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.

[Q]: Passage: The original oil painting measures 380 by 580 centimetres (150 by 230 in). It depicts Arsenije leading tens of thousands of Serbs into exile, riding a horse and flanked by a Serb flag. In direct reference to the Bible, the image is reminiscent to that of Moses leading the chosen people out of Egypt. The irony, Judah notes, is that the Patriarch is leading his people away from their promised land. The Patriarch and four other figures dominate the composition, staggering unevenly across the canvas as opposed to moving in a straight line. "They punctuate the foreground," Filipovitch-Robinson writes, "directing the eye through the diagonals and curves of their bodies and gesture to the next line of figures behind them. Each subsequent line leads to the next." All age groups are represented in the painting, and Jovanović pays special attention to their facial details. Thousands of figures on horseback and on foot appear in the background before eventually receding into the horizon. The left background shows Serbian warriors pointing their lances at the sky while the right background shows lumber wagons carrying families into exile. At the right foreground, an old man herds his sheep. To the right of the Patriarch, a mother and her infant son sit atop a horse carrying their belongings. The woman is the young wife of militia leader Jovan Monasterlija and the child his son. A mustachioed warrior walks before them with swords fastened to his belt and a rifle resting against his shoulder, "striding purposefully into the future". The warrior's right arm is smeared with blood and bound by a white sling.
[A]: What is the last name of the militia leader that the Patriarchin the painting is married to?


[Q]: Passage: Hollywood Sex Wars is an unapologetic, comedic satire of the 20s-something single life. Max and his two best friends, Glen and Aaron, are desperate for some attention from the opposite sex. But with their sloppy clothes, goofy pickup lines, and utter ignorance of the female species, they seem destined to spend their Saturday nights alone. Thankfully, good fortune begins to smile on the boys after a chance encounter with Hollywood casanova, Johnny Eyelash. With his guidance, they're learning to dress better, talk smoother, and add a lot more women to their "weekly rotation." But their new love 'em and leave 'em attitude is not sitting well with everyone. Partners in crime Big Wendy and Little Wendy have put together an all-girl TOB club built upon beauty, bling, and bringing guys to their knees! They happen to view Johnny's new recruits as a threat and after some unfortunate encounters between the sheets, Hollywood becomes one big booby trap.
[A]: What are the names of the persons who have a chance encounter with Johnny Eyelash?


[Q]: Passage: The panel is the smallest extant work by van der Weyden and follows the tradition of a Madonna Lactans, with significant differences. Christ is dressed in a red garment, as opposed to the swaddling he usually wears in 15th-century Virgin and Child portrayals. This is one of two exceptions where he is fully clothed; the other is Robert Campin's Madonna in Frankfurt, where he is shown in blue clothing. Mary's unbound blond hair falls across her shoulders and down across her arms. Showing the influence of Campin, it is brushed behind the ears. She wears a crown as Queen of Heaven and a ring on a finger as the Bride of Christ. Reinforcing this, the blue colour of her robe alludes to her devotion and fidelity to her son. The folds of her dress are reminiscent of the lengthy, crisp, curved intertwined gowns of Gothic sculpture.The pictorial space is bathed in soft light, probably an influence from Jan van Eyck. The light falls from the right, throwing shadows of both Mary and the Child's heads on the left wall of the niche. The Virgin and Child are shown seated in a small Gothic chapel or oratory projecting from a wall and opening onto a lawn. The painting pays very close attention to small realistic detail; for example, there are four small holes above each arch, likely to hold scaffolding.
As with other early van der Weyden depictions of the Madonna, her head is slightly too large for her body. Her dress is creased and almost paper-like. However, the description of her lap contains inconsistencies also in Campin's Virgin and Child before a Firescreen; it appears to lack volume and is if she had only one leg. This seems to reflect an early difficulty both with foreshortening and in the depiction of a body under clothing.The chapel is unrealistically small compared to the Virgin; van der Weyden's intention was to emphasise the Virgin's presence while also symbolically representing the Church and the entire doctrine of the Redemption. The panel is one of three surviving of van der Weyden's in which both Madonna and Child are enclosed in this way. However it is unusual in that the niche exists as a separate feature within the picture, compared to the two other works where the enclosure is coterminous with the edge of the painting, almost as part of the frame, a reason why it is thought to predate The Madonna Standing.There are symmetrical differences between the left- and right-hand sides of the painting. This is most noticeable with the buttress, where the receding edges are over half again the size of those on the front sides. In addition, the breadth of the buttress contradicts the spatial depth of the much tighter space inhabited by the Virgin and Child. This is a technical issue with foreshortening Campin also struggled with, but which van der Weyden resolves in his mature work.
[A]:
What is the name of the person shown in blue clothing in Robert Campin's Madonna?