plays in the series, he added: “We are not telling Tudor history; we are creating ‘Wolf Hall’ from novels, which are already a rereading of Tudor history.” The apparently inexhaustible appetite for versions of Ms. Mantel’s story is partly the result of Britain’s perpetual fascination with the Tudor dynasty but is mostly testament to her vividly original reading of the period: Henry’s desperation for a male heir, the break with the Roman Catholic Church, the beginnings of Protestantism, the dissolution of the monasteries and the eventual execution of Anne, the point at which the second book ends. (Ms. Mantel is writing a third installment, “The Mirror and the Light,” which will chronicle the last four years of Cromwell’s life.) All these events are mediated through the perspective and personality of Cromwell, usually depicted by historians as an unscrupulous and cruel power-monger, but here given a far more enigmatic profile as Ms. Mantel’s narrative follows his rise from blacksmith’s son to heights of power second only to the king. As Cromwell frees his master from his marriage to Catherine of Aragon so that he may marry Anne Boleyn, then orchestrates her downfall, he emerges as clever, witty and urbane, multilingual, inexhaustibly energetic and a master of the dog-eat-dog political chess game that is Henry’s court.


Question: In what series does Mr. Lewis play Nicholas Brody?

Answer: Homeland

“Here comes this series, based on two Booker Prize novels with magnificent actors and a substantial investment of time and money,” Mr. Kosminsky said. “The BBC is saying, this is the kind of thing only the BBC can do.” After the series was broadcast in Britain, there was exhaustive media coverage discussing everything from Tudor economics to fashion, and engendering a predictable amount of historical debate. <hl> “There’s an important distinction to make,” said Mr. Lewis, best known for playing Nicholas Brody in the series “ Homeland .” <hl> Sitting on the lawn in full big-shouldered costume, looking every inch the handsome, charismatic and still-trim monarch he plays in the series, he added: “We are not telling Tudor history; we are creating ‘Wolf Hall’ from novels, which are already a rereading of Tudor history.” The apparently inexhaustible appetite for versions of Ms. Mantel’s story is partly the result of Britain’s perpetual fascination with the Tudor dynasty but is mostly testament to her vividly original reading of the period: Henry’s desperation for a male heir, the break with the Roman Catholic Church, the beginnings of Protestantism, the dissolution of the monasteries and the eventual execution of Anne, the point at which the second book ends. (Ms. Mantel is writing a third installment, “The Mirror and the Light,” which will chronicle the last four years of Cromwell’s life.) All these events are mediated through the perspective and personality of Cromwell, usually depicted by historians as an unscrupulous and cruel power-monger, but here given a far more enigmatic profile as Ms. Mantel’s narrative follows his rise from blacksmith’s son to heights of power second only to the king. As Cromwell frees his master from his marriage to Catherine of Aragon so that he may marry Anne Boleyn, then orchestrates her downfall, he emerges as clever, witty and urbane, multilingual, inexhaustibly energetic and a master of the dog-eat-dog political chess game that is Henry’s court.

“Here comes this series, based on two Booker Prize novels with magnificent actors and a substantial investment of time and money,” Mr. Kosminsky said. “The BBC is saying, this is the kind of thing only the BBC can do.” After the series was broadcast in Britain, there was exhaustive media coverage discussing everything from Tudor economics to fashion, and engendering a predictable amount of historical debate. “There’s an important distinction to make,” said Mr. Lewis, best known for playing Nicholas Brody in the series “<hl> Homeland <hl>.” Sitting on the lawn in full big-shouldered costume, looking every inch the handsome, charismatic and still-trim monarch he plays in the series, he added: “We are not telling Tudor history; we are creating ‘Wolf Hall’ from novels, which are already a rereading of Tudor history.” The apparently inexhaustible appetite for versions of Ms. Mantel’s story is partly the result of Britain’s perpetual fascination with the Tudor dynasty but is mostly testament to her vividly original reading of the period: Henry’s desperation for a male heir, the break with the Roman Catholic Church, the beginnings of Protestantism, the dissolution of the monasteries and the eventual execution of Anne, the point at which the second book ends. (Ms. Mantel is writing a third installment, “The Mirror and the Light,” which will chronicle the last four years of Cromwell’s life.) All these events are mediated through the perspective and personality of Cromwell, usually depicted by historians as an unscrupulous and cruel power-monger, but here given a far more enigmatic profile as Ms. Mantel’s narrative follows his rise from blacksmith’s son to heights of power second only to the king. As Cromwell frees his master from his marriage to Catherine of Aragon so that he may marry Anne Boleyn, then orchestrates her downfall, he emerges as clever, witty and urbane, multilingual, inexhaustibly energetic and a master of the dog-eat-dog political chess game that is Henry’s court.

“There’s an important distinction to make,” said Mr. Lewis, best known for playing Nicholas Brody in the series “ <hl> Homeland <hl> .”


Question: What is the inexhaustible appetite for versions of Wolf Hall a party a result of?

Answer: Britain’s perpetual fascination with the Tudor dynasty

“Here comes this series, based on two Booker Prize novels with magnificent actors and a substantial investment of time and money,” Mr. Kosminsky said. “The BBC is saying, this is the kind of thing only the BBC can do.” After the series was broadcast in Britain, there was exhaustive media coverage discussing everything from Tudor economics to fashion, and engendering a predictable amount of historical debate. “There’s an important distinction to make,” said Mr. Lewis, best known for playing Nicholas Brody in the series “Homeland.” Sitting on the lawn in full big-shouldered costume, looking every inch the handsome, charismatic and still-trim monarch he plays in the series, he added: “We are not telling Tudor history; we are creating ‘Wolf Hall’ from novels, which are already a rereading of Tudor history.” <hl> The apparently inexhaustible appetite for versions of Ms. Mantel’s story is partly the result of Britain’s perpetual fascination with the Tudor dynasty but is mostly testament to her vividly original reading of the period: Henry’s desperation for a male heir, the break with the Roman Catholic Church, the beginnings of Protestantism, the dissolution of the monasteries and the eventual execution of Anne, the point at which the second book ends. <hl> (Ms. Mantel is writing a third installment, “The Mirror and the Light,” which will chronicle the last four years of Cromwell’s life.) All these events are mediated through the perspective and personality of Cromwell, usually depicted by historians as an unscrupulous and cruel power-monger, but here given a far more enigmatic profile as Ms. Mantel’s narrative follows his rise from blacksmith’s son to heights of power second only to the king. As Cromwell frees his master from his marriage to Catherine of Aragon so that he may marry Anne Boleyn, then orchestrates her downfall, he emerges as clever, witty and urbane, multilingual, inexhaustibly energetic and a master of the dog-eat-dog political chess game that is Henry’s court.

“Here comes this series, based on two Booker Prize novels with magnificent actors and a substantial investment of time and money,” Mr. Kosminsky said. “The BBC is saying, this is the kind of thing only the BBC can do.” After the series was broadcast in Britain, there was exhaustive media coverage discussing everything from Tudor economics to fashion, and engendering a predictable amount of historical debate. “There’s an important distinction to make,” said Mr. Lewis, best known for playing Nicholas Brody in the series “Homeland.” Sitting on the lawn in full big-shouldered costume, looking every inch the handsome, charismatic and still-trim monarch he plays in the series, he added: “We are not telling Tudor history; we are creating ‘Wolf Hall’ from novels, which are already a rereading of Tudor history.” The apparently inexhaustible appetite for versions of Ms. Mantel’s story is partly the result of <hl> Britain’s perpetual fascination with the Tudor dynasty <hl> but is mostly testament to her vividly original reading of the period: Henry’s desperation for a male heir, the break with the Roman Catholic Church, the beginnings of Protestantism, the dissolution of the monasteries and the eventual execution of Anne, the point at which the second book ends. (Ms. Mantel is writing a third installment, “The Mirror and the Light,” which will chronicle the last four years of Cromwell’s life.) All these events are mediated through the perspective and personality of Cromwell, usually depicted by historians as an unscrupulous and cruel power-monger, but here given a far more enigmatic profile as Ms. Mantel’s narrative follows his rise from blacksmith’s son to heights of power second only to the king. As Cromwell frees his master from his marriage to Catherine of Aragon so that he may marry Anne Boleyn, then orchestrates her downfall, he emerges as clever, witty and urbane, multilingual, inexhaustibly energetic and a master of the dog-eat-dog political chess game that is Henry’s court.


Question: How is Cromwell usually depicted by historians?

Answer: as an unscrupulous and cruel power-monger

“Here comes this series, based on two Booker Prize novels with magnificent actors and a substantial investment of time and money,” Mr. Kosminsky said. “The BBC is saying, this is the kind of thing only the BBC can do.” After the series was broadcast in Britain, there was exhaustive media coverage discussing everything from Tudor economics to fashion, and engendering a predictable amount of historical debate. “There’s an important distinction to make,” said Mr. Lewis, best known for playing Nicholas Brody in the series “Homeland.” Sitting on the lawn in full big-shouldered costume, looking every inch the handsome, charismatic and still-trim monarch he plays in the series, he added: “We are not telling Tudor history; we are creating ‘Wolf Hall’ from novels, which are already a rereading of Tudor history.” The apparently inexhaustible appetite for versions of Ms. Mantel’s story is partly the result of Britain’s perpetual fascination with the Tudor dynasty but is mostly testament to her vividly original reading of the period: Henry’s desperation for a male heir, the break with the Roman Catholic Church, the beginnings of Protestantism, the dissolution of the monasteries and the eventual execution of Anne, the point at which the second book ends. (Ms. Mantel is writing a third installment, “The Mirror and the Light,” which will chronicle the last four years of Cromwell’s life.) <hl> All these events are mediated through the perspective and personality of Cromwell, usually depicted by historians as an unscrupulous and cruel power-monger , but here given a far more enigmatic profile as Ms. Mantel’s narrative follows his rise from blacksmith’s son to heights of power second only to the king. <hl> As Cromwell frees his master from his marriage to Catherine of Aragon so that he may marry Anne Boleyn, then orchestrates her downfall, he emerges as clever, witty and urbane, multilingual, inexhaustibly energetic and a master of the dog-eat-dog political chess game that is Henry’s court.

“Here comes this series, based on two Booker Prize novels with magnificent actors and a substantial investment of time and money,” Mr. Kosminsky said. “The BBC is saying, this is the kind of thing only the BBC can do.” After the series was broadcast in Britain, there was exhaustive media coverage discussing everything from Tudor economics to fashion, and engendering a predictable amount of historical debate. “There’s an important distinction to make,” said Mr. Lewis, best known for playing Nicholas Brody in the series “Homeland.” Sitting on the lawn in full big-shouldered costume, looking every inch the handsome, charismatic and still-trim monarch he plays in the series, he added: “We are not telling Tudor history; we are creating ‘Wolf Hall’ from novels, which are already a rereading of Tudor history.” The apparently inexhaustible appetite for versions of Ms. Mantel’s story is partly the result of Britain’s perpetual fascination with the Tudor dynasty but is mostly testament to her vividly original reading of the period: Henry’s desperation for a male heir, the break with the Roman Catholic Church, the beginnings of Protestantism, the dissolution of the monasteries and the eventual execution of Anne, the point at which the second book ends. (Ms. Mantel is writing a third installment, “The Mirror and the Light,” which will chronicle the last four years of Cromwell’s life.) All these events are mediated through the perspective and personality of Cromwell, usually depicted by historians <hl> as an unscrupulous and cruel power-monger <hl>, but here given a far more enigmatic profile as Ms. Mantel’s narrative follows his rise from blacksmith’s son to heights of power second only to the king. As Cromwell frees his master from his marriage to Catherine of Aragon so that he may marry Anne Boleyn, then orchestrates her downfall, he emerges as clever, witty and urbane, multilingual, inexhaustibly energetic and a master of the dog-eat-dog political chess game that is Henry’s court.

All these events are mediated through the perspective and personality of Cromwell, usually depicted by historians <hl> as an unscrupulous and cruel power-monger <hl> , but here given a far more enigmatic profile as Ms. Mantel’s narrative follows his rise from blacksmith’s son to heights of power second only to the king.


Question: How many Tony Awards has Mr. Rylance won?

Mr. Rylance, who has won three Tony Awards, has done relatively little film or television work and isn’t well-known to a broader audience. (That might change after “Wolf Hall” and two current film projects with Steven Spielberg — “The BFG” and “Bridge of Spies.”) But Mr. Callender and his fellow producers weren’t deterred. “Most actors can do one or two things at the same time; great actors can do several things at the same time; Mark Rylance can do hundreds of things at the same time,” he said. “He has one of those faces that can tell a thousand stories.” So sure was Mr. Callender that Mr. Rylance was the right choice that he persuaded the BBC to wait a year while the actor performed in repertory productions of “Twelfth Night” and “Richard III” that played in the West End and on Broadway.

Answer: three

<hl> Mr. Rylance, who has won three Tony Awards, has done relatively little film or television work and isn’t well-known to a broader audience. <hl> (That might change after “Wolf Hall” and two current film projects with Steven Spielberg — “The BFG” and “Bridge of Spies.”) But Mr. Callender and his fellow producers weren’t deterred. “Most actors can do one or two things at the same time; great actors can do several things at the same time; Mark Rylance can do hundreds of things at the same time,” he said. “He has one of those faces that can tell a thousand stories.” So sure was Mr. Callender that Mr. Rylance was the right choice that he persuaded the BBC to wait a year while the actor performed in repertory productions of “Twelfth Night” and “Richard III” that played in the West End and on Broadway.

Mr. Rylance, who has won <hl> three <hl> Tony Awards, has done relatively little film or television work and isn’t well-known to a broader audience. (That might change after “Wolf Hall” and two current film projects with Steven Spielberg — “The BFG” and “Bridge of Spies.”) But Mr. Callender and his fellow producers weren’t deterred. “Most actors can do one or two things at the same time; great actors can do several things at the same time; Mark Rylance can do hundreds of things at the same time,” he said. “He has one of those faces that can tell a thousand stories.” So sure was Mr. Callender that Mr. Rylance was the right choice that he persuaded the BBC to wait a year while the actor performed in repertory productions of “Twelfth Night” and “Richard III” that played in the West End and on Broadway.


Question: How long did Mr. Callender persuade the BBC to wait for Mark Rylance?

Answer: a year

Mr. Rylance, who has won three Tony Awards, has done relatively little film or television work and isn’t well-known to a broader audience. (That might change after “Wolf Hall” and two current film projects with Steven Spielberg — “The BFG” and “Bridge of Spies.”) But Mr. Callender and his fellow producers weren’t deterred. “Most actors can do one or two things at the same time; great actors can do several things at the same time; Mark Rylance can do hundreds of things at the same time,” he said. “He has one of those faces that can tell a thousand stories.” <hl> So sure was Mr. Callender that Mr. Rylance was the right choice that he persuaded the BBC to wait a year while the actor performed in repertory productions of “Twelfth Night” and “Richard III” that played in the West End and on Broadway. <hl>

Mr. Rylance, who has won three Tony Awards, has done relatively little film or television work and isn’t well-known to a broader audience. (That might change after “Wolf Hall” and two current film projects with Steven Spielberg — “The BFG” and “Bridge of Spies.”) But Mr. Callender and his fellow producers weren’t deterred. “Most actors can do one or two things at the same time; great actors can do several things at the same time; Mark Rylance can do hundreds of things at the same time,” he said. “He has one of those faces that can tell a thousand stories.” So sure was Mr. Callender that Mr. Rylance was the right choice that he persuaded the BBC to wait <hl> a year <hl> while the actor performed in repertory productions of “Twelfth Night” and “Richard III” that played in the West End and on Broadway.


Question: Who does Mr. Rylance have two current film projects with?

Answer: Steven Spielberg

Mr. Rylance, who has won three Tony Awards, has done relatively little film or television work and isn’t well-known to a broader audience. <hl> (That might change after “Wolf Hall” and two current film projects with Steven Spielberg — “The BFG” and “Bridge of Spies.”) <hl> But Mr. Callender and his fellow producers weren’t deterred. “Most actors can do one or two things at the same time; great actors can do several things at the same time; Mark Rylance can do hundreds of things at the same time,” he said. “He has one of those faces that can tell a thousand stories.” So sure was Mr. Callender that Mr. Rylance was the right choice that he persuaded the BBC to wait a year while the actor performed in repertory productions of “Twelfth Night” and “Richard III” that played in the West End and on Broadway.

Mr. Rylance, who has won three Tony Awards, has done relatively little film or television work and isn’t well-known to a broader audience. (That might change after “Wolf Hall” and two current film projects with <hl> Steven Spielberg <hl> — “The BFG” and “Bridge of Spies.”) But Mr. Callender and his fellow producers weren’t deterred. “Most actors can do one or two things at the same time; great actors can do several things at the same time; Mark Rylance can do hundreds of things at the same time,” he said. “He has one of those faces that can tell a thousand stories.” So sure was Mr. Callender that Mr. Rylance was the right choice that he persuaded the BBC to wait a year while the actor performed in repertory productions of “Twelfth Night” and “Richard III” that played in the West End and on Broadway.


Question: What was Mark Rylance doing while the BBC waited for him to act in their show?

Answer: performed in repertory productions of “Twelfth Night” and “Richard III” that played in the West End and on Broadway.

Mr. Rylance, who has won three Tony Awards, has done relatively little film or television work and isn’t well-known to a broader audience. (That might change after “Wolf Hall” and two current film projects with Steven Spielberg — “The BFG” and “Bridge of Spies.”) But Mr. Callender and his fellow producers weren’t deterred. “Most actors can do one or two things at the same time; great actors can do several things at the same time; Mark Rylance can do hundreds of things at the same time,” he said. “He has one of those faces that can tell a thousand stories.” <hl> So sure was Mr. Callender that Mr. Rylance was the right choice that he persuaded the BBC to wait a year while the actor performed in repertory productions of “Twelfth Night” and “Richard III” that played in the West End and on Broadway. <hl>

Mr. Rylance, who has won three Tony Awards, has done relatively little film or television work and isn’t well-known to a broader audience. (That might change after “Wolf Hall” and two current film projects with Steven Spielberg — “The BFG” and “Bridge of Spies.”) But Mr. Callender and his fellow producers weren’t deterred. “Most actors can do one or two things at the same time; great actors can do several things at the same time; Mark Rylance can do hundreds of things at the same time,” he said. “He has one of those faces that can tell a thousand stories.” So sure was Mr. Callender that Mr. Rylance was the right choice that he persuaded the BBC to wait a year while the actor <hl> performed in repertory productions of “Twelfth Night” and “Richard III” that played in the West End and on Broadway. <hl>


Question: Who owns Dix Hills Animal Hospital?

Dr. Rhein (left), 45, is a veterinarian in Huntington and the owner of Dix Hills Animal Hospital in Dix Hills, N.Y. She graduated and also received a veterinary medicine degree from Cornell. She is a daughter of Carol Heller Rhein and Dr. Harvey Rhein of Dix Hills. Her father retired as the owner of the veterinary clinic that she now owns. Her mother retired as an owner of A Special Place, a women’s clothing boutique in Huntington. Ms. Stark-Rhein, 40, is a psychotherapist in the Smithtown, N.Y., clinic of New Horizon Counseling Center. She graduated from the University of Maryland and received a master’s degree in social welfare from the State University of New York, Stony Brook.

Answer: Dr. Rhein

<hl> Dr. Rhein (left), 45, is a veterinarian in Huntington and the owner of Dix Hills Animal Hospital in Dix Hills, N.Y. <hl> She graduated and also received a veterinary medicine degree from Cornell. She is a daughter of Carol Heller Rhein and Dr. Harvey Rhein of Dix Hills. Her father retired as the owner of the veterinary clinic that she now owns. Her mother retired as an owner of A Special Place, a women’s clothing boutique in Huntington. Ms. Stark-Rhein, 40, is a psychotherapist in the Smithtown, N.Y., clinic of New Horizon Counseling Center. She graduated from the University of Maryland and received a master’s degree in social welfare from the State University of New York, Stony Brook.

<hl> Dr. Rhein <hl> (left), 45, is a veterinarian in Huntington and the owner of Dix Hills Animal Hospital in Dix Hills, N.Y. She graduated and also received a veterinary medicine degree from Cornell. She is a daughter of Carol Heller Rhein and Dr. Harvey Rhein of Dix Hills. Her father retired as the owner of the veterinary clinic that she now owns. Her mother retired as an owner of A Special Place, a women’s clothing boutique in Huntington. Ms. Stark-Rhein, 40, is a psychotherapist in the Smithtown, N.Y., clinic of New Horizon Counseling Center. She graduated from the University of Maryland and received a master’s degree in social welfare from the State University of New York, Stony Brook.


Question: What university did she attend?

Answer: Cornell

Dr. Rhein (left), 45, is a veterinarian in Huntington and the owner of Dix Hills Animal Hospital in Dix Hills, N.Y. <hl> She graduated and also received a veterinary medicine degree from Cornell . <hl> She is a daughter of Carol Heller Rhein and Dr. Harvey Rhein of Dix Hills. Her father retired as the owner of the veterinary clinic that she now owns. Her mother retired as an owner of A Special Place, a women’s clothing boutique in Huntington. Ms. Stark-Rhein, 40, is a psychotherapist in the Smithtown, N.Y., clinic of New Horizon Counseling Center. She graduated from the University of Maryland and received a master’s degree in social welfare from the State University of New York, Stony Brook.

Dr. Rhein (left), 45, is a veterinarian in Huntington and the owner of Dix Hills Animal Hospital in Dix Hills, N.Y. She graduated and also received a veterinary medicine degree from <hl> Cornell <hl>. She is a daughter of Carol Heller Rhein and Dr. Harvey Rhein of Dix Hills. Her father retired as the owner of the veterinary clinic that she now owns. Her mother retired as an owner of A Special Place, a women’s clothing boutique in Huntington. Ms. Stark-Rhein, 40, is a psychotherapist in the Smithtown, N.Y., clinic of New Horizon Counseling Center. She graduated from the University of Maryland and received a master’s degree in social welfare from the State University of New York, Stony Brook.

She graduated and also received a veterinary medicine degree from <hl> Cornell <hl> .


Question: Where is the hospital located?

Answer: Dix Hills, N.Y

<hl> Dr. Rhein (left), 45, is a veterinarian in Huntington and the owner of Dix Hills Animal Hospital in Dix Hills, N.Y . <hl> She graduated and also received a veterinary medicine degree from Cornell. She is a daughter of Carol Heller Rhein and Dr. Harvey Rhein of Dix Hills. Her father retired as the owner of the veterinary clinic that she now owns. Her mother retired as an owner of A Special Place, a women’s clothing boutique in Huntington. Ms. Stark-Rhein, 40, is a psychotherapist in the Smithtown, N.Y., clinic of New Horizon Counseling Center. She graduated from the University of Maryland and received a master’s degree in social welfare from the State University of New York, Stony Brook.

Dr. Rhein (left), 45, is a veterinarian in Huntington and the owner of Dix Hills Animal Hospital in <hl> Dix Hills, N.Y <hl>. She graduated and also received a veterinary medicine degree from Cornell. She is a daughter of Carol Heller Rhein and Dr. Harvey Rhein of Dix Hills. Her father retired as the owner of the veterinary clinic that she now owns. Her mother retired as an owner of A Special Place, a women’s clothing boutique in Huntington. Ms. Stark-Rhein, 40, is a psychotherapist in the Smithtown, N.Y., clinic of New Horizon Counseling Center. She graduated from the University of Maryland and received a master’s degree in social welfare from the State University of New York, Stony Brook.

Dr. Rhein (left), 45, is a veterinarian in Huntington and the owner of Dix Hills Animal Hospital in <hl> Dix Hills, N.Y <hl> .


Question: What degree did she earn?

Answer: veterinary medicine

Dr. Rhein (left), 45, is a veterinarian in Huntington and the owner of Dix Hills Animal Hospital in Dix Hills, N.Y. She graduated and also received <hl> a veterinary medicine degree from Cornell. <hl> She is a daughter of Carol Heller Rhein and Dr. Harvey Rhein of Dix Hills. Her father retired as the owner of the veterinary clinic that she now owns. Her mother retired as an owner of A Special Place, a women’s clothing boutique in Huntington. Ms. Stark-Rhein, 40, is a psychotherapist in the Smithtown, N.Y., clinic of New Horizon Counseling Center. She graduated from the University of Maryland and received a master’s degree in social welfare from the State University of New York, Stony Brook.

Dr. Rhein (left), 45, is a veterinarian in Huntington and the owner of Dix Hills Animal Hospital in Dix Hills, N.Y. She graduated and also received a <hl> veterinary medicine <hl> degree from Cornell. She is a daughter of Carol Heller Rhein and Dr. Harvey Rhein of Dix Hills. Her father retired as the owner of the veterinary clinic that she now owns. Her mother retired as an owner of A Special Place, a women’s clothing boutique in Huntington. Ms. Stark-Rhein, 40, is a psychotherapist in the Smithtown, N.Y., clinic of New Horizon Counseling Center. She graduated from the University of Maryland and received a master’s degree in social welfare from the State University of New York, Stony Brook.


Question: Who are her parents?

Answer: Carol Heller Rhein and Dr. Harvey Rhein

Dr. Rhein (left), 45, is a veterinarian in Huntington and the owner of Dix Hills Animal Hospital in Dix Hills, N.Y. She graduated and also received a veterinary medicine degree from Cornell. <hl> She is a daughter of Carol Heller Rhein and Dr. Harvey Rhein of Dix Hills. <hl> Her father retired as the owner of the veterinary clinic that she now owns. Her mother retired as an owner of A Special Place, a women’s clothing boutique in Huntington. Ms. Stark-Rhein, 40, is a psychotherapist in the Smithtown, N.Y., clinic of New Horizon Counseling Center. She graduated from the University of Maryland and received a master’s degree in social welfare from the State University of New York, Stony Brook.

Dr. Rhein (left), 45, is a veterinarian in Huntington and the owner of Dix Hills Animal Hospital in Dix Hills, N.Y. She graduated and also received a veterinary medicine degree from Cornell. She is a daughter of <hl> Carol Heller Rhein and Dr. Harvey Rhein <hl> of Dix Hills. Her father retired as the owner of the veterinary clinic that she now owns. Her mother retired as an owner of A Special Place, a women’s clothing boutique in Huntington. Ms. Stark-Rhein, 40, is a psychotherapist in the Smithtown, N.Y., clinic of New Horizon Counseling Center. She graduated from the University of Maryland and received a master’s degree in social welfare from the State University of New York, Stony Brook.


Question: What is the name of the play that focuses on Liberia's civil war?

An article last Sunday about three women involved with the play “Eclipsed,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director Liesl Tommy, is working on. It is a stage adaptation of a movie, not a movie. • An article last Sunday about an exhibition that Steve Martin is curating at the Hammer Museum in Los Angeles misstated part of the name of a musical that he is working on with Edie Brickell. It is “Bright Star,” not “Bright Eyes.” The article also referred incorrectly to Mr. Martin’s working relationship with the museum. In 2003, Mr. Martin wrote wall text for artworks in the exhibition “Writings on the Wall”; his tribute to the photographer Cindy Sherman in 2012 wasn’t “his only prior connection to the museum.” And a picture credit with the article misidentified the source of the image “Mountains in Snow: Rocky Mountain Paintings VII.” It was the Thomson Collection/Art Gallery of Ontario, not Michael Cullen. BOOK REVIEW

Answer: Eclipsed

<hl> An article last Sunday about three women involved with the play “ Eclipsed ,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director Liesl Tommy, is working on. <hl> It is a stage adaptation of a movie, not a movie. • An article last Sunday about an exhibition that Steve Martin is curating at the Hammer Museum in Los Angeles misstated part of the name of a musical that he is working on with Edie Brickell. It is “Bright Star,” not “Bright Eyes.” The article also referred incorrectly to Mr. Martin’s working relationship with the museum. In 2003, Mr. Martin wrote wall text for artworks in the exhibition “Writings on the Wall”; his tribute to the photographer Cindy Sherman in 2012 wasn’t “his only prior connection to the museum.” And a picture credit with the article misidentified the source of the image “Mountains in Snow: Rocky Mountain Paintings VII.” It was the Thomson Collection/Art Gallery of Ontario, not Michael Cullen. BOOK REVIEW

An article last Sunday about three women involved with the play “<hl> Eclipsed <hl>,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director Liesl Tommy, is working on. It is a stage adaptation of a movie, not a movie. • An article last Sunday about an exhibition that Steve Martin is curating at the Hammer Museum in Los Angeles misstated part of the name of a musical that he is working on with Edie Brickell. It is “Bright Star,” not “Bright Eyes.” The article also referred incorrectly to Mr. Martin’s working relationship with the museum. In 2003, Mr. Martin wrote wall text for artworks in the exhibition “Writings on the Wall”; his tribute to the photographer Cindy Sherman in 2012 wasn’t “his only prior connection to the museum.” And a picture credit with the article misidentified the source of the image “Mountains in Snow: Rocky Mountain Paintings VII.” It was the Thomson Collection/Art Gallery of Ontario, not Michael Cullen. BOOK REVIEW

An article last Sunday about three women involved with the play “ <hl> Eclipsed <hl> ,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director Liesl Tommy, is working on.


Question: Who is the director of Eclipsed?

Answer: Liesl Tommy

<hl> An article last Sunday about three women involved with the play “Eclipsed,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director Liesl Tommy , is working on. <hl> It is a stage adaptation of a movie, not a movie. • An article last Sunday about an exhibition that Steve Martin is curating at the Hammer Museum in Los Angeles misstated part of the name of a musical that he is working on with Edie Brickell. It is “Bright Star,” not “Bright Eyes.” The article also referred incorrectly to Mr. Martin’s working relationship with the museum. In 2003, Mr. Martin wrote wall text for artworks in the exhibition “Writings on the Wall”; his tribute to the photographer Cindy Sherman in 2012 wasn’t “his only prior connection to the museum.” And a picture credit with the article misidentified the source of the image “Mountains in Snow: Rocky Mountain Paintings VII.” It was the Thomson Collection/Art Gallery of Ontario, not Michael Cullen. BOOK REVIEW

An article last Sunday about three women involved with the play “Eclipsed,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director <hl> Liesl Tommy <hl>, is working on. It is a stage adaptation of a movie, not a movie. • An article last Sunday about an exhibition that Steve Martin is curating at the Hammer Museum in Los Angeles misstated part of the name of a musical that he is working on with Edie Brickell. It is “Bright Star,” not “Bright Eyes.” The article also referred incorrectly to Mr. Martin’s working relationship with the museum. In 2003, Mr. Martin wrote wall text for artworks in the exhibition “Writings on the Wall”; his tribute to the photographer Cindy Sherman in 2012 wasn’t “his only prior connection to the museum.” And a picture credit with the article misidentified the source of the image “Mountains in Snow: Rocky Mountain Paintings VII.” It was the Thomson Collection/Art Gallery of Ontario, not Michael Cullen. BOOK REVIEW

An article last Sunday about three women involved with the play “Eclipsed,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director <hl> Liesl Tommy <hl> , is working on.


Question: Where is Steve Martin curating an exhibition?

Answer: Hammer Museum

An article last Sunday about three women involved with the play “Eclipsed,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director Liesl Tommy, is working on. It is a stage adaptation of a movie, not a movie. • <hl> An article last Sunday about an exhibition that Steve Martin is curating at the Hammer Museum in Los Angeles misstated part of the name of a musical that he is working on with Edie Brickell. <hl> It is “Bright Star,” not “Bright Eyes.” The article also referred incorrectly to Mr. Martin’s working relationship with the museum. In 2003, Mr. Martin wrote wall text for artworks in the exhibition “Writings on the Wall”; his tribute to the photographer Cindy Sherman in 2012 wasn’t “his only prior connection to the museum.” And a picture credit with the article misidentified the source of the image “Mountains in Snow: Rocky Mountain Paintings VII.” It was the Thomson Collection/Art Gallery of Ontario, not Michael Cullen. BOOK REVIEW

An article last Sunday about three women involved with the play “Eclipsed,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director Liesl Tommy, is working on. It is a stage adaptation of a movie, not a movie. • An article last Sunday about an exhibition that Steve Martin is curating at the <hl> Hammer Museum <hl> in Los Angeles misstated part of the name of a musical that he is working on with Edie Brickell. It is “Bright Star,” not “Bright Eyes.” The article also referred incorrectly to Mr. Martin’s working relationship with the museum. In 2003, Mr. Martin wrote wall text for artworks in the exhibition “Writings on the Wall”; his tribute to the photographer Cindy Sherman in 2012 wasn’t “his only prior connection to the museum.” And a picture credit with the article misidentified the source of the image “Mountains in Snow: Rocky Mountain Paintings VII.” It was the Thomson Collection/Art Gallery of Ontario, not Michael Cullen. BOOK REVIEW


Question: What piece did Steve Martin contribute to?

Answer: Writings on the Wall

An article last Sunday about three women involved with the play “Eclipsed,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director Liesl Tommy, is working on. It is a stage adaptation of a movie, not a movie. • An article last Sunday about an exhibition that Steve Martin is curating at the Hammer Museum in Los Angeles misstated part of the name of a musical that he is working on with Edie Brickell. It is “Bright Star,” not “Bright Eyes.” The article also referred incorrectly to Mr. Martin’s working relationship with the museum. <hl> In 2003, Mr. Martin wrote wall text for artworks in the exhibition “ Writings on the Wall ”; his tribute to the photographer Cindy Sherman in 2012 wasn’t “his only prior connection to the museum.” <hl> And a picture credit with the article misidentified the source of the image “Mountains in Snow: Rocky Mountain Paintings VII.” It was the Thomson Collection/Art Gallery of Ontario, not Michael Cullen. BOOK REVIEW

An article last Sunday about three women involved with the play “Eclipsed,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director Liesl Tommy, is working on. It is a stage adaptation of a movie, not a movie. • An article last Sunday about an exhibition that Steve Martin is curating at the Hammer Museum in Los Angeles misstated part of the name of a musical that he is working on with Edie Brickell. It is “Bright Star,” not “Bright Eyes.” The article also referred incorrectly to Mr. Martin’s working relationship with the museum. In 2003, Mr. Martin wrote wall text for artworks in the exhibition “<hl> Writings on the Wall <hl>”; his tribute to the photographer Cindy Sherman in 2012 wasn’t “his only prior connection to the museum.” And a picture credit with the article misidentified the source of the image “Mountains in Snow: Rocky Mountain Paintings VII.” It was the Thomson Collection/Art Gallery of Ontario, not Michael Cullen. BOOK REVIEW

In 2003, Mr. Martin wrote wall text for artworks in the exhibition “ <hl> Writings on the Wall <hl> ”; his tribute to the photographer Cindy Sherman in 2012 wasn’t “his only prior connection to the museum.”


Question: Who is "Writings on the Wall" a tribute to?

Answer: Cindy Sherman

An article last Sunday about three women involved with the play “Eclipsed,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director Liesl Tommy, is working on. It is a stage adaptation of a movie, not a movie. • An article last Sunday about an exhibition that Steve Martin is curating at the Hammer Museum in Los Angeles misstated part of the name of a musical that he is working on with Edie Brickell. It is “Bright Star,” not “Bright Eyes.” The article also referred incorrectly to Mr. Martin’s working relationship with the museum. <hl> In 2003, Mr. Martin wrote wall text for artworks in the exhibition “Writings on the Wall”; his tribute to the photographer Cindy Sherman in 2012 wasn’t “his only prior connection to the museum.” <hl> And a picture credit with the article misidentified the source of the image “Mountains in Snow: Rocky Mountain Paintings VII.” It was the Thomson Collection/Art Gallery of Ontario, not Michael Cullen. BOOK REVIEW

An article last Sunday about three women involved with the play “Eclipsed,” which focuses on Liberia’s civil war, using information from a publicist, referred incorrectly to a big-budget project that one of the women, the director Liesl Tommy, is working on. It is a stage adaptation of a movie, not a movie. • An article last Sunday about an exhibition that Steve Martin is curating at the Hammer Museum in Los Angeles misstated part of the name of a musical that he is working on with Edie Brickell. It is “Bright Star,” not “Bright Eyes.” The article also referred incorrectly to Mr. Martin’s working relationship with the museum. In 2003, Mr. Martin wrote wall text for artworks in the exhibition “Writings on the Wall”; his tribute to the photographer <hl> Cindy Sherman <hl> in 2012 wasn’t “his only prior connection to the museum.” And a picture credit with the article misidentified the source of the image “Mountains in Snow: Rocky Mountain Paintings VII.” It was the Thomson Collection/Art Gallery of Ontario, not Michael Cullen. BOOK REVIEW


Question: What is the birth name of Pope Francis?

SUNDAY STYLES An article on Sept. 20 about the affection felt for Pope Francis by a self-described “once-erstwhile Presbyterian” misspelled part of the birth name of Pope Francis. He was born Jorge Mario Bergoglio, not Borgoglia. REAL ESTATE A cover article last Sunday about new developments in New York City that have drawn criticism from neighbors described incorrectly plans by the developer Fortis Property Group to address concerns about the loss of Long Island College Hospital in Cobble Hill, Brooklyn. Fortis will donate land where NYU Langone Medical Center will build a new medical facility; Fortis itself will not build a larger hospital on the site. (The new facility will be larger than the temporary facility that NYU Langone is currently operating, but will not be a full-fledged hospital.)

Answer: Jorge Mario Bergoglio

SUNDAY STYLES An article on Sept. 20 about the affection felt for Pope Francis by a self-described “once-erstwhile Presbyterian” misspelled part of the birth name of Pope Francis. <hl> He was born Jorge Mario Bergoglio , not Borgoglia. <hl> REAL ESTATE A cover article last Sunday about new developments in New York City that have drawn criticism from neighbors described incorrectly plans by the developer Fortis Property Group to address concerns about the loss of Long Island College Hospital in Cobble Hill, Brooklyn. Fortis will donate land where NYU Langone Medical Center will build a new medical facility; Fortis itself will not build a larger hospital on the site. (The new facility will be larger than the temporary facility that NYU Langone is currently operating, but will not be a full-fledged hospital.)

SUNDAY STYLES An article on Sept. 20 about the affection felt for Pope Francis by a self-described “once-erstwhile Presbyterian” misspelled part of the birth name of Pope Francis. He was born <hl> Jorge Mario Bergoglio <hl>, not Borgoglia. REAL ESTATE A cover article last Sunday about new developments in New York City that have drawn criticism from neighbors described incorrectly plans by the developer Fortis Property Group to address concerns about the loss of Long Island College Hospital in Cobble Hill, Brooklyn. Fortis will donate land where NYU Langone Medical Center will build a new medical facility; Fortis itself will not build a larger hospital on the site. (The new facility will be larger than the temporary facility that NYU Langone is currently operating, but will not be a full-fledged hospital.)

He was born <hl> Jorge Mario Bergoglio <hl> , not Borgoglia.


Question: Who is donating land for a new medical facility?

Answer: Fortis Property Group

SUNDAY STYLES An article on Sept. 20 about the affection felt for Pope Francis by a self-described “once-erstwhile Presbyterian” misspelled part of the birth name of Pope Francis. He was born Jorge Mario Bergoglio, not Borgoglia. <hl> REAL ESTATE A cover article last Sunday about new developments in New York City that have drawn criticism from neighbors described incorrectly plans by the developer Fortis Property Group to address concerns about the loss of Long Island College Hospital in Cobble Hill, Brooklyn. <hl> Fortis will donate land where NYU Langone Medical Center will build a new medical facility; Fortis itself will not build a larger hospital on the site. (The new facility will be larger than the temporary facility that NYU Langone is currently operating, but will not be a full-fledged hospital.)

SUNDAY STYLES An article on Sept. 20 about the affection felt for Pope Francis by a self-described “once-erstwhile Presbyterian” misspelled part of the birth name of Pope Francis. He was born Jorge Mario Bergoglio, not Borgoglia. REAL ESTATE A cover article last Sunday about new developments in New York City that have drawn criticism from neighbors described incorrectly plans by the developer <hl> Fortis Property Group <hl> to address concerns about the loss of Long Island College Hospital in Cobble Hill, Brooklyn. Fortis will donate land where NYU Langone Medical Center will build a new medical facility; Fortis itself will not build a larger hospital on the site. (The new facility will be larger than the temporary facility that NYU Langone is currently operating, but will not be a full-fledged hospital.)


Question: What hospital is in the Cobble Hill, Brooklyn?

Answer: Long Island College Hospital

SUNDAY STYLES An article on Sept. 20 about the affection felt for Pope Francis by a self-described “once-erstwhile Presbyterian” misspelled part of the birth name of Pope Francis. He was born Jorge Mario Bergoglio, not Borgoglia. <hl> REAL ESTATE A cover article last Sunday about new developments in New York City that have drawn criticism from neighbors described incorrectly plans by the developer Fortis Property Group to address concerns about the loss of Long Island College Hospital in Cobble Hill, Brooklyn. <hl> Fortis will donate land where NYU Langone Medical Center will build a new medical facility; Fortis itself will not build a larger hospital on the site. (The new facility will be larger than the temporary facility that NYU Langone is currently operating, but will not be a full-fledged hospital.)

SUNDAY STYLES An article on Sept. 20 about the affection felt for Pope Francis by a self-described “once-erstwhile Presbyterian” misspelled part of the birth name of Pope Francis. He was born Jorge Mario Bergoglio, not Borgoglia. REAL ESTATE A cover article last Sunday about new developments in New York City that have drawn criticism from neighbors described incorrectly plans by the developer Fortis Property Group to address concerns about the loss of <hl> Long Island College Hospital <hl> in Cobble Hill, Brooklyn. Fortis will donate land where NYU Langone Medical Center will build a new medical facility; Fortis itself will not build a larger hospital on the site. (The new facility will be larger than the temporary facility that NYU Langone is currently operating, but will not be a full-fledged hospital.)


Question: What is the name of the hospital that is receiving a land from Fortis?

Answer: NYU Langone Medical Center

SUNDAY STYLES An article on Sept. 20 about the affection felt for Pope Francis by a self-described “once-erstwhile Presbyterian” misspelled part of the birth name of Pope Francis. He was born Jorge Mario Bergoglio, not Borgoglia. REAL ESTATE A cover article last Sunday about new developments in New York City that have drawn criticism from neighbors described incorrectly plans by the developer Fortis Property Group to address concerns about the loss of Long Island College Hospital in Cobble Hill, Brooklyn. <hl> Fortis will donate land where NYU Langone Medical Center will build a new medical facility; Fortis itself will not build a larger hospital on the site. <hl> (The new facility will be larger than the temporary facility that NYU Langone is currently operating, but will not be a full-fledged hospital.)

SUNDAY STYLES An article on Sept. 20 about the affection felt for Pope Francis by a self-described “once-erstwhile Presbyterian” misspelled part of the birth name of Pope Francis. He was born Jorge Mario Bergoglio, not Borgoglia. REAL ESTATE A cover article last Sunday about new developments in New York City that have drawn criticism from neighbors described incorrectly plans by the developer Fortis Property Group to address concerns about the loss of Long Island College Hospital in Cobble Hill, Brooklyn. Fortis will donate land where <hl> NYU Langone Medical Center <hl> will build a new medical facility; Fortis itself will not build a larger hospital on the site. (The new facility will be larger than the temporary facility that NYU Langone is currently operating, but will not be a full-fledged hospital.)


Question: What is the name of the theater in the West End?

Because of an editing error, the Frugal Traveler column last Sunday, about a budget-friendly day in London, misstated, in one instance, the name of a theater in the West End. As the column correctly noted elsewhere, it is the St. James, not the St. James’s. The column also referred imprecisely to a route to the Stepney Green Underground station in East London. While it is possible to get to Stepney Green from Victoria station on the Circle line in 23 minutes, it requires a transfer; it is not direct. (The District line takes about the same time and is direct.) MAGAZINE

Answer: St. James

Because of an editing error, the Frugal Traveler column last Sunday, about a budget-friendly day in London, misstated, in one instance, the name of a theater in the West End. <hl> As the column correctly noted elsewhere, it is the St. James , not the St. James’s. <hl> The column also referred imprecisely to a route to the Stepney Green Underground station in East London. While it is possible to get to Stepney Green from Victoria station on the Circle line in 23 minutes, it requires a transfer; it is not direct. (The District line takes about the same time and is direct.) MAGAZINE

Because of an editing error, the Frugal Traveler column last Sunday, about a budget-friendly day in London, misstated, in one instance, the name of a theater in the West End. As the column correctly noted elsewhere, it is the <hl> St. James <hl>, not the St. James’s. The column also referred imprecisely to a route to the Stepney Green Underground station in East London. While it is possible to get to Stepney Green from Victoria station on the Circle line in 23 minutes, it requires a transfer; it is not direct. (The District line takes about the same time and is direct.) MAGAZINE

As the column correctly noted elsewhere, it is the <hl> St. James <hl> , not the St. James’s.


Question: Where is the Stepney Green Underground station?

Answer: East London

Because of an editing error, the Frugal Traveler column last Sunday, about a budget-friendly day in London, misstated, in one instance, the name of a theater in the West End. As the column correctly noted elsewhere, it is the St. James, not the St. James’s. <hl> The column also referred imprecisely to a route to the Stepney Green Underground station in East London . <hl> While it is possible to get to Stepney Green from Victoria station on the Circle line in 23 minutes, it requires a transfer; it is not direct. (The District line takes about the same time and is direct.) MAGAZINE

Because of an editing error, the Frugal Traveler column last Sunday, about a budget-friendly day in London, misstated, in one instance, the name of a theater in the West End. As the column correctly noted elsewhere, it is the St. James, not the St. James’s. The column also referred imprecisely to a route to the Stepney Green Underground station in <hl> East London <hl>. While it is possible to get to Stepney Green from Victoria station on the Circle line in 23 minutes, it requires a transfer; it is not direct. (The District line takes about the same time and is direct.) MAGAZINE

The column also referred imprecisely to a route to the Stepney Green Underground station in <hl> East London <hl> .


Question: How long does it take to get to Stepney Green Underground using the circle line?

Answer: 23 minutes

Because of an editing error, the Frugal Traveler column last Sunday, about a budget-friendly day in London, misstated, in one instance, the name of a theater in the West End. As the column correctly noted elsewhere, it is the St. James, not the St. James’s. The column also referred imprecisely to a route to the Stepney Green Underground station in East London. <hl> While it is possible to get to Stepney Green from Victoria station on the Circle line in 23 minutes , it requires a transfer; it is not direct. <hl> (The District line takes about the same time and is direct.) MAGAZINE

Because of an editing error, the Frugal Traveler column last Sunday, about a budget-friendly day in London, misstated, in one instance, the name of a theater in the West End. As the column correctly noted elsewhere, it is the St. James, not the St. James’s. The column also referred imprecisely to a route to the Stepney Green Underground station in East London. While it is possible to get to Stepney Green from Victoria station on the Circle line in <hl> 23 minutes <hl>, it requires a transfer; it is not direct. (The District line takes about the same time and is direct.) MAGAZINE

While it is possible to get to Stepney Green from Victoria station on the Circle line in <hl> 23 minutes <hl> , it requires a transfer; it is not direct.


Question: Which station requires a transfer to get to Stepney Green?

Answer: Victoria station

Because of an editing error, the Frugal Traveler column last Sunday, about a budget-friendly day in London, misstated, in one instance, the name of a theater in the West End. As the column correctly noted elsewhere, it is the St. James, not the St. James’s. The column also referred imprecisely to a route to the Stepney Green Underground station in East London. <hl> While it is possible to get to Stepney Green from Victoria station on the Circle line in 23 minutes, it requires a transfer; it is not direct. <hl> (The District line takes about the same time and is direct.) MAGAZINE

Because of an editing error, the Frugal Traveler column last Sunday, about a budget-friendly day in London, misstated, in one instance, the name of a theater in the West End. As the column correctly noted elsewhere, it is the St. James, not the St. James’s. The column also referred imprecisely to a route to the Stepney Green Underground station in East London. While it is possible to get to Stepney Green from <hl> Victoria station <hl> on the Circle line in 23 minutes, it requires a transfer; it is not direct. (The District line takes about the same time and is direct.) MAGAZINE


Question: How many people did Mr. Obama address during his speech at American University?

“Let’s not mince words: The choice we face is ultimately between diplomacy and some form of war — maybe not tomorrow, maybe not three months from now, but soon,” Mr. Obama told about 200 people in a speech at American University. “How can we in good conscience justify war before we’ve tested a diplomatic agreement that achieves our objectives?” Mr. Obama, opening a new, more overtly political phase of his public campaign for the accord, portrayed the coming vote in Congress to approve or reject the deal as the most consequential foreign policy decision for lawmakers since Congress voted in 2003 to authorize the invasion of Iraq. He implored them to “shut out the noise” and back the deal.

Answer: 200

<hl> “Let’s not mince words: The choice we face is ultimately between diplomacy and some form of war — maybe not tomorrow, maybe not three months from now, but soon,” Mr. Obama told about 200 people in a speech at American University. <hl> “How can we in good conscience justify war before we’ve tested a diplomatic agreement that achieves our objectives?” Mr. Obama, opening a new, more overtly political phase of his public campaign for the accord, portrayed the coming vote in Congress to approve or reject the deal as the most consequential foreign policy decision for lawmakers since Congress voted in 2003 to authorize the invasion of Iraq. He implored them to “shut out the noise” and back the deal.

“Let’s not mince words: The choice we face is ultimately between diplomacy and some form of war — maybe not tomorrow, maybe not three months from now, but soon,” Mr. Obama told about <hl> 200 <hl> people in a speech at American University. “How can we in good conscience justify war before we’ve tested a diplomatic agreement that achieves our objectives?” Mr. Obama, opening a new, more overtly political phase of his public campaign for the accord, portrayed the coming vote in Congress to approve or reject the deal as the most consequential foreign policy decision for lawmakers since Congress voted in 2003 to authorize the invasion of Iraq. He implored them to “shut out the noise” and back the deal.


Question: Where did Mr. Obama give his speech?

Answer: American University

<hl> “Let’s not mince words: The choice we face is ultimately between diplomacy and some form of war — maybe not tomorrow, maybe not three months from now, but soon,” Mr. Obama told about 200 people in a speech at American University . <hl> “How can we in good conscience justify war before we’ve tested a diplomatic agreement that achieves our objectives?” Mr. Obama, opening a new, more overtly political phase of his public campaign for the accord, portrayed the coming vote in Congress to approve or reject the deal as the most consequential foreign policy decision for lawmakers since Congress voted in 2003 to authorize the invasion of Iraq. He implored them to “shut out the noise” and back the deal.

“Let’s not mince words: The choice we face is ultimately between diplomacy and some form of war — maybe not tomorrow, maybe not three months from now, but soon,” Mr. Obama told about 200 people in a speech at <hl> American University <hl>. “How can we in good conscience justify war before we’ve tested a diplomatic agreement that achieves our objectives?” Mr. Obama, opening a new, more overtly political phase of his public campaign for the accord, portrayed the coming vote in Congress to approve or reject the deal as the most consequential foreign policy decision for lawmakers since Congress voted in 2003 to authorize the invasion of Iraq. He implored them to “shut out the noise” and back the deal.

“Let’s not mince words: The choice we face is ultimately between diplomacy and some form of war — maybe not tomorrow, maybe not three months from now, but soon,” Mr. Obama told about 200 people in a speech at <hl> American University <hl> .


Question: What was Mr. Obama opening up about during his speech at American University?

Answer: a new, more overtly political phase of his public campaign

“Let’s not mince words: The choice we face is ultimately between diplomacy and some form of war — maybe not tomorrow, maybe not three months from now, but soon,” Mr. Obama told about 200 people in a speech at American University. “How can we in good conscience justify war before we’ve tested a diplomatic agreement that achieves our objectives?” <hl> Mr. Obama, opening a new, more overtly political phase of his public campaign for the accord, portrayed the coming vote in Congress to approve or reject the deal as the most consequential foreign policy decision for lawmakers since Congress voted in 2003 to authorize the invasion of Iraq. <hl> He implored them to “shut out the noise” and back the deal.

“Let’s not mince words: The choice we face is ultimately between diplomacy and some form of war — maybe not tomorrow, maybe not three months from now, but soon,” Mr. Obama told about 200 people in a speech at American University. “How can we in good conscience justify war before we’ve tested a diplomatic agreement that achieves our objectives?” Mr. Obama, opening <hl> a new, more overtly political phase of his public campaign <hl> for the accord, portrayed the coming vote in Congress to approve or reject the deal as the most consequential foreign policy decision for lawmakers since Congress voted in 2003 to authorize the invasion of Iraq. He implored them to “shut out the noise” and back the deal.


Question: What was the consequential foreign policy decision Congress voted for in 2003?

Answer: the invasion of Iraq

“Let’s not mince words: The choice we face is ultimately between diplomacy and some form of war — maybe not tomorrow, maybe not three months from now, but soon,” Mr. Obama told about 200 people in a speech at American University. “How can we in good conscience justify war before we’ve tested a diplomatic agreement that achieves our objectives?” <hl> Mr. Obama, opening a new, more overtly political phase of his public campaign for the accord, portrayed the coming vote in Congress to approve or reject the deal as the most consequential foreign policy decision for lawmakers since Congress voted in 2003 to authorize the invasion of Iraq . <hl> He implored them to “shut out the noise” and back the deal.

“Let’s not mince words: The choice we face is ultimately between diplomacy and some form of war — maybe not tomorrow, maybe not three months from now, but soon,” Mr. Obama told about 200 people in a speech at American University. “How can we in good conscience justify war before we’ve tested a diplomatic agreement that achieves our objectives?” Mr. Obama, opening a new, more overtly political phase of his public campaign for the accord, portrayed the coming vote in Congress to approve or reject the deal as the most consequential foreign policy decision for lawmakers since Congress voted in 2003 to authorize <hl> the invasion of Iraq <hl>. He implored them to “shut out the noise” and back the deal.

Mr. Obama, opening a new, more overtly political phase of his public campaign for the accord, portrayed the coming vote in Congress to approve or reject the deal as the most consequential foreign policy decision for lawmakers since Congress voted in 2003 to authorize <hl> the invasion of Iraq <hl> .


Question: What did Mr. Obama's speech leave no room for questioning of?

Answer: whether the agreement is good for American security

<hl> Delivered in stark terms that surprised some foreign policy analysts and left no room for questioning whether the agreement is good for American security — “It’s not even close,” Mr. Obama declared at one point — the president’s speech was a striking display of certitude about a diplomatic deal that has split the American public and presented a dilemma for lawmakers, including many in his own party. <hl>

Delivered in stark terms that surprised some foreign policy analysts and left no room for questioning <hl> whether the agreement is good for American security <hl> — “It’s not even close,” Mr. Obama declared at one point — the president’s speech was a striking display of certitude about a diplomatic deal that has split the American public and presented a dilemma for lawmakers, including many in his own party.


Question: What was Mr. Obama's speech a striking display of?

Answer: certitude about a diplomatic deal that has split the American public

<hl> Delivered in stark terms that surprised some foreign policy analysts and left no room for questioning whether the agreement is good for American security — “It’s not even close,” Mr. Obama declared at one point — the president’s speech was a striking display of certitude about a diplomatic deal that has split the American public and presented a dilemma for lawmakers, including many in his own party. <hl>

Delivered in stark terms that surprised some foreign policy analysts and left no room for questioning whether the agreement is good for American security — “It’s not even close,” Mr. Obama declared at one point — the president’s speech was a striking display of <hl> certitude about a diplomatic deal that has split the American public <hl> and presented a dilemma for lawmakers, including many in his own party.


Question: What did Mr. Obama declare at one point during his speech?

Answer: It’s not even close

<hl> Delivered in stark terms that surprised some foreign policy analysts and left no room for questioning whether the agreement is good for American security — “ It’s not even close ,” Mr. Obama declared at one point — the president’s speech was a striking display of certitude about a diplomatic deal that has split the American public and presented a dilemma for lawmakers, including many in his own party. <hl>

Delivered in stark terms that surprised some foreign policy analysts and left no room for questioning whether the agreement is good for American security — “<hl> It’s not even close <hl>,” Mr. Obama declared at one point — the president’s speech was a striking display of certitude about a diplomatic deal that has split the American public and presented a dilemma for lawmakers, including many in his own party.

Delivered in stark terms that surprised some foreign policy analysts and left no room for questioning whether the agreement is good for American security — “ <hl> It’s not even close <hl> ,” Mr. Obama declared at one point — the president’s speech was a striking display of certitude about a diplomatic deal that has split the American public and presented a dilemma for lawmakers, including many in his own party.


Question: Who did the diplomatic deal present a dilemma for?

Answer: lawmakers

<hl> Delivered in stark terms that surprised some foreign policy analysts and left no room for questioning whether the agreement is good for American security — “It’s not even close,” Mr. Obama declared at one point — the president’s speech was a striking display of certitude about a diplomatic deal that has split the American public and presented a dilemma for lawmakers , including many in his own party. <hl>

Delivered in stark terms that surprised some foreign policy analysts and left no room for questioning whether the agreement is good for American security — “It’s not even close,” Mr. Obama declared at one point — the president’s speech was a striking display of certitude about a diplomatic deal that has split the American public and presented a dilemma for <hl> lawmakers <hl>, including many in his own party.

Delivered in stark terms that surprised some foreign policy analysts and left no room for questioning whether the agreement is good for American security — “It’s not even close,” Mr. Obama declared at one point — the president’s speech was a striking display of certitude about a diplomatic deal that has split the American public and presented a dilemma for <hl> lawmakers <hl> , including many in his own party.