Question: Across all the chat screenshots I've saved, roughly how many are work-related conversations vs personal / family ones?

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Marcus: One more thing — don't put him on the legacy module first.
  - Priya: Got it. I'll start him on the new feature so he ships something fast.
  - Marcus: Perfect. Two-week check-in?
  - Priya: Sounds good.

Chat screenshot. Messages in order:
  - Elena: Six months Tuesday. Where do you want to go?
  - Ryan: That place where we first met. Same booth?
  - Elena: You remembered.
  - Ryan: Of course.

Chat screenshot. Messages in order:
  - Elena: I'll book the table.
  - Ryan: Let me know if anything changes.
  - Elena: Nothing's changing 💛

Chat screenshot. Messages in order:
  - Daniel: Quick question — where do I find the design specs?
  - Priya: I'll DM you the link. Marcus shared it last quarter.
  - Marcus: Daniel — just listen in this week. No need to ship.
  - Daniel: Understood, thanks.

Chat screenshot. Messages in order:
  - Priya: Sara — rent went up $40 this month. Splitting still 50/50?
  - Sara: Yeah. I'll Venmo my half by Friday.
  - Priya: Cool. Also we need to put utilities in someone's name.
  - Sara: Mine — I'm freelancing from the apartment, makes sense.

Chat screenshot. Messages in order:
  - Helen: Mia honey — pickup is at 3:15 today not 3:30.
  - Mia: ok mommy
  - Helen: Be at the front gate.
  - Mia: 🌸

Chat screenshot. Messages in order:
  - Tomas: Mom can I sign up for driving lessons?
  - Helen: Driving lessons? In February?
  - Tomas: All my friends are starting.
  - Helen: Wait until summer. Not before.

Chat screenshot. Messages in order:
  - Tomas: ok
  - Helen: We can talk about it again in May.
  - Tomas: fine

Chat screenshot. Messages in order:
  - Ryan: Jordan — I need you to stop texting me late at night.
  - Jordan: ??? It was about the work brief.
  - Ryan: Elena saw your name on my screen. It's a problem for us.
  - Jordan: Got it. I won't. Sorry — I didn't think about it.

Chat screenshot. Messages in order:
  - Jordan: For what it's worth — I'm not trying to mess things up for you.
  - Ryan: I know. But Elena needs to feel safe.
  - Jordan: Understood.

Chat screenshot. Messages in order:
  - Daniel: How do I write a good PR description here?
  - Priya: Three sections: what changed, why, how to test. Keep it short.
  - Daniel: Got it. Anything I should NOT do?
  - Priya: Don't paste full stack traces. Link to the issue instead.

Chat screenshot. Messages in order:
  - Marcus: How are you settling in?
  - Daniel: Good. Priya has been incredibly helpful.
  - Marcus: Glad to hear it. By the way — PTO requests go through me directly.
  - Daniel: Noted. I won't need any soon but good to know.

Chat screenshot. Messages in order:
  - Sara: Your laptop pings ALL NIGHT. The Slack notifications are killing me.
  - Priya: Sorry — I'll mute it after 10.
  - Sara: Please. The wall is thin.
  - Priya: Done. Promise.

Chat screenshot. Messages in order:
  - Priya: Did you know I work for a manager who messages at midnight sometimes?
  - Sara: Marcus? I thought he was supposed to be the calm one.
  - Priya: He is. Just sometimes.

Chat screenshot. Messages in order:
  - Priya: Marcus, requesting PTO for May 18-22. Family trip.
  - Marcus: Approved. Anything sprint-critical that week?
  - Priya: No — Daniel will be solo on the new feature, he's ready.
  - Marcus: Perfect. Have fun.

Chat screenshot. Messages in order:
  - Helen: Family chat — what's everyone doing Saturday?
  - Tomas: Can I stay at Marco's house?
  - Mia: I want ice cream!!!
  - Helen: Tomas — yes if his parents are home. Mia — after lunch.

Chat screenshot. Messages in order:
  - Mia: yay 🍦
  - Tomas: thanks mom
  - Helen: ok loves

Chat screenshot. Messages in order:
  - Jordan: Hey Elena. I know this is unusual but I want to apologize directly.
  - Elena: Ok.
  - Jordan: I shouldn't have been texting Ryan late. It put both of you in a bad spot.
  - Elena: Thanks for saying that. I appreciate it.

Chat screenshot. Messages in order:
  - Jordan: If we ever cross paths at parties etc., let's just be normal.
  - Elena: Yes. That works.

Chat screenshot. Messages in order:
  - Sara: My gallery opening is next Saturday. Will you come?
  - Priya: Of course! Where?
  - Sara: Hayes Valley. 6pm. Bring a friend if you want.
  - Priya: I'll be there.

Chat screenshot. Messages in order:
  - Daniel: Hi Jordan — I'm Daniel, your engineering co-lead for the marketing site refresh.
  - Jordan: Hey! Glad to meet. I've been pushing this project for months.
  - Daniel: Marcus told me to just dive in. Where do you want me to start?
  - Jordan: Pull the design tokens from Figma. I'll send the link.

Chat screenshot. Messages in order:
  - Jordan: Also — we should sync weekly. Mondays work for you?
  - Daniel: Mondays work. I'll add it to my calendar.
  - Jordan: Cool. Looking forward.

Chat screenshot. Messages in order:
  - Sara: Bad news on the gallery — venue had a flood, opening pushed to April 4.
  - Priya: Oh no. Same time, just different date?
  - Sara: Yeah — 6pm Hayes Valley still, just April 4 not the original Saturday.
  - Priya: Got it, updated my calendar.

Chat screenshot. Messages in order:
  - Helen: Tomas — I changed my mind on driving lessons.
  - Tomas: wait what??
  - Helen: If your grades stay solid, you can start in April. First lesson Saturday the 4th.
  - Tomas: OMG THANK YOU

Chat screenshot. Messages in order:
  - Elena: You'll find this funny — Jordan is Daniel's design partner now.
  - Ryan: Daniel as in your friend Daniel? At your office?
  - Elena: Yes. Apparently they're co-leads on some marketing project.
  - Ryan: Small world.

Chat screenshot. Messages in order:
  - Elena: It's fine. I'm not worried.
  - Ryan: Good. I'm not either.

Chat screenshot. Messages in order:
  - Marcus: Daniel — heads up, since the marketing project is heating up I'm asking Jordan to take over your weekly 1:1s for now.
  - Daniel: Is Priya not going to mentor me anymore?
  - Marcus: She still mentors you informally on engineering, but for the project Jordan's your primary check-in.
  - Daniel: Got it. Thanks for the heads up.

Chat screenshot. Messages in order:
  - Marcus: Status check on the marketing refresh — where are we?
  - Daniel: Design tokens migrated. Component library 60% done.
  - Jordan: Hero section ships next week. Jordan's review.
  - Marcus: Good pace. Daniel — anything blocking you?

Chat screenshot. Messages in order:
  - Daniel: No blockers. Just need to verify the colors with Jordan once more.
  - Jordan: Tomorrow afternoon works.
  - Marcus: Great. Next review in two weeks.

Chat screenshot. Messages in order:
  - Daniel: Marcus, Jordan — bad news. Critical bug surfaced in the component library.
  - Jordan: Confirming. The hero section can't ship next week as planned.
  - Marcus: Damage estimate?
  - Daniel: Realistically two extra weeks. New ship date May 15.

Chat screenshot. Messages in order:
  - Tomas: MOM I PASSED THE PERMIT TEST
  - Helen: Tomas!! Congratulations!!
  - Tomas: Can I drive your car?
  - Helen: Hold up. Driving lessons first. We talked about this.

Chat screenshot. Messages in order:
  - Priya: Marcus, quick update on the May trip — flights canceled, family rescheduled to August.
  - Marcus: Oh no, sorry to hear. So no PTO May 18-22 anymore?
  - Priya: Right, withdrawing the request. I'll re-submit for August later.
  - Marcus: Got it, no problem.

Chat screenshot. Messages in order:
  - Daniel: Got harsh feedback on a PR. How do I respond without sounding defensive?
  - Priya: Acknowledge the point first. Then ask for the smallest change you can ship.
  - Daniel: Even if I disagree?
  - Priya: Especially then. Be precise about what you'd change instead.

Chat screenshot. Messages in order:
  - Sara: Landlord wants to know about renewal. I want to renew.
  - Priya: I'm not 100% sure yet. Can I have until end of month?
  - Sara: Yeah but don't ghost me on it.
  - Priya: I won't. Promise.

Chat screenshot. Messages in order:
  - Priya: Honestly I might want my own place.
  - Sara: I figured. Just let me know in time to find someone else.
  - Priya: Promise.

Chat screenshot. Messages in order:
  - Elena: All — Sam's birthday Saturday. Bar at 8?
  - Ryan: I'm in.
  - Jordan: I'm in too. Bringing a small gift.
  - Elena: Cool. See you both.

Chat screenshot. Messages in order:
  - Jordan: Should we coordinate gifts so we're not duplicates?
  - Elena: Good call. I'm doing the book.
  - Ryan: I'll do the wine.
  - Jordan: Then I'll do the cake.

Chat screenshot. Messages in order:
  - Priya: OK Sara — I've decided. Let's renew.
  - Sara: Wait really??
  - Priya: Yeah, the apartment hunt was depressing and I like living with you.
  - Sara: YAY 🎉 sending the lease tonight


Question: Who is this person in my chats? Pick the option whose role and recent activity matches them.

A young child of elementary-school age who messages her mother about pickup time and ice cream

Choices:
- A
- B
- C
- D

Please save this chat screenshot.
I'll keep this chat screenshot for you.

Chat screenshot. Messages in order:
  - Helen: Mia honey — pickup is at 3:15 today not 3:30.
  - Mia: ok mommy
  - Helen: Be at the front gate.
  - Mia: 🌸

Chat screenshot. Messages in order:
  - Helen: Family chat — what's everyone doing Saturday?
  - Tomas: Can I stay at Marco's house?
  - Mia: I want ice cream!!!
  - Helen: Tomas — yes if his parents are home. Mia — after lunch.


Question: Looking across all chats Priya appears in — is she always on the same side (left or right), or does she switch sides in different conversations?

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Marcus: Quick sync before sprint kickoff. Daniel starts next week.
  - Priya: Right. Are we pairing him with anyone?
  - Marcus: Yes — I'd like you to mentor him through onboarding.
  - Priya: Happy to. I'll get him into our shared repo on day one.

Chat screenshot. Messages in order:
  - Priya: Sara — rent went up $40 this month. Splitting still 50/50?
  - Sara: Yeah. I'll Venmo my half by Friday.
  - Priya: Cool. Also we need to put utilities in someone's name.
  - Sara: Mine — I'm freelancing from the apartment, makes sense.


Question: Do the chat screenshots for the sprint planning (B1) and the PTO request (B5) share the same subtitle style, or do they have different subtitles?

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Priya: Marcus, requesting PTO for May 18-22. Family trip.
  - Marcus: Approved. Anything sprint-critical that week?
  - Priya: No — Daniel will be solo on the new feature, he's ready.
  - Marcus: Perfect. Have fun.


Question: What is the current status of the marketing site refresh project that Daniel and Jordan are working on?

Delayed — a critical bug in the component library pushed the ship date to May 15

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Daniel: Hi Jordan — I'm Daniel, your engineering co-lead for the marketing site refresh.
  - Jordan: Hey! Glad to meet. I've been pushing this project for months.
  - Daniel: Marcus told me to just dive in. Where do you want me to start?
  - Jordan: Pull the design tokens from Figma. I'll send the link.

Here is another screenshot from the same chat.
I'll treat this as part of the same chat.

Chat screenshot. Messages in order:
  - Jordan: Also — we should sync weekly. Mondays work for you?
  - Daniel: Mondays work. I'll add it to my calendar.
  - Jordan: Cool. Looking forward.

Chat screenshot. Messages in order:
  - Marcus: Status check on the marketing refresh — where are we?
  - Daniel: Design tokens migrated. Component library 60% done.
  - Jordan: Hero section ships next week. Jordan's review.
  - Marcus: Good pace. Daniel — anything blocking you?

Chat screenshot. Messages in order:
  - Daniel: No blockers. Just need to verify the colors with Jordan once more.
  - Jordan: Tomorrow afternoon works.
  - Marcus: Great. Next review in two weeks.

Chat screenshot. Messages in order:
  - Daniel: Marcus, Jordan — bad news. Critical bug surfaced in the component library.
  - Jordan: Confirming. The hero section can't ship next week as planned.
  - Marcus: Damage estimate?
  - Daniel: Realistically two extra weeks. New ship date May 15.


Question: What is the current living arrangement plan for Priya and Sara?

They are renewing the lease together — Priya decided to stay

Choices:
- A
- B
- C
- D


Question: Who is this person in my chats? Pick the option whose role and recent activity matches them.

A man who, alongside his current partner and his ex, coordinated a friend's birthday party in late April and offered to bring wine

Choices:
- A
- B
- C
- D


Question: Which session came first chronologically?

Helen reminding Tomas about his school project

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Helen: Tomas — your science project is due Monday.
  - Tomas: I know mom.
  - Helen: Have you started?
  - Tomas: Tonight, I promise.


Question: Among the 6 brands, which brand's 5 ads showed the WIDEST variety of background colors (5 visibly different backgrounds)?

Choices:
- A
- B
- C
- D

I'm adding a Coca-Cola co branded sponsorship piece to my reference deck. How does sponsorship visual language differ from a standalone brand ad?
Sponsorship ads share the frame with the partner brand. It is a brand awareness play that trades visual dominance for distribution reach in adjacent contexts. The cola brand becomes one signal among several instead of the lead.

Kick off game season with Citi and Coca‑Cola: save on fuel at Esso and score exclusive gifts.

Switching to Burger King. This is a fashion crossover ad.
It is a fashion crossover play, with Burger King's brand iconography pulled into a fashion context. Fashion crossovers are unusual for QSR; they aim for cultural relevance rather than direct sales.

Legs in red heels wear a Burger King crown around the ankles beside an ad for new salads.

Switching to coffee. This Dunkin' Donuts marketing case study from Korea is more of an experiential and sensory marketing piece than a poster ad.
Right. Experiential marketing case studies usually justify themselves with results data instead of a hero image. It is a different class of ad, more of a strategy showcase than a product push.

Dunkin’ Donuts’ “Flavor Radio” plays the jingle on buses to trigger coffee-scent atomizers, enticing commuters and boosting visits and sales.

Switching to fast food. This is McDonald's healthy positioning campaign. What is McDonald's trying to do here?
It is healthy positioning. When McDonald's promotes healthier items, the messaging has to work uphill, so they pair the product with active lifestyle imagery to associate it with aspiration rather than fast food guilt. It is counterprogramming against the burger association.

A trail runner and bold graphics spotlight McDonald’s new Southwest Salad—“A Taste That Inspires.”

Switching to Pepsi. Canonical product hero shot. How does Pepsi's visual language differ from the Coke ads we just discussed?
Pepsi tends to be product first, while Coke tends to be people first. Less narrative, more product. Pepsi commits strongly to its signature color across the entire campaign system.

Ice-cold Pepsi cans bursting with a refreshing splash on a bold blue backdrop.

Switching to Starbucks. This is the Ethos Water cause marketing piece. The key detail is that this is the only Starbucks piece in our deck that moves away from the core product.
Right. It is CSR and cause marketing, deliberately positioned away from the core product. The brand becomes the underwriter, not the hero. This Ethos Water piece is worth flagging as the visual outlier in our five Starbucks set.

A bottle of Ethos Water pours a heart, showing that each purchase helps fund clean water for those in need.

Continuing the cola thread, this is the Share a Coke personalization campaign. What do you make of name personalization as a marketing mechanic?
Name personalization converts a mass product into a one to one gift. It is one of the cleanest examples of mass customization in CPG. The brand stays consistent, but the SKU becomes intimate, which is why it generated unprecedented social shareability.

Share a Coke with a friend—custom bottles “Kylie” and “Luke” clink in a refreshing toast.

This is a weird Dunkin' piece, with minimalist food photography. It is a menu expansion announcement.
It is a menu expansion announcement using high end food photography. The minimalist treatment borrows from luxury food magazines. It says, 'we sell more than the core category now,' while signaling premium aesthetic credentials.

A ripe tomato and a wedge of cheese highlight Dunkin’ Donuts offering personal pizzas—more than coffee and donuts.

McDonald's heritage piece.
It is a heritage and nostalgia play. It frames McDonald's as a brand with menu depth and history. That is useful when the brand wants to remind consumers it has been around forever, competing on permanence rather than novelty.

Graphic showcasing the historical timeline of McDonald’s USA menu with classic items like burgers, fries, wraps, and salads.

BK breakfast launch ad.
It is a standard menu launch ad. New products, plus a headline that calls lapsed customers back. Breakfast is BK's perennial growth lever, so they keep launching breakfast SKUs.

Burger King ad promoting the new BK Breakfast Bowl and Breakfast Muffin Sandwich to “shake up your wake up.”

Another Pepsi piece, from the same campaign cycle but with a more minimal execution. The typography emphasis matters here.
When you reduce an ad to one product plus one slogan, the typography has to do all the work. It has a poster treatment, readable from across a room. It trusts that brand recognition does the rest.

A chilled Pepsi can with the slogan “Refresh Your World” on a bright blue background.

This is a standard Starbucks lifestyle ad in the comforting mode.
Yes, this is Starbucks in its comforting lifestyle mode. It sells atmosphere, not coffee. Reliable, almost overly familiar.

A Starbucks takeaway cup on a wooden table beside the slogan, “The best coffee for the best YOU.”

This is a lifestyle Coke ad. How does it compare to the Share a Coke approach we just discussed?
It is the inverse mode. Share a Coke was personalization driven; this one is emotion driven. It is pure affect marketing from the older Coca-Cola playbook. They alternate between the two depending on the era.

Smiling friends share ice-cold Coca-Cola and a moment of happiness.

This is a surreal McDonald's piece with product reinterpretation.
The design choice is a literal interpretation of the product name. It is a single image visual pun that lodges the product name in memory. McDonald's does this kind of creative product reinterpretation well.

Whimsical Filet-O-Fish ad shows a goldfish swimming inside a glass burger bun.

This Dunkin' creative experiment is high risk concept work and definitely Halloween coded.
It is pure shock creative. The marketing intent is to lodge the brand in a memorable frame. Halloween imagery for food brands is high risk because it can backfire, but when it works, it lives on in case studies.

Ad shows a Dunkin’ Donuts smoothie beside a spider made of cheese puffs with the slogan “Makes other snacks look scary.”

This is a special edition Pepsi piece with a limited edition can wrap. What is the read on LE creative?
LE wraps are collector bait. They reward the shelf hunter who notices something different from the standard product. The base brand still anchors recognition, while the variation rewards engagement.

A chilled Pepsi can bursts with a refreshing splash against a deep blue backdrop.

This Brazilian BK ad is a phonetic typography play for the Carioca dialect.
The headline does all the creative work by phonetically rendering the regional accent applied to the brand name. It is purely regional, market specific creative that works only in Portuguese.

A mouthwatering Burger King burger stacked with lettuce, tomato, onion, pickles, bacon, and cheese on a sesame seed bun.

This is a very different Starbucks ad in dramatic mode. How does it compare to the comforting mode we just discussed?
It is a deliberate departure. I would call it the dramatic or cinematic mode. The standard Starbucks lifestyle aesthetic sells comfort. This one sells craft and intensity. Starbucks has two distinct visual modes: comforting and dramatic.

A glowing espresso cup with sparkles and the text “BUY ME A COFFEE” promotes Starbucks.

Here is another Coke piece. The format choice signals a different consumption occasion compared with the previous ones.
Different package formats tend to live in different contexts, such as convenience and on the go versus nostalgia and premium. The format itself becomes part of the messaging.

A smiling woman holds an ice-cold Coca‑Cola bottle against a bright red “perfection” backdrop.

Here is another minimalist Dunkin' breakfast ad from the same campaign series as the menu expansion piece.
Same campaign series, same visual rule. Series reward repetition because each ad introduces a different food category while the visual rule stays fixed.

A single bacon strip promotes Dunkin’ Donuts’ breakfast sandwiches—more than coffee and donuts.

This McDonald's Cannes ad is a self congratulatory creative award acknowledgment.
It is an industry self congratulation ad, dressed up as creative bravado. Awards ads are unusual because they are for the industry, not the consumer.

McDonald’s fries burst like golden fireworks on a red backdrop to celebrate Cannes Creative Marketer of the Year.

This is a different mode for Pepsi, with celebrity style endorsement creative. What do you make of the cohesion play?
Visual cohesion turns the spokesperson into an extension of the product. It is one of the core tools of celebrity endorsement: subsume the celebrity into the brand system so the two become inseparable.

A glamorous woman in a blue dress kisses a can of Diet Pepsi with a striped straw.

This is Starbucks Brazil 'Coffee Braille' accessibility creative.
It is accessibility creative, a CSR move in the same family as the Ethos Water piece, but executed as a tangible service innovation. It is a different angle on cause marketing.

Starbucks showcases “Coffee Braille,” a tactile coffee-bean poster announcing its new Braille menus.

BK Halloween limited edition.
It is a seasonal LE play. Limited editions are a classic seasonal move because the visual departure from the default is striking enough to drive trial. The campaign rises and falls on one bold execution choice.

Burger King’s Halloween Whopper features a black sesame bun with A.1 flavor baked in.

This is the last Coke piece, the variant lineup ad. Does this approach actually help variant recall, or does it dilute the master brand?
Variant lineups lean into family resemblance. The master brand stays anchored while smaller variant cues do the disambiguation work. Classic CPG move when introducing multiple SKUs without confusing the consumer.

Four Coca‑Cola bottles—Classic, Life, Zero, and Diet—stand side by side under the slogan “Good things come in fours.”

This is a wifi themed McDonald's ad with service as feature creative.
Free wifi is a service, and the brand is the icon. Combining them turns infrastructure into a brand attribute. Service oriented ads are unusual for QSR because most ads are product first.

Golden fries, free Wi‑Fi—connect at McDonald’s.

This is the final Dunkin' piece, with recession era promo creative.
Promo and discount creative usually leans into either savings or joy. This one frames the discount as a happiness gesture rather than a desperation discount. It is pricing psychology dressed up as warmth.

You can’t put a price on happiness—except maybe 25¢ donuts at Dunkin’ on October 25.

This is the last Pepsi piece, and it breaks pattern with the format choice. What do you make of the channel shift?
Format choice signals consumption context. Different formats live in different retail channels. Fountain belongs to QSR and foodservice, while packaged versions live at retail. Format diversification is channel diversification.

An ice-cold Pepsi brims with fizz against a bold red, white, and blue splash.

This is the final Starbucks piece, a seasonal blend lineup ad. It is structurally similar to the Coca-Cola variant lineup we discussed earlier.
Same idea, with the variant family laid out as a grid. Both pick the same readable count for the same reason: it is the variant lineup sweet spot.

Starbucks ad featuring four seasonal lattes topped with whipped cream, caramel, and chocolate.

This is the final BK piece, with surreal creative.
It is a surreal composition with visual whimsy. It is almost the inverse of McDonald's surreal product ads, where the product was substituted for something else; here the source ingredient becomes the creative. It is a different surreal mode.

A whimsical tower of clay cows balances beside the Burger King Big Stacker logo.


Question: Across the 5 Dunkin' ads, how many did NOT have food as the visual centerpiece?

Choices:
- A
- B
- C
- D

Switching to coffee. This Dunkin' Donuts marketing case study from Korea is more of an experiential and sensory marketing piece than a poster ad.
Right. Experiential marketing case studies usually justify themselves with results data instead of a hero image. It is a different class of ad, more of a strategy showcase than a product push.

Dunkin’ Donuts’ “Flavor Radio” plays the jingle on buses to trigger coffee-scent atomizers, enticing commuters and boosting visits and sales.

This is a weird Dunkin' piece, with minimalist food photography. It is a menu expansion announcement.
It is a menu expansion announcement using high end food photography. The minimalist treatment borrows from luxury food magazines. It says, 'we sell more than the core category now,' while signaling premium aesthetic credentials.

A ripe tomato and a wedge of cheese highlight Dunkin’ Donuts offering personal pizzas—more than coffee and donuts.

This Dunkin' creative experiment is high risk concept work and definitely Halloween coded.
It is pure shock creative. The marketing intent is to lodge the brand in a memorable frame. Halloween imagery for food brands is high risk because it can backfire, but when it works, it lives on in case studies.

Ad shows a Dunkin’ Donuts smoothie beside a spider made of cheese puffs with the slogan “Makes other snacks look scary.”


Question: Of the 5 Starbucks ads, how many did NOT show a coffee cup or coffee drink?

Choices:
- A
- B
- C
- D

Switching to Starbucks. This is the Ethos Water cause marketing piece. The key detail is that this is the only Starbucks piece in our deck that moves away from the core product.
Right. It is CSR and cause marketing, deliberately positioned away from the core product. The brand becomes the underwriter, not the hero. This Ethos Water piece is worth flagging as the visual outlier in our five Starbucks set.

A bottle of Ethos Water pours a heart, showing that each purchase helps fund clean water for those in need.

This is a standard Starbucks lifestyle ad in the comforting mode.
Yes, this is Starbucks in its comforting lifestyle mode. It sells atmosphere, not coffee. Reliable, almost overly familiar.

A Starbucks takeaway cup on a wooden table beside the slogan, “The best coffee for the best YOU.”

This is a very different Starbucks ad in dramatic mode. How does it compare to the comforting mode we just discussed?
It is a deliberate departure. I would call it the dramatic or cinematic mode. The standard Starbucks lifestyle aesthetic sells comfort. This one sells craft and intensity. Starbucks has two distinct visual modes: comforting and dramatic.

A glowing espresso cup with sparkles and the text “BUY ME A COFFEE” promotes Starbucks.


Question: Of the 5 Coca-Cola ads, how many did NOT show a person's face clearly?

Choices:
- A
- B
- C
- D

I'm adding a Coca-Cola co branded sponsorship piece to my reference deck. How does sponsorship visual language differ from a standalone brand ad?
Sponsorship ads share the frame with the partner brand. It is a brand awareness play that trades visual dominance for distribution reach in adjacent contexts. The cola brand becomes one signal among several instead of the lead.

Kick off game season with Citi and Coca‑Cola: save on fuel at Esso and score exclusive gifts.

Continuing the cola thread, this is the Share a Coke personalization campaign. What do you make of name personalization as a marketing mechanic?
Name personalization converts a mass product into a one to one gift. It is one of the cleanest examples of mass customization in CPG. The brand stays consistent, but the SKU becomes intimate, which is why it generated unprecedented social shareability.

Share a Coke with a friend—custom bottles “Kylie” and “Luke” clink in a refreshing toast.

This is a lifestyle Coke ad. How does it compare to the Share a Coke approach we just discussed?
It is the inverse mode. Share a Coke was personalization driven; this one is emotion driven. It is pure affect marketing from the older Coca-Cola playbook. They alternate between the two depending on the era.

Smiling friends share ice-cold Coca-Cola and a moment of happiness.

Here is another Coke piece. The format choice signals a different consumption occasion compared with the previous ones.
Different package formats tend to live in different contexts, such as convenience and on the go versus nostalgia and premium. The format itself becomes part of the messaging.

A smiling woman holds an ice-cold Coca‑Cola bottle against a bright red “perfection” backdrop.


Question: Of McDonald's three surreal ads (goldfish-burger, fries-fireworks, Wi-Fi-fries), which one came in the MIDDLE chronologically?

Choices:
- A
- B
- C
- D

This is a surreal McDonald's piece with product reinterpretation.
The design choice is a literal interpretation of the product name. It is a single image visual pun that lodges the product name in memory. McDonald's does this kind of creative product reinterpretation well.

Whimsical Filet-O-Fish ad shows a goldfish swimming inside a glass burger bun.

This McDonald's Cannes ad is a self congratulatory creative award acknowledgment.
It is an industry self congratulation ad, dressed up as creative bravado. Awards ads are unusual because they are for the industry, not the consumer.

McDonald’s fries burst like golden fireworks on a red backdrop to celebrate Cannes Creative Marketer of the Year.

This is a wifi themed McDonald's ad with service as feature creative.
Free wifi is a service, and the brand is the icon. Combining them turns infrastructure into a brand attribute. Service oriented ads are unusual for QSR because most ads are product first.

Golden fries, free Wi‑Fi—connect at McDonald’s.


Question: Across the 5 Coca-Cola ads, how many showed a person's FACE in the frame?

Choices:
- A
- B
- C
- D

This is the last Coke piece, the variant lineup ad. Does this approach actually help variant recall, or does it dilute the master brand?
Variant lineups lean into family resemblance. The master brand stays anchored while smaller variant cues do the disambiguation work. Classic CPG move when introducing multiple SKUs without confusing the consumer.

Four Coca‑Cola bottles—Classic, Life, Zero, and Diet—stand side by side under the slogan “Good things come in fours.”


Question: Immediately after Player 3's visible hand size changes from 7 to 6 for the 1st time, how many green cards has Player 2 played so far?

Choices:
- A
- B
- C
- D

Player 0 decides to: play-(card_idx: 1)
Player 0 plays yellow-4-number.
---------- End of Player 0's turn ----------
Player 1 decides to: play-(card_idx: 4)
Player 1 plays green-4-number.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-3-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 4)
Player 3 plays green-7-number.
---------- End of Player 3's turn ----------
Thanks, I'll remember this for later.

Digital UNO game interface showing four players, a green 7 target card, recent played cards, and Player 0’s hand at the bottom.

Player 0 decides to: play-(card_idx: 0)
Player 0 plays green-7-number.
---------- End of Player 0's turn ----------
Player 1 decides to: play-(card_idx: 3)
Player 1 plays green-2-number.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-6-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 5, chosen_color: green)
Player 3 plays black-wild-wild.
Player 3 chose the color green.
---------- End of Player 3's turn ----------
Understood, I'll keep track of this.

Digital UNO game interface showing four players, a central row of played cards, and Player 0’s visible hand at the bottom.


Question: At the moment when public deck size changes from 77 to 70 for the 1st time, how many blue cards has Player 3 played so far?

Choices:
- A
- B
- C
- D

Player 1 decides to: draw
Player 1 draws a card.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 3)
Player 2 plays yellow-7-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 0)
Player 3 plays yellow-4-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 2, chosen_color: blue)
Player 0 plays black-wild_draw_4-wild.
Player 0 chose the color blue.
---------- End of Player 0's turn ----------
Player 2 decides to: draw
Player 2 draws a card.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 0)
Player 3 plays blue-2-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 1)
Player 0 plays blue-reverse-action.
---------- End of Player 0's turn ----------
Player 3 decides to: draw
Player 3 draws a card.
---------- End of Player 3's turn ----------
Player 2 decides to: play-(card_idx: 4)
Player 2 plays blue-1-number.
---------- End of Player 2's turn ----------
Got it, I'll remember that.

Digital UNO game interface showing four players, a central pile of played cards, and a blue 1 as the current target card.


Question: At the moment when public played cards size changes from 6 to 10 for the 1st time, how many green cards has Player 0 played so far?

Choices:
- A
- B
- C
- D

Player 1 decides to: play-(card_idx: 3)
Player 1 plays green-2-number.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-6-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 5, chosen_color: green)
Player 3 plays black-wild-wild.
Player 3 chose the color green.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 4)
Player 0 plays green-reverse-action.
---------- End of Player 0's turn ----------
Player 3 decides to: draw
Player 3 draws a card.
---------- End of Player 3's turn ----------
Player 2 decides to: draw
Player 2 draws a card.
---------- End of Player 2's turn ----------
Understood, I'll keep track of this.

Digital UNO game board showing four AI players, a central pile of played green cards with a green Reverse as the target card, and Player 1 holding red 5, yellow Reverse, blue 5, and blue Skip 2.

Player 1 decides to: play-(card_idx: 4)
Player 1 plays green-4-number.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-3-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 4)
Player 3 plays green-7-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 0)
Player 0 plays green-7-number.
---------- End of Player 0's turn ----------
Thanks, I'll remember this for later.

Digital Uno game interface showing four players, a green 7 target card, and Player 1 holding red 5, yellow reverse, blue 5, blue 2, and blue skip cards.


Question: Immediately after Player 2's 4th play action, how many yellow cards does Player 2 hold?

Choices:
- A
- B
- C
- D

Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-3-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 4)
Player 3 plays green-7-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 0)
Player 0 plays green-7-number.
---------- End of Player 0's turn ----------
Player 1 decides to: play-(card_idx: 3)
Player 1 plays green-2-number.
---------- End of Player 1's turn ----------
Okay, I'll keep track of that.

Digital UNO game interface showing four players, a central row of played cards with a green 2 as the target card, and Player 2’s visible hand at the bottom.

Player 2 decides to: play-(card_idx: 1)
Player 2 plays green-6-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 5, chosen_color: green)
Player 3 plays black-wild-wild.
Player 3 chose the color green.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 4)
Player 0 plays green-reverse-action.
---------- End of Player 0's turn ----------
Player 3 decides to: draw
Player 3 draws a card.
---------- End of Player 3's turn ----------
Got it, I'll keep this in mind.

Digital UNO game board showing four players, a green reverse card as the current target, and Player 2’s yellow and red cards visible at the bottom.

Player 2 decides to: play-(card_idx: 0)
Player 2 plays yellow-5-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 1)
Player 3 plays yellow-3-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 2)
Player 0 plays yellow-0-number.
---------- End of Player 0's turn ----------
Player 1 decides to: draw
Player 1 draws a card.
---------- End of Player 1's turn ----------
Understood, I'll keep track of this.

Digital UNO game interface showing four players, a central pile of played cards, a yellow target card, and a large remaining deck on a wooden background.

Player 2 decides to: play-(card_idx: 3)
Player 2 plays yellow-7-number.
---------- End of Player 2's turn ----------
Player 3 decides to: play-(card_idx: 0)
Player 3 plays yellow-4-number.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 2, chosen_color: blue)
Player 0 plays black-wild_draw_4-wild.
Player 0 chose the color blue.
---------- End of Player 0's turn ----------
Okay, I'll hold onto this.

Digital UNO game board showing four players, a central pile of played cards, and Player 2’s visible hand of four red and yellow cards.


Question: At the moment when Player 2's 1st play action happens, how many green cards has Player 2 played so far?

Choices:
- A
- B
- C
- D


Question: Immediately after Player 3's 2nd play action, how many black cards has Player 3 played so far?

Choices:
- A
- B
- C
- D

Player 3 decides to: play-(card_idx: 5, chosen_color: green)
Player 3 plays black-wild-wild.
Player 3 chose the color green.
---------- End of Player 3's turn ----------
Player 0 decides to: play-(card_idx: 4)
Player 0 plays green-reverse-action.
---------- End of Player 0's turn ----------
Got it, I'll keep this in mind.

Digital UNO game board showing four players, a central pile of played green cards with a green Reverse on top, and Player 3’s visible hand at the bottom.

Player 3 decides to: draw
Player 3 draws a card.
---------- End of Player 3's turn ----------
Player 2 decides to: draw
Player 2 draws a card.
---------- End of Player 2's turn ----------
Player 1 decides to: play-(card_idx: 1)
Player 1 plays yellow-reverse-action.
---------- End of Player 1's turn ----------
Player 2 decides to: play-(card_idx: 0)
Player 2 plays yellow-5-number.
---------- End of Player 2's turn ----------
Thanks, I'll remember this for later.

Digital UNO game board showing four players, a yellow 5 target card, a stack of played cards, and a large remaining draw deck on a wooden background.


Question: Immediately after public deck size changes from 79 to 77 for the 1st time, how many red cards does Player 3 hold?

Choices:
- A
- B
- C
- D


Question: Immediately after Player 2's 1st play action, how many green cards has Player 2 played so far?

Choices:
- A
- B
- C
- D


Question: A small dinosaur was seen sitting in palm tree fronds in a late Episode 1 scene. A small dinosaur of the same color was also seen swimming in water in an earlier river session. What color are both of these characters?

Choices:
- A
- B
- C
- D

Now same environment type, completely different mood. Calm, contemplative, multi-character.
Night and day from the last one. The stillness here is intentional — the composition invites you to linger rather than rush through.

Two cartoon dinosaurs are in a river, with one sitting on a rock and the other swimming nearby.

Last frame from Episode 1. The closing mood. I think this captures the emotional resolution beautifully.
Lovely framing. The warmth here feels earned after everything that came before — there's a genuine sense of arrival and resolution.

A long-necked dinosaur looks up at a purple dinosaur standing on a palm tree.


Question: The orange triceratops appears alone in a field in one Episode 1 scene. What is its posture?

Crouching low with mouth slightly open, looking determined

Choices:
- A
- B
- C
- D

Brilliant observation. And then immediately after all that tension — this. A solo moment in open space. Single character, breathing room.
The decompression after the confrontation. Wide framing, low density — it's a visual exhale for the audience.

A cartoon dinosaur crouches on a grassy path in a rocky valley.


Question: In the bright outdoor scene with open blue sky and a round green treetop, what is the baby dinosaur doing?

Hugging and climbing a vertical tree trunk

Choices:
- A
- B
- C
- D

Now here's the same kind of character in a totally different context. Full body, full activity. Completely different energy.
Night and day. The posture tells the whole story — you don't even need the face in detail to read the mood.

An animated monkey clings to the trunk of a large tree against a green sky.

Here. A face close-up. The emotional weight in this single frame is incredible.
Tight framing — they want you locked onto the expression. The background contrast pushes everything forward and amplifies the mood.

An animated dinosaur with a surprised expression peeks over a rock in a forest.


Question: The character seen splashing energetically in water has what color pattern?

Dark (black/navy) upper body with light (white/cream) belly

Choices:
- A
- B
- C
- D

First — the high-energy end. Lots of movement, lots of splash.
Lively composition. The kinetic energy in the frame is impressive — you can almost hear it.

A cartoon purple crocodile splashes in the water near the shore.


Question: Two wide landscape shots include both large and small characters. The forest scene with two adult dinosaurs (S1) has small characters visible in the background, and the meadow group shot (S9) has a character in flight. On which side of the frame are the small background figures in the adult dinosaur scene, and on which side is the airborne character in the meadow scene?

Background figures on the right; airborne character on the left

Choices:
- A
- B
- C
- D

Now here's something completely different — the adults. The scale contrast between generations is incredible.
The size gap is doing serious narrative work. You feel the power dynamic and the sense of protection instantly, just from proportions.

Two long-necked dinosaurs stand in a lush prehistoric landscape.

Now one more — a wide ensemble shot I missed the first time. Multiple characters in a landscape with interesting lighting.
Broad composition with nice atmospheric depth. The lighting conditions add mood without overwhelming the character readability — they still pop as distinct silhouettes.

Animated dinosaurs gather in a rocky valley.


Question: Two predator scenes appear across the series: Episode 1 shows a large bipedal predator near a jungle river, and Episode 2 shows small raptor-like creatures running across a green field. How many total predatory creatures are visible across both scenes combined?

Choices:
- A
- B
- C
- D

Exactly. Now here's where it gets dark. Same general area, but the mood goes threatening. This one's legitimately scary.
Dramatic shift. The lighting and depth create genuine tension — you feel the danger before you consciously register what's in the frame.

A cartoon dinosaur stands on a jungle riverbank.

Last one from this batch — back outside. Small characters running in an open field. Very different energy from the cave scenes.
The open space and kinetic energy are a nice counterpoint. Classic chase composition with a high angle that creates a sense of landscape scale.

Two gray wolves walk across a grassy landscape between rocky cliffs.


Question: The orange triceratops appears in three types of scenes: alone in a field, in a close-up pair with a purple character, and in the volcano confrontation group. In which of these does a tall blue bird character also appear?

None of them — the bird only appears in Episode 2

Choices:
- A
- B
- C
- D

Now this one is gold. Two characters side by side, close-up, distinct features. This is my spec reference for how to differentiate two characters who share frame space.
Great reference for paired differentiation. The distinct features make each character immediately identifiable even at this proximity — no confusion about who's who.

Two cartoon dinosaurs stand together outdoors.

The scale interplay, the way one character literally sits on the other. It's trust and friendship in one composition. Now — brace yourself. The dramatic stuff. This is the big confrontation.
Massive tonal shift. The palette, the scale, the confrontational staging — this is pure cinematic tension.

Animated dinosaurs face each other in a volcanic landscape.


Question: The scene with a fire breaking out — was that in the circus comic or the caveman comic?

Choices:
- A
- B
- C
- D

Page 4 — things are getting exciting at the circus.
Understood, I'll remember this.

Comic page showing Paul Bunyan performing as a strongman at a circus while a jealous man secretly pours kerosene on the tent, starts a fire, and Paul rips down and stamps out the burning canvas to save everyone.


Question: In the Western Love first page, what is the name of the story shown?

Choices:
- A
- B
- C
- D

Now reading Western Love comics. Here is page 1.
Understood, I'll keep track of this.

Vintage comic book page titled “The Girl from Ghost Town!” showing a blonde cowgirl entering a lively Old West saloon scene with cowboys and dancers.


Question: I remember seeing a dinosaur in the Western Love comic. Was that real?

Choices:
- A
- B
- C
- D

Here's page 3 of the Alley Oop comic I'm reading.
I see page 3. I'll keep track of what happens on this page as we continue through the comic.

Vintage comic strip where cavemen visit “Honest Zog’s New & Used Dinosaurs” lot to shop for and test-ride different dinosaurs.


Question: Among the four comic examples shown in the clues, which one is mainly associated with a plaid shirt?

Choices:
- A
- B
- C
- D

Here's page 1 of the Alley Oop comic I'm reading.
I see page 1. I'll keep track of what happens on this page as we continue through the comic.

Black-and-white comic strip shows a caveman rescuing a drowning king, then reminding him of an unpaid five-clam debt.

Page 3 of the Paul Bunyan comic.
Got it, I'll remember that.

Comic book page showing a tall lumberjack in a red plaid shirt confronting and then replacing a circus strongman named Matto Grasso.

Reading another comic now — Champ Comics. Here is page 1.
Okay, I'll hold onto this.

Vintage Champ Comics cover featuring “The Human Meteor” swimming underwater and battling divers in old-fashioned diving suits.


Question: Among all the comics, where did the dealership scene with labeled dinosaurs appear — and were the animals indoors or outdoors?

Choices:
- A
- B
- C
- D


Question: Recalling the Treasure Comics very first page, was Paul Bunyan wearing his plaid shirt or shirtless?

Choices:
- A
- B
- C
- D

I started reading another comic — Treasure Comics, about Paul Bunyan. Here is the first page.
Got it, I'll keep this in mind.

Vintage comic book page titled “Paul Bunyan” showing the giant lumberjack lifting a massive barbell and later visiting a circus with crowds watching unusual animals.


Question: In Champ Comics, what color is the gangsters' car?

Choices:
- A
- B
- C
- D

Page 2 of Champ Comics.
Got it, I'll keep this in mind.

Colorful vintage comic page showing a taxi driver involved in a chase that leads to a muscular costumed hero preparing for action in a city street.


Question: In the clams hearing scene, was the ruler sitting on a fancy throne or a simple seat?

Choices:
- A
- B
- C
- D

Here's page 30 of the Alley Oop comic I'm reading.
I see page 30. I'll keep track of what happens on this page as we continue through the comic.

A cartoon comic strip shows a king and a bearded wizard settling a dispute between muscular cavemen arguing over clams.


Question: In the workspace layout test image, which desk already has a monitor on it?

Choices:
- A
- B
- C
- D

I tested the setup with both workstations in place.
That helps. I'll remember this layout.

A small, minimalist home office with two desks, a computer monitor, and a bookshelf by the window.


Question: Compared with the workspace layout test, what stands between the window desk and the camera in the final shared office?

Choices:
- A
- B
- C
- D

Here's the shared office after move-in.
Thanks, I'll keep this move-in update.

A tidy home office features two minimalist desks with ergonomic chairs, a bookshelf full of books, and a window bringing in natural light.


Question: Comparing the two close-up wall-test images, which statement is accurate about the loose blue tape strip beside the painted patch?

It appears beside only the terracotta test patch

Choices:
- A
- B
- C
- D

Here is a close-up of the first paint test in daylight.
It is always good to see the color in different lighting conditions.

A fresh swatch of sage green paint is being tested on a neutral wall above the baseboard.

I'm testing the new direction.
That helps. I'll keep this for comparison.

A fresh terracotta paint swatch is tested on a wall beside a roller tray and matching color card.


Question: In the final shared office, what small item is placed on the window desk to the right of the monitor?

Choices:
- A
- B
- C
- D


Question: On the bathroom shelf before the final cleanup, what sits directly behind the amber bottle?

Choices:
- A
- B
- C
- D

Here's the styling before the final cleanup.
Thanks, I'll keep this pre-cleanup update.

Minimalist bathroom shelf with neatly folded towels, an amber pump bottle, and a small jar of cream.


Question: In the pantry restock close-up, among the two similar oat jars, which one is closer to the front edge?

Choices:
- A
- B
- C
- D

Here's the update after the grocery run.
Thanks, I'll keep this grocery-run update.

Neatly labeled jars and containers of oats, chickpeas, pasta, and lentils create an organized pantry shelf.


Question: Which cabinet sample is closest to the brass hardware piece lying on the floor?

Choices:
- A
- B
- C
- D

Here are three options to compare.
Got it, I'll keep them together.

Three cabinet door samples in white, natural wood, and sage green lean against a wall for color comparison.


Question: In the installed dining corner, where is the small black bowl placed on the table?

Choices:
- A
- B
- C
- D

Here's the corner after we installed everything.
Got it, I'll treat this as the installed state.

A minimalist breakfast nook features a round wooden table, built-in beige seating, and soft natural light from a nearby window.


Question: On the countertop edge-profile board, which profile has the small gray note clipped to it?

Choices:
- A
- B
- C
- D

This is for the counter decision too.
Thanks, I'll keep it with the rest.

A wooden display shows three countertop edge profiles labeled Rounded, Beveled, and Squared.


Question: In bedroom option B, where is the tray placed?

Choices:
- A
- B
- C
- D

Bed option B.
Got it, option B too.

A serene, neutral-toned bedroom features a neatly made bed flanked by matching wooden nightstands and lamps.


Question: In the first living-room image, which of the three objects on the coffee table was closest to the front-right corner of the table surface?

Choices:
- A
- B
- C
- D

Here is the first image from the living room.
Got it. I'll use this image for later comparison and keep the notes grounded in what is visible.

A tidy living room with a wooden coffee table holding a remote, wallet, and face mask near the front door.


Question: In the first fossil-room image, which right-side item was closest to the front edge of the display surface: the blue shell-shaped object or the black tag marked “C-1127”?

Choices:
- A
- B
- C
- D

This is the first image from the fossil room.
Got it. I see a central fossil slab with several small supporting items arranged around it, including a label card and a few portable objects.

A trilobite fossil is displayed in a museum case alongside a brass compass and a blue shell-shaped object.


Question: In the maritime gallery case, was the hanging tag “A-209” positioned closer to the blue fish-shaped object or closer to the brass dial instrument?

Choices:
- A
- B
- C
- D

First, the maritime gallery case.
Got it. This case contains several objects that resemble earlier ones in broad type and color, but their forms and placements differ.

A small museum display case features a vintage brass gauge, a blue fish figurine, and other curios arranged on dark velvet.


Question: On the restoration table, was the metal tool more horizontally aligned with the compass, slightly above it, or slightly below it?

Choices:
- A
- B
- C
- D

Now the restoration table.
Got it. The restoration table contains a small brass object, a narrow silver tool, a red handled item, a small vial, and a cream card. Some of these may correspond to earlier missing objects, while others may be new.

A vintage compass, seal stamp, tweezers, and a small jar of sand are neatly arranged on a stone work surface.

Here is a closer image from the right side of that table.
Got it. The right side close up confirms the silver tool’s elongated form, the red handled object beside it, and the intact corner label card.

Vintage desk tools—a compass, metal stylus, and wax seal stamp—are arranged beside a blank label on a stone surface.


Question: On the first cold-room shelf image, was the loose barcode label placed more in front of the yellow rack, more beside the folded white towels, or midway between those regions?

Choices:
- A
- B
- C
- D

Here is the first cold room shelf image.
Got it. The cold room shelf includes a strong candidate reappearance of the missing red capped tube, plus several similar but distinct distractors such as a clear green capped vial, a different yellow rack, an intact sticker box, and a loose black label.

Labeled sample vials and containers are organized on a stainless steel laboratory shelf.

Here is a closer crop of the cold room shelf.
Got it. The close up confirms the marking pattern of the red capped tube and the material/color distinction of the green capped vial.

Labeled sample vials rest on a lab bench beside a barcode and tissue stack, ready for analysis.


Question: In the centrifuge-station wide image, which of the two labeled sample vials in the foam rack sat nearer the strip of microtubes: the amber-liquid vial or the pink-liquid vial?

Choices:
- A
- B
- C
- D

Here is the centrifuge station image.
Got it. The centrifuge area includes another green capped vial, another black clipped tag, a PCR strip with a distinctive well pattern, a colored conical tube, and a short straight metal tool.

Labeled test tubes and vials sit beside a centrifuge on a laboratory workstation.


Question: Comparing the main-bench strip and the centrifuge-station strip, was the blue-filled tube in the same ordinal slot position within the strip, or not?

Yes, it occupied the same ordinal slot position

Choices:
- A
- B
- C
- D

Here is the first image from the main bench.
Got it. The main bench contains a central yellow rack, several small containers, a damaged label freezer box, and a metal tool with a distinct shape cue.

Laboratory tubes and tools arranged on a bench for scientific experiments.

Now a later bench image taken after some routine handling.
Got it. The bench remains mostly stable, but one front positioned red capped tube is now absent from the rack, and the distinctive metal tool is also no longer in its earlier place.

Colorful lab vials and containers arranged on a bench for scientific experiments.

Here is a close up of the right side of the centrifuge station.
Got it. The close up confirms the well pattern on the strip and the shape distinction between the short tool here and the longer bent tool seen earlier.

A strip of microtubes with a blue sample and metal tweezers rest on a laboratory bench.


Question: In the first main prop-table image, which item sat closest to the front-right corner of the table surface ?

Choices:
- A
- B
- C
- D

Here is the first image from the main prop table.
Got it. The prop table contains a central hat, several handheld accessories, a damaged cream card, a blue bottle, a white jewelry item, and a clipped black tag.

A magician’s cluttered worktable is filled with vintage props, from a top hat and pocket watch to a skull and tarot cards.


Question: In the left-half prop-table crop, was the brass pocket watch placed closer to the singed-edged parchment or closer to the pearl necklace?

Choices:
- A
- B
- C
- D

Here is a closer crop of the left half of the table.
Got it. The close up confirms the distinct marking on the gold watch and the specific damage pattern on the cream card.

An old, blank parchment lies on a rustic wooden desk beside a vintage pocket watch and string of pearls.


Question: In the most recent images, where is the small brass compass that was originally on the left side of the fossil display case?

Choices:
- A
- B
- C
- D

Here is another fossil room image taken later that afternoon.
Got it. The fossil room layout is mostly unchanged, but one of the small metal objects that had been on the left is no longer visible.

A trilobite fossil is displayed in a museum case alongside a blue shell and an empty label.


Question: When comparing the truck route under the elevated road with the narrow storefront truck route, which later scene detail belongs to the elevated-road route?

Lane arrows and multiple vehicles fan out near the intersection.

Choices:
- A
- B
- C
- D

Here's checkpoint 3 on this route.
Got it, that's checkpoint 3.

A multi-lane city road passes under a wide overpass, with several cars and a small white truck, sidewalks with railings and shrubs on the left, and buildings, poles, and traffic lights in the background.

Here's checkpoint 4 on this route.
Got it, that's checkpoint 4.

A multi-lane street passes under a large overpass toward a signalized intersection with crosswalks, with a white box truck, a black taxi, and a gray van ahead, plus railings, a narrow divider, cyclists, and apartment buildings on the left.

A narrow paved city street with a box truck in the center is lined by sidewalks with black bollards, small trees, and storefront buildings on both sides.

A narrow paved city street between mid-rise buildings has a box truck ahead with cars beside it, and a wide sidewalk on the right lined with bollards, trees, signs, and a few bicycles near the building entrances.


Question: In the sunny route identified by the row of parked trucks and vans, what road-surface detail is visible as the car passes that row?

Blue painted arrows and patches appear on the pavement.

Choices:
- A
- B
- C
- D

Here's checkpoint 1 on this route.
Got it, that's checkpoint 1.

A gently curving two-lane street with several cars and box trucks, bordered by sidewalks with railings and trees, a fenced rail line and large apartment building on the left, and tall residential towers and streetlamps on the right.

Here's checkpoint 2 on this route.
Got it, that's checkpoint 2.

A gently curving two-way street lined with trees has several parked vans and trucks along the left curb, a small white car in the right lane, fenced railway tracks and a large apartment block on the left, and a sidewalk with railings and tall buildings on the right.

A gently curving city street lined with trees and tall apartment buildings has a row of cars and trucks along the left side, blue lane markings on the road, and a fenced sidewalk with a pedestrian on the right.


Question: In the night sequence with white lane posts and a pedestrian bridge overhead, what comes after the frame taken beneath the bridge?

It opens into a broader multi-lane night road with green lights farther ahead.

Choices:
- A
- B
- C
- D

A straight multi-lane city street at night passes beneath a pedestrian overpass with stairs on the left, with a few cars ahead, lane arrows and guardrails, and office buildings and sidewalks lining both sides.

A multi-lane city street at night curves slightly between tall office buildings, with several cars ahead, sidewalks with railings and trees on both sides, and green traffic lights in the distance.


Question: In the sunny sequence with red port cranes beyond a green fence, what route change is shown after the zebra-crossing views?

The route bends into a quieter road beside glass towers, with blue markings on the pavement.

Choices:
- A
- B
- C
- D

A two-way street intersects at a wide zebra crosswalk with sidewalks, bollards, trees, a fenced grassy area on the left, a van and parked cars ahead, bicycles on the right, and large port cranes in the background.

A two-lane road at a crosswalk is bordered by sidewalks, bollards, trees, a fenced grassy area on the left, a white van and parked cars ahead, and large red port cranes in the background.

A two-way road meets a side street at zebra crosswalks, with sidewalks, streetlights, a fenced grassy area on the left, several parked or stopped vehicles ahead, bicycles on the right, and large red port cranes visible beyond the trees.

A paved road curves left between sidewalks with bollard barriers, trees and bushes, a fenced grassy field on the right, streetlamps, and tall glass office buildings in the background.


Question: After the sunny route works past the row of parked trucks and vans, what tall roadside feature appears as the lane opens?

A tall pink curved sculpture appears beside the sidewalk.

Choices:
- A
- B
- C
- D

A straight two-way city street with a center line has parked vans and trucks along the left curb, blue road markings, black railings beside a tree-lined sidewalk on the right, and tall apartment buildings in the background.


Question: Which late-stage view continues the daytime route that earlier passed red port cranes beyond a green fenced open field?

It bends left into a quieter road with blue painted patches on the pavement.

Choices:
- A
- B
- C
- D

A zebra crosswalk spans a two-lane city street lined with mid-rise buildings, sidewalks, utility poles and overhead wires, with several cars, a small three-wheeled scooter, green traffic lights, and a low green roadside railing visible.

A wide city intersection at night has zebra crosswalks, several cars, two bicyclists in the roadway, a green traffic light, streetlights, and multi-story storefront buildings along the sidewalks.


Question: Of the weekly overview, weekly comparison trend, weekend dashboard, and weekly scorecard, which screen has the lowest Meal Variability?

Choices:
- A
- B
- C
- D

Here's the weekly overview.
Got it, I've got this one.

A sleek daily glucose dashboard visualizing time in range, trends, and lifestyle metrics for personalized blood sugar management.

Here's the comparison trend plot.
Okay, I've got this too.

Daily dashboard visualizing Maya Patel’s glucose trends, time in range, and lifestyle metrics for April 15, 2025.

Here's the weekend dashboard.
Got it, I'll keep it with today's context.

A sleek daily glucose dashboard visualizes time in range, meal variability, evening drift, and activity metrics for personalized health tracking.

And the weekly scorecard.
Okay, I'll keep that in mind.

Daily dashboard visualizing glucose trends, time in range, and lifestyle metrics for personalized health tracking.


Question: Between the D5 comparison card and the D5 follow-up trend, which one raises both Meal Variability and Evening Drift relative to the other?

Choices:
- A
- B
- C
- D

Here's the comparison card.
Got it, I'll keep that in context.

A daily glucose dashboard visualizing time in range, variability, trends, and lifestyle metrics for personalized blood sugar management.

And the follow-up trend.
Okay, I'll keep this with the rest.


Question: Comparing the baseline evening card view, the first guidance-anchor dashboard, and the final ring/card screen, which one has the lowest Evening Drift?

Choices:
- A
- B
- C
- D

Here's the evening dashboard card view.
Okay, I'll keep this with the rest.

Daily Glucose Dashboard showing stable glucose trends, high time in range, and key metrics for meals, movement, and evening patterns.

Here's the related trend screen.
Got it.

And the final ring/card screen.
Got it, I've got this one too.

A daily glucose dashboard visualizing time in range, meal variability, activity, and overall blood sugar trends.


Question: Comparing the first guidance-anchor dashboard, the D5 compact recap, and the bedtime subtle summary, which one has the lowest Evening Drift among the screens whose Meal Variability is at most 11 points?

Choices:
- A
- B
- C
- D

This is the recap dashboard.
Got it, I'll keep it with today's context.

A sleek daily glucose dashboard visualizes time in range, trends, and lifestyle metrics for personalized health tracking.

This is the compact summary screen.
Okay, I'll keep this with the rest.

A daily glucose dashboard visualizing time in range, variability, trends, and lifestyle responses for personalized health tracking.


Question: Comparing the updated-note daily card grid, the reinterpretation summary card, and the bedtime subtle summary, which one has the lowest Evening Drift while tying for the lowest Meal Variability?

Choices:
- A
- B
- C
- D

This is the daily card grid.
Got it.

Daily dashboard showing stable glucose trends with 90% time in range and key metrics for meals, activity, and evening patterns.

This is the summary card from that day.
Okay, I'll keep this with the rest.

Daily dashboard visualizing glucose trends, time in range, and lifestyle impacts throughout the day.


Question: On the workout day, which dashboard lowers Meal Variability the most relative to the pre-exercise dashboard without also being that day's lowest-drift screen?

Choices:
- A
- B
- C
- D

Here's the pre-workout dashboard.
Got it, I've got this one.

A sleek daily glucose dashboard visualizing time in range, variability, trends, and lifestyle metrics for personalized health tracking.

And the post-workout dashboard.
Okay, I've got this too.

Daily glucose dashboard showing stable trends, 80% time in range, and key metrics for meals, activity, and evening patterns.

This is the movement card.
Got it, I'll keep that in context.

A daily glucose dashboard visualizing time in range, meal variability, evening drift, and related health metrics.

Here's the end-of-day trend.
Got it, I'll keep it with today's context.

A daily glucose dashboard summarizes time in range, variability, trends, and lifestyle metrics for personalized blood sugar management.


Question: Among the baseline trend screen, the workout-day end-of-day trend, the D5 compact recap, and the bedtime subtle summary, which screen has the lowest Evening Drift within the subset that keeps Meal Variability under 20 points?

Choices:
- A
- B
- C
- D

Here's another screen from today.
Okay, I've got this too.

A sleek daily glucose dashboard summarizes time in range, variability, trends, and activity-related metrics for personalized health tracking.


Question: Between the baseline trend screen, the updated-note supporting trend, the D9 comparison trend, and the month-wrap comparison trend, which chart has the highest Evening Drift while still finishing lower than it starts?

Choices:
- A
- B
- C
- D

Here's the supporting trend.
Got it, I'll keep that in context.

A sleek daily dashboard visualizing glucose trends, time in range, and recovery metrics for personalized health tracking.

And the comparison trend after that.
Okay, I've got this too.

This is the multi-day comparison trend.
Okay, I've got this too.

Daily Glucose Dashboard showing stable glucose trends, high time-in-range, and key metrics for meals, activity, and evening patterns.


Question: Comparing the weekly ring summary, the D8 nightly recap, the D9 comparison trend, and the final overview screen, which chart finishes lower than it starts while also keeping Evening Drift above 4 hours?

Choices:
- A
- B
- C
- D

This is the ring summary.
Got it, I'll keep that in context.

A sleek daily glucose dashboard visualizes time in range, trends, and lifestyle metrics for personalized blood sugar management.

And here's the nightly recap.
Got it, I'll keep it with today's context.

A daily glucose dashboard shows stable blood sugar trends with 90% time in range and key metrics for meals, activity, and evening patterns.

Here's the final overview screen.
Got it, I'll keep it with today's context.


Question: Among the weekly comparison trend, the provisional summary card, the bedtime subtle summary, and the month summary dashboard, which screen combines the highest Time In Range with Evening Drift still above 4 hours?

Choices:
- A
- B
- C
- D

Here's the comparison trend plot.
Okay, I've got this too.

Daily dashboard visualizing Maya Patel’s glucose trends, time in range, and lifestyle metrics for April 15, 2025.

This is the summary card.
Okay, I'll keep this with the rest.

A digital daily glucose dashboard visualizes time in range, variability, trends, and lifestyle metrics for personalized health tracking.

Here's the month summary dashboard.
Got it, I've got this one.

A daily glucose dashboard visualizing time in range, variability, trends, and lifestyle metrics for personalized blood sugar management.


Question: Of the BOSS chats, which was the LAST one shown chronologically?

Choices:
- A
- B
- C
- D

Please save this chat screenshot.
I'll keep this chat screenshot for you.

Chat screenshot. Messages in order:
  - Daniel: Got harsh feedback on a PR. How do I respond without sounding defensive?
  - Priya: Acknowledge the point first. Then ask for the smallest change you can ship.
  - Daniel: Even if I disagree?
  - Priya: Especially then. Be precise about what you'd change instead.


Question: Of the 6 TRI chats, only ONE is a three-way group chat with all three corners present. Which?

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Elena: All — Sam's birthday Saturday. Bar at 8?
  - Ryan: I'm in.
  - Jordan: I'm in too. Bringing a small gift.
  - Elena: Cool. See you both.


Question: When is Sara's gallery opening? I need to put it on my calendar.

It was rescheduled to April 4 due to a venue flood — still 6pm Hayes Valley

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Sara: My gallery opening is next Saturday. Will you come?
  - Priya: Of course! Where?
  - Sara: Hayes Valley. 6pm. Bring a friend if you want.
  - Priya: I'll be there.

Chat screenshot. Messages in order:
  - Sara: Bad news on the gallery — venue had a flood, opening pushed to April 4.
  - Priya: Oh no. Same time, just different date?
  - Sara: Yeah — 6pm Hayes Valley still, just April 4 not the original Saturday.
  - Priya: Got it, updated my calendar.


Question: Priya was supposed to be out of office in May so Daniel could solo the sprint. Is that still the plan?

No — Priya canceled her May PTO, so she'll be around after all

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Priya: Marcus, requesting PTO for May 18-22. Family trip.
  - Marcus: Approved. Anything sprint-critical that week?
  - Priya: No — Daniel will be solo on the new feature, he's ready.
  - Marcus: Perfect. Have fun.

Chat screenshot. Messages in order:
  - Priya: Marcus, quick update on the May trip — flights canceled, family rescheduled to August.
  - Marcus: Oh no, sorry to hear. So no PTO May 18-22 anymore?
  - Priya: Right, withdrawing the request. I'll re-submit for August later.
  - Marcus: Got it, no problem.


Question: Tomas wanted driving lessons and his mom kept saying summer. Did she ever budge on that or is he still waiting?

She relented and said April was fine if grades stay up

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Tomas: Mom can I sign up for driving lessons?
  - Helen: Driving lessons? In February?
  - Tomas: All my friends are starting.
  - Helen: Wait until summer. Not before.

Here is another screenshot from the same chat.
I'll treat this as part of the same chat.

Chat screenshot. Messages in order:
  - Tomas: ok
  - Helen: We can talk about it again in May.
  - Tomas: fine

Chat screenshot. Messages in order:
  - Helen: Tomas — I changed my mind on driving lessons.
  - Tomas: wait what??
  - Helen: If your grades stay solid, you can start in April. First lesson Saturday the 4th.
  - Tomas: OMG THANK YOU


Question: Has Daniel ever had one-on-one work chats without Marcus present, and if so, with whom?

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Daniel: How do I write a good PR description here?
  - Priya: Three sections: what changed, why, how to test. Keep it short.
  - Daniel: Got it. Anything I should NOT do?
  - Priya: Don't paste full stack traces. Link to the issue instead.

Chat screenshot. Messages in order:
  - Daniel: Hi Jordan — I'm Daniel, your engineering co-lead for the marketing site refresh.
  - Jordan: Hey! Glad to meet. I've been pushing this project for months.
  - Daniel: Marcus told me to just dive in. Where do you want me to start?
  - Jordan: Pull the design tokens from Figma. I'll send the link.


Question: In the sprint planning chat between Marcus and Priya, are Marcus's message bubbles on the left side or the right side?

Choices:
- A
- B
- C
- D

Chat screenshot. Messages in order:
  - Marcus: Quick sync before sprint kickoff. Daniel starts next week.
  - Priya: Right. Are we pairing him with anyone?
  - Marcus: Yes — I'd like you to mentor him through onboarding.
  - Priya: Happy to. I'll get him into our shared repo on day one.