Question: I went over to a guy's house to see a movie that he had acted in. It was our first date. He starts the movie and I settle back to watch. I was in film school and the guy, Nick, had told me he wanted my "professional" opinion. We're five minutes into the movie when Nick reaches for the remote and says, "Let's fast forward to my part." I reply that, in order to adequately critique the movie, I should see it from the beginning. Nick assures me that his scene is self-contained and needs no context. A fight scene plays. Nick pauses and asks, "What did you think?" I look confused and Nick says, "Did you miss me? Let's play it again." I watch the scene again, but still can't make out Nick. Nick rewinds, plays and pauses. "There I am," he says, gazing fondly at the screen. Except the screen was gray. No actors. No landscape. Nothing, but gray snow. "What do you think," he asked, his eyes never leaving the empty screen. At that point, I realized Nick was crazy. "That's great!," I said. "But look at the time. Time sure flies when you're having fun." Nick was still staring at the screen with a strange little smile. I stood up. Nick stood up, now not smiling. "You're not going anywhere," Nick said. It's funny how fear works. I've found that in times of danger, adrenaline supersedes fear. I managed to trick Nick, hide from Nick and finally to escape after more than an hour of suspense. Turns out it wasn't even Nick's place. He had taken me to the house of someone he had ripped off in a drug deal. I am very wary now of going to a guy's home unless I know him extremely well. Who wanted her to see the movie he had acted in? Pick the correct answer from the following options: A. A drug dealer someone ripped off. B. A guy from film school C. not enough information D. Nick
Answer: D

Question: The Getty Villa is a museum unlike any in the world. It offers an experience of ancient Greek and Roman art in a setting that replicates that in which it would originally have been displayed, a Roman villa of the first century AD. On April 18, after three years of work, the galleries of the Villa reopen with an entirely new arrangement of the collection, one that situates art in its cultural and historical context. Since 2006, when the Getty Villa opened as a museum dedicated to the cultures of the ancient Mediterranean, the collection has been presented along thematic lines, with galleries dedicated to subjects such as ancient theater, athletes and competition, and gods and goddesses. This approach was useful in illuminating social life in the ancient classical world, but it prioritized objects' subject matter over their stature as works of art and removed them from their broader artistic and cultural context. Reenvisioning how the antiquities were displayed at the Villa was one of my top priorities when I joined the J. Paul Getty Museum as director in 2012. As a specialist in ancient art, my priority is to help visitors to see these great treasures as beautiful and fascinating works of art, and sparking their curiosity to understand them in the context of their place in human culture. Starting April 18 our Villa galleries offer a new journey through ancient Greek, Roman, and Etruscan art. The visitor's path begins on the first-floor rooms devoted to Neolithic and Bronze Age (Cycladic, Minoan, and Mycenaean) Greek art. The journey continues through the Archaic, Classical, and Hellenistic periods, when the Greeks developed the first fully naturalistic vision of the human figure. And it culminates in the dramatic skylit halls of ancient Roman sculpture. In all there are 33 spaces on two floors, with 3,000 more square feet of gallery space than before. The visitor's path winds through the galleries, gardens, and fountains, offering views onto the spectacular landscape and Pacific Ocean. The writer probably feels that: Pick the correct answer from the following options: A. art should be displayed in natural settings B. not enough information C. the visitors need to touch the work D. the Romans were masters of bronze sculpture
Answer: A

Question: "Please remember me to myself!" When sliding toward mania in 2016, I begged this of my therapist. He cocked his head. "What do you mean?" I had no ideaon a conscious levelwhat I was asking for, just that I felt in a desperate sense that the self I knew was slipping away. An inability to recognize myself either in my writing or in reflecting upon my own actions was taking over. And then? I didn't care. I wanted to kiss girls. Which is finejust not something I ordinarily do. I wanted to drink, smoke. Again, finebut not something I ordinarily do. "Do I seemokay?" I asked a colleague at work. A woman I barely knew. Insanely, I thought that since she worked with disabled students, many of whom struggled with mental illness, she would know mania when she saw it. This was a rather foolish assumptionespecially since she's an educator, not a psychiatrist, especially with how skilled I am at wearing the mask of calm, the face of sanity. "You seem great, Julie. Cheery. Professional as always." I let her reassurance placate me. Wanted to be placated. Yet, within months I lost my job. And not only that, but a chance at a scholarship, two really important long term friendshipsrelationships I'd enjoyed since high school. I was hospitalized three times between September and February. I lost my ability to trust myself, lost my mind. It is now a little over two years since I first felt that sliding. Twenty-six months since I knew that somewhere in the deepest parts of who I am, I was slipping. Nine seasons since I begged Dr. Poe, "Remember me to myself!" I'm still recuperating. Yes. I have felt like I wasn't me. What does Julie enjoy doing in her free time? Pick the correct answer from the following options: A. Her favorite activity is shopping. B. She loves to swim. C. She enjoys painting. D. not enough information
Answer:
D