Problem: Given the following context:  The film is set in an alternative-history version of nineteenth century England where packs of wolves roam the countryside. Bonnie Green is the spoiled daughter of Lord and Lady Willoughby, who live at the country estate of Willoughby Chase. Lady WIlloughby is ill, and her father plans to take a convalescence to the Mediterranean Sea. Meanwhile, in London, Bonnie's cousin, Sylvia, is leaving her Aunt Jane to keep Bonnie company while her parents are away. While travelling on a train, she meets a mysterious man named Grimshaw. At Willoughby Chase, a beautiful middle-aged woman arrives revealing herself to be Bonnie and Sylvia's fourth cousin and their new governess, Letitia Slighcarp.  The following morning, Bonnie sneaks into the carriage meant to pick up Sylvia, taking with her a rifle. When the train arrives at the station, Mr. Grimshaw is knocked unconscious after wolves attempt to attack the train. Bonnie and Sylvia take Mr. Grimshaw with them back to Willoughby Chase. Not soon after, Bonnie's parents leave for their convalescence aboard the Thessaly. The next day, Bonnie and Sylvia go out on a sleigh and almost are attacked by wolves until a boy named Simon, who lives in a cave and raises geese, rescues them. They return in the night to discover that Miss Slighcarp has dismissed all the servants except for James and Pattern.  During dinner, Miss Slighcarp refuses to give an explanation to the servants' dismissal, gives the girls oatmeal instead of the usual feast and she harshly reprimands Bonnie after she accidentally spills cream on her father's farewell letter, thus Bonnie begins to suspect her governess's true cold and evil nature.  answer the following question:  Who does Simon save Bonnie and Sylvia from?

A: wolves


Problem: Given the following context:  El Greco was disdained by the immediate generations after his death because his work was opposed in many respects to the principles of the early baroque style which came to the fore near the beginning of the 17th century and soon supplanted the last surviving traits of the 16th-century Mannerism. El Greco was deemed incomprehensible and had no important followers. Only his son and a few unknown painters produced weak copies of his works. Late 17th- and early 18th-century Spanish commentators praised his skill but criticized his antinaturalistic style and his complex iconography. Some of these commentators, such as Antonio Palomino and Juan Agustín Ceán Bermúdez, described his mature work as "contemptible", "ridiculous" and "worthy of scorn". The views of Palomino and Bermúdez were frequently repeated in Spanish historiography, adorned with terms such as "strange", "queer", "original", "eccentric" and "odd". The phrase "sunk in eccentricity", often encountered in such texts, in time developed into "madness".With the arrival of Romantic sentiments in the late 18th century, El Greco's works were examined anew. To French writer Théophile Gautier, El Greco was the precursor of the European Romantic movement in all its craving for the strange and the extreme. Gautier regarded El Greco as the ideal romantic hero (the "gifted", the "misunderstood", the "mad"), and was the first who explicitly expressed his admiration for El Greco's later technique. French art critics Zacharie Astruc and Paul Lefort helped to promote a widespread revival of interest in his painting. In the 1890s, Spanish painters living in Paris adopted him as their guide and mentor. However, in the popular English-speaking imagination he remained the man who "painted horrors in the Escorial" in the words of Ephraim Chambers' Cyclopaedia in 1899.In 1908, Spanish art historian Manuel Bartolomé Cossío published the first comprehensive catalogue of El Greco's works; in this book El Greco was presented as the founder of the Spanish School. The same year...  answer the following question:  What is the last name of the man who described the artist who had an antinaturalistic style as someone who "painted horrors in the Escorial"?

A: Chambers


Problem: Given the following context:  The story is a flashback of the five years (2005 to 2010) of love affair involving the characters of Allan Alvarez and Mia Samonte.  The opening scene was in a Pasig River ferry boat.  One of the passenger, Allan, was sad and confused if he really loved his then live-in partner, Daphne Recto. While another passenger, Mia, was downtrodden by family problems. To express her heartaches, Mia would write messages on stones and would leave them anywhere, Allan picked up one of those, they got acquainted and their romantic story began. Later, in one of their trysts, they met an old man in Paco Park who predicted that they were meant for each other and would end up together although it would take a difficult five-year ride.    Allan was torn between two loves. Although he knew that he loved Mia more, he procrastinated in his choice.  Mia left for Malaysia.  Two years after, when Allan  finally broke free from his indecision, he went to Malaysia to look for Mia only to find out that she was already engaged to another guy.  It was now Mia's turn to make a choice.  She chose the new guy who loved her so much and the one she knew could help her support her family. Even though she honestly knew in her heart that she still loved Allan. Allan did not lose hope.  He patiently waited for Mia for another three years.  He firmly believed that she would come back to him as predicted by the old man earlier in the story.  True enough, the Malaysian guy let Mia go as he was aware of who Mia truly wanted and her intention of choosing him over Allan.  On the very same date foreseen by the old man, Mia returned to the Philippines, saw Allan waiting for her, and embraced each other.  answer the following question:  What are the full names of Allan Alvarez's two loves?

A:
Daphne Recto