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.

Passage: In February 1828, shortly before his 41st birthday, Etty soundly defeated John Constable by 18 votes to five to become a full Royal Academician, at the time the highest honour available to an artist. By this time, complaints about his supposed indecency were beginning to resurface. All but one of the 15 paintings Etty exhibited at the Royal Academy in the 1820s had included at least one nude figure, and Etty was acquiring a reputation for using respectable themes as a pretext for nudity.For the 1828 Summer Exhibition Etty exhibited three pictures; The World Before the Flood, Venus, the Evening Star and Guardian Cherubs. (The latter was a portrait of the children of Welbore Ellis Agar, 2nd Earl of Normanton, and was the only non-nude painting exhibited by Etty at the RA in the 1820s.) Although similar to his earlier works, they were technically more accomplished. Both The World Before the Flood and Venus attracted positive reviews in the press and were sold during their exhibition for substantial sums, although the purchase by the Marquess of Stafford of The World Before the Flood—a work containing scantily clad figures of both sexes—drew a pointed comment in The Gentleman's Magazine that it "will serve to accompany the private Titians of that nobleman". Despite the increasing number of complaints in the press about his use of nudity, respect for Etty from his fellow artists continued to rise, and in 1828 the British Institution awarded him £100 in recognition of his talent.
As soon as the 1828 Summer Exhibition was over, Etty stopped work on other projects to concentrate on a diploma piece, without which he could not become a Royal Academician. This piece, Sleeping Nymph and Satyrs, was presented to the Academy in October, and in December 1828 Etty became a Royal Academician.
It appears to me then that virtuous happiness being our lawful aim in life, that having Academic Rank and Fame the next thing to be considered (if God approve) is to seek that Decent Competency which shall make my latter days comfortable and happy, which I hope if it please Him, to be able to do by the time I am fifty—by occasionally mixing with my historic pictures a Portrait or two, and to vary and extend my sphere—a classic Landscape or two so that if I can get about 100 a year I may be enabled to retire to my dear native city and spend my latter days in peace.
What is the exact title of the diploma piece without which Etty could not become a Royal Academician?

Passage: The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism.
What is the full name of the Netherlandish painter who was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective?

Passage: Ambitious, up-and-coming reporter Nina Dunham interviews an underage video chat-room stripper named Kyle. Kyle, a runaway, works for a man named Harvey in a "house" with other chat-room strippers. However, after the interview achieves some prominence, the FBI demands that she reveal the address of the house so that they can shut down the operation. Since she has paid Kyle in order to make initial contact, she may have broken the law. As a result, police and her employer also put pressure on her to cooperate. Nina wants to save him from the business, yet fears losing his trust in the process. Kyle reluctantly gives her the address, but Harvey is tipped off and the entire household flees. Nina follows them to a motel where they're staying and asks Kyle to leave with her. Kyle is willing to do so at first, but when Nina is hesitant to guarantee him safe haven in her home, he refuses. Harvey watches them argue, then slaps Nina. The entire group of chat-room strippers leave and Nina drives away in tears.
Who was given money in order for the reporter to conduct her interview?