The frenetic lifestyle that many people live today is very harmful. Rushing here and there, being constantly on call, balancing multiple layers of responsibility may give you a sense of accomplishment even make you feel important, but it takes a huge toll on every aspect of life. When you constantly push yourself to take on more and more challenges, it is easy to lose sight of why you wanted to be successful in the first place. For many, the reason was to be able to spend less time working and enjoy life more. A frenetic, high-pressure lifestyle creates exactly the opposite. There is a very dark side to constantly pushing yourself to produce more and more. Unfortunately, it creeps up on you and becomes a serious case of self-negligence. When you are busy and driven every minute of every day and well into the evening, it is easy to neglect important things in life that keep you healthy, happy, and create quality of life. A continual stream of urgent tasks that must be completed will overshadow the not-so-urgent, but important activities that make life worth living. It is not just physical well-being that is neglected mental and emotional well-being also suffer when there is no time for self-care. When your daily schedule is crammed to overflowing one of the first areas of neglect is your diet. Eating regular, nutritious meals become a thing of the past. You are not only too busy to sleep or even take a deep breath now and then, there is no time to prepare decent meals Convenience foods, frozen dinners, take out and fast foods become the norm. It is a steady diet of additive filled, sugar and fat-filled dishes, loaded with empty calories that provide minimal nutrition and damage the body. It is impossible to sustain any level of good health on such a diet. What bad effect does being busy bring? Pick the correct answer from the following options: A. Feeling important and productive B. not enough information C. Success in your field D. Self-neglect
D

I saw one last night on an episode of Designated Survivor. To qualify this, I'm not normally bothered by product placements. Sometimes they can even add to the scene. But this one was bad, really bad. Agent is busy hunting for baddies. Finishes questioning one naughty person who climbs in his Ford F150 and speeds off. So far, so good - it is the sort of vehicle a country-living billionaire bad-guy would drive. The agent then pulls out her phone and Move to close up of phone screen showing Ford app already loaded (and screen unlocked!). Agent slowly moves finger to app. Does something. Pause as app does fancy graphics. Cut to car interior. Shot of dash, showing Ford logo on steering wheel. It's bright blue - are they not normally grey or more subtle? Pause for a second Zoom in on dash. Dash light up. Car starts. Show pretty dash lights for a second or so. Cut to agent Agent walks to car, gets in drives off. Lingering shot of rear of car. It was just so clumsy. Massive halt to the flow of the scene to show it. In most films you never see anyone starting cars, putting on seatbelts or similar unless this is part of the plot because it's unnecessary and not interesting to watch. I sort of expected the remote start function to have some sort of relevance later but no, it was totally ignored. Added to that: There was no password or security on her phone - and this is an agent investigating super secret stuff. If you don't show her unlocking the phone, why show her lovingly prodding the app? They are as relevant. She unlocked and started the car while she was 2030 paces away, on the grounds of a suspect ranch. Someone could easily have jumped in the car. Not very security conscious. Why did the dash light up and the pretty dash lights showed for a second or so? Pick the correct answer from the following options: A. because there was no password B. because the agent walked to the car C. because the car started D. not enough information
C

Q: I've learnt a great amount throughout this studio, first and foremost I was taught: how the art world functions, how specific galleries such as Gertrude St Contemporary run and how artists earn a living. The studio also provided me with basic filmmaking skills such as how to: create a shooting schedule, write a shooting script, set up three-point lighting, conduct an interview, utilise visual storytelling and edit a short film. Throughout the shooting process with my artist I also developed my abilities regarding how to use a: Sony Zoom H2N (and other such handy recorders), a lapel mic, my own Canon EOS 60D and Adobe Premiere Pro editing software. Overall I think the studio functioned quite successfully, it was great to be in a studio with nineteen people who all were interested in the same topics as you. I felt that overall, the studios had a very happy and supportive environment, and you walked away knowing a great deal about the art world and how to make short documentaries. The project itself taught me a great deal about how to work with talent, as well as my group members. Having to work independently forced me to be completely all over every aspect of the shoot, whether that be choosing which questions to ask, deciding what to focus on, where I wanted the shoot to happen, deciding what gear to use, getting to the shoot, carrying all the gear, what I wanted to shoot, managing the audio, managing the lighting, managing the camera set-ups, managing the talent, editing the film, and finding a great soundtrack for it. I'm a pretty self-conscious person and I often doubt the decisions I make or ask someone else for their opinion (should I shoot this angle, or what do you think of this question etc.). Working independently pushed me to go with my gut instincts, to make decisions and to not seek others approval. It forced me to develop my aesthetic as a filmmaker and to own the work that I ended up producing, so ultimately I was really glad with how everything panned out. After the end of the story, the narrator probably still is Pick the correct answer from the following options: A. A developer B. A filmmaker C. not enough information D. A writer
A: B

(Q).
Cerberus just stared at me. The dog didn't blink, he didn't pant, he didn't move. He just sat in the passenger seat as I drove, relaxed, mouth hanging slightly open, looking at me the way someone examines a menu but can't decide on the chicken or the veal. The desert sky was on fire when the city came into view. Cerberus turned away from me and stuck his head out from the side of the jeep, his giant tongue flapping in the eighty mile an hour wind while I dialed Luna's number. The dog pulled his head back in, then rested his chin on top of the overhead roll-bar, his fur blowing back along his head like the spines of a porcupine. "Hello?" "Hey, Luna." "Dingo! Are you there yet?" "No, not yet. I'm just outside the city." Vegas flashed and blinked under the starless sky. "You get in touch with Mr. Waciejowski?" "Sure did. He's at the Denny's near the Excalibur. He's trying to stay away from the blackjack tables." "Yeah, good for him. He has the box?" I could hear Luna stuffing something disgustingly healthy in her mouth. "Mmm hmm." "He hasn't opened it, has he?" She swallowed. "Nah. I told him it was filled with old photos." Cerberus shifted in the seat and scratched behind his neck with such force that the whole Jeep shook; a rather unsettling motion at 80 miles an hour. "Hey Luna, I've got a question for you." I looked over to see the dog's nostrils flared out in the wind while his lips blew back and revealed his frightening set of teeth. "This, uh, this animal spirit guide you had me try to find. Do they ever show up, you know, in person?" Who did the narrator call on his phone? Pick the correct answer from the following options: A. Luna B. Cerberus C. Mr. Waciejowski D. not enough information
(A).
A