In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

[EX Q]: Passage: In 1981 Afghanistan, a Soviet tank unit viciously attacks a Pashtun village harboring a group of mujahideen fighters. Following the assault, one of the tanks—commanded by ruthless commander Daskal (George Dzundza)—takes a wrong turn through a mountain pass and enters a blind valley. Taj returns to discover the village destroyed, his father killed, and his brother martyred by being crushed under Daskal's tank. As the new khan following his brother's death, Taj is spurred to seek revenge by his cousin Moustafa, an opportunistic scavenger. Together they lead a band of mujahideen fighters into the valley to pursue Daskal's tank (which they call "The Beast"), counting on their captured RPG-7 anti-tank weapon to destroy it.
Lost, isolated, and with their radio damaged in the attack, the tank crew set out to find Kandahar Road and return to Soviet lines. While camping for the night, Afghan communist crewman Samad educates the reluctant tank driver, Konstantin Koverchenko, about the Pashtun people's code of honour, Pashtunwali; particularly nanawatai, which requires that an enemy is to be given sanctuary if he asks.
[EX A]: What is the name of the crewman who educates the reluctant tank driver?

[EX Q]: Passage: In part because he was overlooked until the mid-19th century, Velázquez found no followers and was not widely imitated. In particular, his visual and structural innovations in this portrayal of Venus were not developed by other artists until recently, largely owing to the censorship of the work. The painting remained in a series of private rooms in private collections until it was exhibited in 1857 at the Manchester Art Treasures Exhibition, along with 25 other paintings at least claimed to be by Velázquez; it was here that it became known as the Rokeby Venus. It does not appear to have been copied by other artists, engraved or otherwise reproduced, until this period. In 1890 it was exhibited in the Royal Academy in London, and in 1905 at Messrs. Agnews, the dealers who had bought it from Morritt. From 1906 it was highly visible in the National Gallery and became well-known globally through reproductions. The general influence of the painting was therefore long delayed, although individual artists would have been able to see it on occasion throughout its history.
Velázquez's portrait is a staging of a private moment of intimacy and a dramatic departure from the classical depictions of sleep and intimacy found in works from antiquity and Venetian art that portray Venus. However, the simplicity with which Velázquez displays the female nude—without jewellery or any of the goddess's usual accessories—was echoed in later nude studies by Ingres, Manet, and Baudry, among others. In addition, Velázquez's depiction of Venus as a reclining nude viewed from the rear was a rarity before that time, although the pose has been painted by many later artists. Manet, in his stark female portrayal Olympia, paraphrased the Rokeby Venus in pose and by suggesting the persona of a real woman rather than an ethereal goddess. Olympia shocked the Parisian art world when it was first exhibited in 1863. Olympia gazes directly out at the viewer, as does Velázquez's Venus, only through the reflection of the mirror.
[EX A]: What is the title of that which was exhibited at Messrs in 1905??

[EX Q]: Passage: Cinderella and the Prince are having a picnic to celebrate their one-year anniversary. Meanwhile, at the Tremaine mansion, Cinderella's stepsisters Anastasia and Drizella are bitterly doing Cinderella's old chores. Anastasia wanders off to avoid work and stumbles upon the picnic. When the Fairy Godmother drops her wand, Anastasia takes it to her mother. In the ensuing struggle, Anastasia inadvertently turns the Fairy Godmother into a garden gnome.
Lady Tremaine, reveling at yet another chance to ruin Cinderella's life, uses the wand to go back in time to the day the Grand Duke fitted the glass slipper on Cinderella. She uses the wand to expand the slipper so that it can fit Anastasia, and the Grand Duke declares she must be the girl the Prince is looking for. Cinderella arrives on the scene too late, and Lady Tremaine destroys Cinderella's other slipper – the only clue to her identity that she was the girl who danced with the Prince on the night of the ball. Cinderella decides to follow Lady Tremaine and her stepsisters to the palace with Jaq and Gus.
At first the Prince claims Anastasia is not the girl he danced with at the ball, but Lady Tremaine uses the wand to alter his memory, and he accepts Anastasia as his bride. Jaq and Gus witness this and inform Cinderella that Lady Tremaine has the Fairy Godmother's wand. Cinderella poses as a maid to get into the Tremaines' room, but she is spotted by Lady Tremaine and captured by the palace guards as an intruder. Cinderella briefly touches the Prince's hand and he begins to recognize her, but Lady Tremaine orders Cinderella placed on the next ship out of the kingdom. The mice find the Prince and explain the whole story to him, and he rides off to intercept the ship just as it leaves port. The Prince embraces Cinderella and his true memories return. He asks her to marry him, and she accepts.
[EX A]:
What is the full name of the person that Anastasia gives the wand?