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Read the following context and choose the correct option to answer the question. Context: Back at their house by the cemetery, Paul and Chloe found Bee in her room, what Paul referred to as her sanctum sanctorum - although no one else ever got the joke, and he refused to explain the comic book reference. As always, lighting was minimal (as opposed to Bee's workshop out behind the house, which was flooded with fluorescents). A bank of TV sets and computer monitors covered one whole wall, arranged on a precarious system of metal shelves that Bee had installed herself. A low, flat coffee table squatted below the glowing displays, supporting three keyboards, a bank of video editing tools and four different phone carriages. Bee sat in her accustomed place - in the midst of a pile of cushions on the floor, fiddling with a mouse in one hand and typing on one of the keyboards while she talked quietly into her headset. Paul and Chloe didn't bother to knock as they came in - Bee already knew they were there. Paul glanced at one of the screens mounted on the wall. Its display, divided into four quadrants, showed various images from inside the house, including the front door they'd just come through and the stairs they'd just climbed. The screen next to it - which Paul himself had salvaged from a bar on Duval that'd recently renovated into a finedining restaurant - showed images from four other cameras that covered the house's exterior. Nothing happened within fifty yards of their Crew's house that Bee didn't see, and if she had her way, that omniscience would soon extend to cover the entire island. "So, Bee, how goes Project Big Brother?" Paul asked. "I wish you wouldn't call it that," she replied. "Sorry, but I have to call it something." "You could call it something nice. Big Brother sounds so mean." "What's mean about a reality show?" said Paul, joking. "What isn't bad about a reality show?" countered Chloe, stepping in to defend her friend. Question: How old is Bee? Options: A. 30. B. not enough information C. 20. D. 25.
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B

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Read the following context and choose the correct option to answer the question. Context: I end this small run of blog posts with the question posed by Professor Brian Boyd at the beginning of our evening: Do we want to close the achievement gap? We know we can close the gap. It's been done or almost been done before in Scottish education, but the answers have been ignored as they pass us by. The simple clue is this: poverty is single biggest predictor of achievement, and according to research (Hammonds sic, reference required), aged 10, a child living in poverty is 60% less likely to get to university. Boyd borrowed from his own mother's report card to ask us what kind of education we desire. Is it the academic success at all costs route, or is there another option we need to value as much, if not more? His mother's report card, one that prevented her from becoming a secondary school pupil in Glasgow, is filled with G and FG, until the last point: Character and conduct - excellent. What kind of pupils do we want to develop in Scotland? What do we value in our assessment system? Opening up opportunity for all is a tough game to play when the examination system rewards only certain types of behaviour, few of them related to what the Curriculum for Excellence says we stand for. In his own small community in East Kilbride, three secondary schools enter a period of meltdown as the local rag sets about creating its own local league table of performance, with those three 'teams' in competition for the top spot (or at least not the bottom one). Therefore, we must stop basing "the gap" largely on attainment. First of all, Boyd would like us to remove the traditional, and non-sensical academic/vocational divide. Is the law or medicine degree we value not vocational? (Are all General Practitioners not Plumbers, as Dr Murray on the panel suggests?) Question: When did Boyd borrow from his mother's report card? Options: A. After he asked us what kind of education we desire B. Before receiving excellent character marks C. Before he made G and GFs D. not enough information
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A

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Read the following context and choose the correct option to answer the question. Context: In the shadow of the Seattle Space Needle, almost alien crystalline forms wrap their deft tendrils through the Chihuly Garden and Glass. Every single petal, bowl, stem and branch of cascading glass has been handblown under the guidance of Washington State native Dale Chihuly (in fact he grew up in nearby Tacoma), and we couldn't quite believe our eyes. Having discovered this exhibit through the magic of Jaime's instagram (she's a self-named Angloyankophile who grew up in Seattle before moving to London) I knew we would have to visit. My photos don't do the undulating forms any kind of justice; but they might just convey the incredible scale of the exhibition. I'd always been curious to learn more about Chihuly, after being introduced to his incredible sculpture suspended over the V&A Museum information desk, a glowing confection of green and white glass whisps. In 1968, after receiving a Fulbright Fellowship, he went to work at the Venini glass factory in Venice, observing the team approach to blowing glass, which is critical to the way he works today. In 1971, Chihuly cofounded Pilchuck Glass School in Washington State. With this international glass center, Chihuly has led the avant-garde in the development of glass as a fine art. His work is included in more than 200 museum collections worldwide. He has been the recipient of many awards, including twelve honorary doctorates and two fellowships from the National Endowment for the Arts. He has also lost an eye to his passion, and now mostly directs the sculpture design and assembly. It was truly amazing. In 1999, Chihuly started an ambitious exhibition, Chihuly in the Light of Jerusalem; where more than 1 million visitors attended the Tower of David Museum to view his installations. In 2001, the Victoria and Albert Museum in London curated the exhibition Chihuly at the V&A. Chihuly's lifelong fascination for glasshouses has grown into a series of exhibitions within botanical settings. Question: After the end of the story the author probably: Options: A. only occasionally goes to art museums B. not enough information C. never goes to art museums D. continues to view artwork on a regular basis
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D