Q: Benedykt Ossolinsky, age 39, began to grow childish. On the first day of his midlife crisis, he stood in front of the mirror examining his receding hairline and wrinkles on his face. In that very moment, while staring at his reflection he found in his eyes that mad look he had last seen thirty years ago in a photograph taken at a tethered flying model competition. The photo was taken by Henryk the servant, when his little charge decided he wanted a red biplane model Curtiss Consolidated Skyhawk Cruisader 3A "Bingo Star". This new look was also noticed by his co-workers, who for the most part, considered him to be an infantile spoiled brat. It fit with their idea of a boss. And Benedykt was indeed the boss, even though he himself couldn't quite believe it. He was the head of a foundation for the self-promotion of the Ossolinsky family, well-known descendants of Polish-American aristocrats, engaged in business ventures there, and charity work here. The position was highly honorable and very prestigious. Just as the employees didn't like Benedykt, in equal measure Benedykt didn't like his job. He considered it extremely stressful and felt it forced him to super-human sacrifices. Everything was arranged by the family as a penance for avoiding work. He had to go to the office at least three times a week for two full hours and entertain various smiling journalists, drink coffee with them and listen. He had to sign letters and open gifts from various companies hoping to win favors. And he had to play golf and attend social functions, movie premiers, shows and art exhibits. The family had only planned for three months of vacation time a year. Scandal! As a sign of protest he took to coming to the office wearing a t-shirt with the slogan "Attention, Baby!" on it. Question: How does Benedykt feel about his job after growing childish? === The answer to the above question is

OPTIONS:
- He hates it even more
- He likes it more
- not enough information
- He feels neutral about his job.

A: He hates it even more

input: OPTIONS:
- Ana animal spirit guide
- The writer's sister
- not enough information
- the writer's girlfriend Now, answer this question: 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?" Question: Who is Luna? === The answer to the above question is
A:
output: not enough information

Problem:OPTIONS:
- Greek life was despicable
- not enough information
- Greek life was unnecessary
- Greek art is important

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. Question: The creator of the gallery believes that: === The answer to the above question is
****
A:
Greek art is important