Write a question from the passage such that it identifies a character (a person or a thing) in the passage.

Q: I frankly haven't the slightest idea what the difference is between a moka pot and a cafetiere, but I'm going to pretend I do.
"Delicious," I say, setting down my cup. "Way better than that stuff you get at Starbucks."
Everyone else nods their heads in agreement, but I can't help but wonder if they're just being polite. Jason is pouring cream into his cup with a practiced hand, letting the white stream fall from the pitcher's lip in a smooth and slender column that blooms across his coffee's surface like a carnivorous plant photographed in stop-motion.
"Did you hear about Tibet?" he asks.
"Yeah," I say, "Terrible."
"What's really shocking," says my boss, "is the complete ignorance of, well, most of America about what's going on right now."
"Terrible." chimes in Jason. "and what with the death of newspapers, soon practically no one will be able to easily come by a well-formed opinion."
"Did you hear the New York Times might be going bankrupt?" my boss asks.
"Now that," Jason says, draining his cup, "would be a tragedy."
Our biscotti has arrived and I'm reluctant to take the first piece. Is Dr. Burns paying again? It makes me feel awkward, because and despite the fact that she paid the last time--and this was at her invitation. Jason, for all his savior faire, did not appear to know how a Turkish coffee tasting was really supposed to go last time, and did not question when Dr. Burns ordered for all of us. Tracy, similarly, followed the doctor's lead and silently acquiesced when she took the check from the waiter dressed in a vest and what I took be MC Hammer pants. At any rate, it's not too weird for the boss to pay, right? After last time, I had gone home and dug out a 1984 copy of Emily Post, but that wasn't much help. There was no heading for "Research Assistants" nor did I find a chapter on "Student/Professor Luncheons."

A: Who asked about Tibet?
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Q: Think outside the box, whilst inside the box (studio):
As this studio is about working with constraints, I thought i'd google ‘constraints in filmmaking' and see what comes up. One of the first links was to a journal article by Heidi Philipsen entitled ‘Constraints in Film Making Processes Offer an Exercise to the Imagination'. Interestingly enough the first sentence of her article states: "I would like filmmakers interested in thinking "outside the box" to recognize that they can benefit from being placed "inside a box." I wonder if Paul had contemplated this whilst choosing the name for this studio.
Throughout her article Philipsen challenges the notion that creativity is an intangible innate quality, existing within the mind of one source, but rather creativity arises from a multitude of sources. Alike all things shared she suggests that creativity is easier to enhance by changing environmental conditions, rather than encouraging people to ‘think more creatively'. Perceiving creativity in this way allows you to see it as an organisationally influenced phenomenon, rather than a psychological  and individual phenomenon. Which enables you to have more control over creativity and to encourage creativity once being aware of how it can be environmentally enhanced. As Csikzentmihalyi (1996) states "a genuinely creative accomplishment is almost never the result of a sudden insight, a lightbulb flashing on in the dark, but comes after years of hard work".
Constraints, as Philipsen suggests is one such way to manipulate the environment to enhance creativity. Students who attended The Film School in Denmark, who were forced into working with constraints for their  projects eventually considered constraints to be both useful and inspirational. Such constraints included: making a scene with a specific theme, within a specific deadline and with other specific conditions concerning the use of camera, sound, actors etc. Students stated that these constraints ultimately made them feel secure, inspired and focused and encouraged them to become more experimental as each student wanted to make their own ‘personal film' and not the same kind of film as each of the other students. As many students stated it would have been much more difficult to make a film WITHOUT constraints than with. For it would have increased both the overwhelming options and the associated anxiety.

A: Who ate the cake
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Q: I'm know 21 so I'm going to count that still as a kid because the world is still new to me.
I work know security and one night at around 2am I walked in the bathroom because a customer complained about a man yelling in the bathroom.
I told my partner I would go check it out by myself so he could stay and keep quality control of who comes in the venue.
I walk in and in the first cubicle I could see lots and lots of blood on the floor and a pair of feet placed as if he was sitting down.
I quickly go to the next cubicle asking at the same time if the person was OK obviously with no response. I look over and it was a horrible bloody mess.
I quickly get on the radio and tell my partner to call police and ambulance and to put the place on lock down.
I walk around to the from of the cubicle and kick open the door. The man had grabbed a straight razor and cut his arms extremely deep from the wrist downwards all the way to his elbow palms up. On both arms mind you. A good example of what it would look like would be the scene from the terminator 2 where Arnold cuts the skin off from his arm.
The ambulance came and had to call another team to collect the body. The building was closed for around a day and a half they had to repaint and do all sorts of things because of so much blood.
Ill say they do not train you for seeing such horrible things or even mention that it can happen I'm lucky enough to have a strong head and can handle seeing such horror. Of course Im not 100% OK from it and now keep a close eye on the bathrooms. But I'm OK enough to continue working and only saw a psychologist twice about it.
So yea that's the worst thing I have seen In my life.

A:
Who was bleeding?
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