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international conflict and crisis zones, including Somalia during famine and civil war."},{"text":"A senior BBC political correspondent.","correct":false,"explanation":"The tempting mistake is confusing foreign reporting with domestic political journalism. Alagiah was a respected BBC foreign correspondent, reporting from countries affected by major crises."},{"text":"A humanitarian aid worker for the United Nations.","correct":false,"explanation":"His work involved witnessing and reporting suffering rather than delivering aid. Alagiah was a respected BBC foreign correspondent, not a United Nations humanitarian worker."},{"text":"A professional photographer for an international charity.","correct":false,"explanation":"The passage focuses on the ethical responsibilities of journalism, not charity photography. Alagiah was a respected BBC foreign correspondent who reported the story."}]},{"id":"eed5a102-9b62-4882-b580-b270d8b5b683","cardType":"basic","points":1,"front":"Where did Alagiah travel in 1992 to report famine and civil war?","back":"Gedo, Somalia.","mcqOptions":[{"text":"Gedo, Somalia.","correct":true,"explanation":"Alagiah travelled to Gedo, Somalia, in 1992 to report on the famine and civil war, bringing international attention to the region’s suffering."},{"text":"Mogadishu, Somalia.","correct":false,"explanation":"Mogadishu is a plausible location because it is Somalia’s capital, but the passage identifies Gedo, Somalia, as the place Alagiah visited in 1992."},{"text":"Addis Ababa, Ethiopia.","correct":false,"explanation":"Ethiopia is geographically close and also experienced severe famine, which makes this tempting. However, Alagiah travelled to Gedo, Somalia, for this report."},{"text":"Darfur, Sudan.","correct":false,"explanation":"Darfur is another region associated with famine and conflict, but it is not the location described here. The correct setting is Gedo, Somalia."}]},{"id":"9c48a023-ecd0-43a5-8f6e-fcbd174fb7fe","cardType":"cloze","points":null,"front":"Alagiah’s account moves beyond [ ] to question the [ ] of journalism.","back":"Alagiah’s account moves beyond cold statistics to question the morality of journalism.","mcqOptions":[{"text":"Alagiah’s account moves beyond cold statistics to question the morality of journalism.","correct":true,"explanation":"The account moves beyond impersonal numerical descriptions and examines whether journalism can ethically represent suffering without exploiting vulnerable people."},{"text":"Alagiah’s account moves beyond personal memories to question the accuracy of journalism.","correct":false,"explanation":"The passage does more than test factual accuracy: it moves beyond cold statistics to question the morality of journalism and its treatment of suffering."},{"text":"Alagiah’s account moves beyond cold statistics to question the power of journalism.","correct":false,"explanation":"Journalism’s influence is relevant, but the key ethical concern is its morality. The account moves beyond cold statistics to ask whether reporting suffering is morally justified."},{"text":"Alagiah’s account moves beyond graphic photographs to question the objectivity of journalism.","correct":false,"explanation":"The central contrast is not photographs and objectivity. Alagiah moves beyond cold statistics to question the morality of journalism and its possible exploitation of victims."}]},{"id":"aa4389f5-feca-46f3-af70-355cb46dc013","cardType":"basic","points":1,"front":"What purpose do shocking images serve for journalists in Alagiah’s moral conflict?","back":"They can provoke public action.","mcqOptions":[{"text":"They can provoke public action.","correct":true,"explanation":"Shocking images can make distant suffering emotionally immediate, encouraging audiences, governments, or organisations to respond and take action."},{"text":"They can guarantee political change.","correct":false,"explanation":"Images may encourage action, but they cannot guarantee that politicians will change policy. Their possible purpose is to provoke public action."},{"text":"They can protect victims’ privacy.","correct":false,"explanation":"Publishing shocking images may expose victims rather than protect their privacy. The moral justification offered is that such images can provoke public action."},{"text":"They can replace humanitarian aid.","correct":false,"explanation":"Images cannot provide food, medicine, or shelter, so they cannot replace aid. Their potential value is persuading the public to take action."}]},{"id":"f6987598-b009-4f41-b159-6aa85e735e3f","cardType":"basic","points":1,"front":"What moral risk comes with seeking shocking images of suffering?","back":"They can strip subjects of dignity.","mcqOptions":[{"text":"They can strip subjects of dignity.","correct":true,"explanation":"Displaying people at their most vulnerable can reduce them to images of suffering, denying their individuality and stripping them of dignity."},{"text":"They can strip subjects of identity.","correct":false,"explanation":"Loss of identity may occur, but the passage specifically emphasises the ethical danger of stripping suffering subjects of dignity through intrusive images."},{"text":"They can strip subjects of authority.","correct":false,"explanation":"Authority is not the main concern when photographing suffering. The moral risk is that seeking shocking images can strip subjects of dignity."},{"text":"They can strip subjects of independence.","correct":false,"explanation":"Journalists do not necessarily remove a person’s independence by photographing them. The specific ethical risk identified is the loss of dignity."}]},{"id":"1b73673f-600d-4f42-8a4c-826fea181c88","cardType":"basic","points":1,"front":"Which detail shows poverty destroying basic hygiene and privacy?","back":"The mother wipes her daughter with “few old leaves”.","mcqOptions":[{"text":"The mother wipes her daughter with “few old leaves”.","correct":true,"explanation":"The detail shows that extreme poverty has removed ordinary sanitation and privacy, forcing the mother to use a few old leaves to clean her daughter."},{"text":"The mother covers her daughter with “few old leaves”.","correct":false,"explanation":"The leaves are used for wiping, not covering. This detail reveals the destruction of basic hygiene and privacy through extreme poverty."},{"text":"The mother feeds her daughter with “few old leaves”.","correct":false,"explanation":"Leaves are not described as food in this detail. The mother wipes her daughter with them, showing the absence of proper hygienic materials."},{"text":"The mother shelters her daughter beneath “few old leaves”.","correct":false,"explanation":"The passage uses the leaves as a substitute for toilet paper or cleaning materials, not shelter. The correct detail is that she wipes her daughter with them."}]},{"id":"4e93a2d8-639a-4830-8d83-0e3f0236a789","cardType":"basic","points":2,"front":"What does describing journalists as “ghoulish” imply?","back":"They seem monster-like, feeding on death or suffering.","mcqOptions":[{"text":"They seem monster-like, feeding on death or suffering.","correct":true,"explanation":"“Ghoulish” carries supernatural and predatory associations, making the journalists seem like monsters who gain from observing death and human suffering."},{"text":"They seem heroic, rescuing victims from danger.","correct":false,"explanation":"The word “ghoulish” has sinister rather than heroic associations. It suggests journalists appear monster-like, feeding on or exploiting death and suffering."},{"text":"They seem invisible, avoiding attention from victims.","correct":false,"explanation":"“Ghoulish” does not suggest invisibility or restraint. It creates a disturbing image of journalists as monster-like figures drawn towards suffering."},{"text":"They seem professional, recording events objectively.","correct":false,"explanation":"Although journalists may aim to be objective, “ghoulish” is a condemnatory word. It suggests they seem monster-like and attracted to death or suffering."}]},{"id":"21fa8568-ab74-4cf6-a656-ddb4a30dad76","cardType":"cloze","points":null,"front":"The reporter’s job is framed as a [ ], making victims seem like [ ].","back":"The reporter’s job is framed as a “hunt”, making victims seem like prey.","mcqOptions":[{"text":"The reporter’s job is framed as a “hunt”, making victims seem like prey.","correct":true,"explanation":"The hunting metaphor makes reporting seem predatory: journalists pursue images while vulnerable people are reduced to prey rather than treated as individuals."},{"text":"The reporter’s job is framed as a “rescue”, making victims seem like survivors.","correct":false,"explanation":"This wording presents journalists as helpers, but the passage uses the more disturbing metaphor of a “hunt”, making victims seem like prey."},{"text":"The reporter’s job is framed as a “performance”, making victims seem like spectators.","correct":false,"explanation":"The passage does not portray victims as observers of journalism. It frames the reporter’s job as a “hunt”, making suffering people appear to be prey."},{"text":"The reporter’s job is framed as a “mission”, making victims seem like obstacles.","correct":false,"explanation":"A mission metaphor might suggest purpose, but it misses the predatory relationship. The reporter’s job is framed as a “hunt”, with victims reduced to prey."}]},{"id":"dc5f5163-3476-41f4-9877-990ab35f57f3","cardType":"basic","points":2,"front":"What does the media gaze risk doing to vulnerable people?","back":"It objectifies them into symbols of pity.","mcqOptions":[{"text":"It objectifies them into symbols of pity.","correct":true,"explanation":"The media gaze can reduce vulnerable individuals to passive images representing suffering, rather than presenting them as complex people with agency and dignity."},{"text":"It dehumanises them into statistics.","correct":false,"explanation":"Statistics can make suffering seem impersonal, but the specific risk identified here is objectification: turning people into symbols of pity for others to observe."},{"text":"It celebrates them as symbols of resilience.","correct":false,"explanation":"The passage challenges the gaze placed on suffering people rather than celebrating them. It risks objectifying them into symbols of pity instead of recognising their individuality."},{"text":"It protects them from public attention.","correct":false,"explanation":"Media attention may expose vulnerable people rather than protect them. The danger is that the gaze objectifies them, reducing their identities to symbols of pity."}]},{"id":"55bd2a4a-c192-4d33-8871-dd846cb23bb5","cardType":"cloze","points":null,"front":"The unnamed Somali man’s smile is the extract’s [ ] and [ ] pivot.","back":"The unnamed Somali man’s smile is the extract’s structural and emotional pivot.","mcqOptions":[{"text":"The unnamed Somali man’s smile is the extract’s structural and emotional pivot.","correct":true,"explanation":"The smile marks an important structural turning point and carries the extract’s emotional weight, shifting attention from mass suffering to one man’s experience."},{"text":"The unnamed Somali man’s smile is the extract’s narrative and visual pivot.","correct":false,"explanation":"The smile is significant, but the passage identifies its role as both structural and emotional. Narrative and visual do not capture those two specific functions."},{"text":"The unnamed Somali man’s smile is the extract’s comic and optimistic pivot.","correct":false,"explanation":"The smile is not presented as comic or genuinely optimistic; it expresses embarrassment and deepens the passage’s emotional seriousness."},{"text":"The unnamed Somali man’s smile is the extract’s descriptive and historical pivot.","correct":false,"explanation":"The smile does not mainly organise description or historical background. Its importance is structural and emotional because it redirects the extract’s focus and feeling."}]},{"id":"a66168b0-015b-48cd-833d-ddce602258af","cardType":"basic","points":1,"front":"What does the man’s smile express?","back":"Embarrassment at his own physical degradation, not joy.","mcqOptions":[{"text":"Embarrassment at his own physical degradation, not joy.","correct":true,"explanation":"His smile is an embarrassed reaction to the degrading condition in which Alagiah sees him, so it should not be interpreted as happiness or joy."},{"text":"Pride in his own physical strength, not fear.","correct":false,"explanation":"The man’s condition gives no basis for reading the smile as pride in physical strength. It expresses embarrassment at his own degradation, not joy."},{"text":"Joy at receiving attention, not shame.","correct":false,"explanation":"The smile does not show uncomplicated pleasure at being noticed. It reveals embarrassment about his physical degradation, making joy an inaccurate interpretation."},{"text":"Anger at Alagiah’s presence, not discomfort.","correct":false,"explanation":"Although the encounter is uncomfortable, the smile is not primarily an angry response to Alagiah. It expresses embarrassment at the man’s own physical degradation."}]},{"id":"6305b5b6-9fbf-4215-87fa-14c26527c8a4","cardType":"basic","points":2,"front":"How does the man’s smile affect Alagiah’s view of his own privilege?","back":"It makes his privilege feel like “an insult”.","mcqOptions":[{"text":"It makes his privilege feel like “an insult”.","correct":true,"explanation":"The man’s smile forces Alagiah to recognise the painful contrast between his own privileged position and the man’s suffering, making that privilege feel offensive."},{"text":"It makes his privilege feel like “a blessing”.","correct":false,"explanation":"Alagiah does not feel grateful or comforted by the contrast. The encounter makes his privilege feel morally disturbing, like “an insult” to the man’s suffering."},{"text":"It makes his privilege feel like “a burden”.","correct":false,"explanation":"The privilege creates guilt and self-questioning, but the passage uses the sharper image of “an insult,” emphasising how offensive the contrast feels."},{"text":"It makes his privilege feel like “a reward”.","correct":false,"explanation":"The encounter undermines any sense that privilege is deserved or rewarding. Instead, Alagiah sees it as “an insult” beside the man’s degrading circumstances."}]},{"id":"cfbbeae1-b294-4363-b028-c3c7ebd8d3f2","cardType":"cloze","points":null,"front":"Phase 1 moves from [ ] faces to the single [ ] that remains.","back":"Phase 1 moves from “a thousand” faces to the single “one face” that remains.","mcqOptions":[{"text":"Phase 1 moves from “a thousand” faces to the single “one face” that remains.","correct":true,"explanation":"Phase 1 narrows the reader’s focus from the overwhelming image of “a thousand” faces to the memorable individual image of “one face”."},{"text":"Phase 1 moves from “a hundred” faces to the single “one face” that remains.","correct":false,"explanation":"The narrowing to one face is correct, but the original scale is “a thousand” faces. Replacing it with “a hundred” weakens the deliberate sense of overwhelming numbers."},{"text":"Phase 1 moves from “a thousand” faces to the single “many faces” that remains.","correct":false,"explanation":"The passage moves from a large collective image to one individual face. “Many faces” reverses that narrowing, so it misses the structural movement."},{"text":"Phase 1 moves from “a dozen” faces to the single “the crowd” that remains.","correct":false,"explanation":"Both quantities are wrong and reverse the extract’s narrowing effect. Phase 1 moves from “a thousand” faces to the single “one face”."}]},{"id":"746b4b48-3257-4e23-8cbc-f4f710803b87","cardType":"basic","points":2,"front":"What is the purpose of the individual vignettes in Phase 2?","back":"They humanise the statistics through individual suffering.","mcqOptions":[{"text":"They humanise the statistics through individual suffering.","correct":true,"explanation":"The vignettes give specific people distinct experiences, preventing the statistics from remaining abstract and helping the reader understand suffering as personal and human."},{"text":"They quantify the statistics through individual suffering.","correct":false,"explanation":"The vignettes do not primarily add numerical measurement. They humanise statistics by attaching large-scale suffering to individual people and their experiences."},{"text":"They hide the statistics through individual suffering.","correct":false,"explanation":"The individual stories do not conceal the statistics; they make their meaning more accessible. Their purpose is to humanise abstract numbers through personal suffering."},{"text":"They separate the statistics from individual suffering.","correct":false,"explanation":"The vignettes connect statistics with individual suffering rather than separating them. This makes the scale of the crisis emotionally understandable."}]},{"id":"6621e05c-e097-431e-97a6-2116c80a389e","cardType":"basic","points":2,"front":"What shift happens in Phase 3?","back":"The focus moves to Alagiah’s internal moral crisis.","mcqOptions":[{"text":"The focus moves to Alagiah’s internal moral crisis.","correct":true,"explanation":"Phase 3 turns inward, concentrating on Alagiah’s guilt, discomfort and ethical self-questioning as he confronts his privileged position."},{"text":"The focus moves to Alagiah’s professional ambitions.","correct":false,"explanation":"The final phase is not concerned with career aims or professional success. It focuses on Alagiah’s internal moral crisis and his response to privilege."},{"text":"The focus moves to the region’s political recovery.","correct":false,"explanation":"The passage does not shift towards political recovery. Its emphasis becomes personal and reflective, exploring Alagiah’s internal moral crisis."},{"text":"The focus moves to the man’s physical recovery.","correct":false,"explanation":"There is no movement towards the man recovering physically. The focus shifts instead to Alagiah’s internal moral crisis and moral discomfort."}]},{"id":"f82b5aef-37bc-424c-868d-74eae83cdf75","cardType":"cloze","points":null,"front":"Alagiah’s olfactory imagery includes [ ], forcing a [ ] response.","back":"Alagiah’s olfactory imagery includes “the smell of decaying flesh”, forcing a visceral response.","mcqOptions":[{"text":"Alagiah’s olfactory imagery includes “the smell of decaying flesh”, forcing a visceral response.","correct":true,"explanation":"The decaying smell appeals directly to the reader’s sense of smell and creates a visceral response, making the suffering immediate, physical and difficult to ignore."},{"text":"Alagiah’s olfactory imagery includes “the scent of wild flowers”, forcing a comforting response.","correct":false,"explanation":"Pleasant floral imagery would soften rather than confront the reader with suffering. The extract uses “the smell of decaying flesh” to force a visceral response."},{"text":"Alagiah’s olfactory imagery includes “the smell of fresh bread”, forcing a nostalgic response.","correct":false,"explanation":"Fresh bread could evoke comfort or memory, but it does not represent the extract’s disturbing sensory detail. “The smell of decaying flesh” creates a visceral response."},{"text":"Alagiah’s olfactory imagery includes “the scent of clean water”, forcing a rational response.","correct":false,"explanation":"Clean water would suggest relief rather than physical horror. The passage’s olfactory imagery is “the smell of decaying flesh,” which forces a visceral response."}]},{"id":"1c66f155-49f5-46b4-b629-3d5b7999f8cb","cardType":"basic","points":2,"front":"Why is smell imagery especially disturbing in the extract?","back":"Smell bypasses intellectual detachment.","mcqOptions":[{"text":"Smell bypasses intellectual detachment.","correct":true,"explanation":"Smell produces an immediate, visceral response that is difficult to rationalise or distance oneself from, forcing both Alagiah and the reader to confront the suffering directly."},{"text":"Smell establishes geographical context.","correct":false,"explanation":"Geographical context helps readers understand where events occur, but it does not explain why smell is especially disturbing. Smell bypasses intellectual detachment by provoking an immediate physical response."},{"text":"Smell creates visual spectacle.","correct":false,"explanation":"Visual imagery may create a memorable spectacle, but the question focuses specifically on smell. Smell bypasses intellectual detachment and makes the suffering viscerally unavoidable."},{"text":"Smell provides emotional relief.","correct":false,"explanation":"Smell does not provide relief from the extract’s horror. Instead, it bypasses intellectual detachment, preventing the observer from maintaining a comfortable professional distance."}]},{"id":"30c5089a-df4b-460e-b4f6-5a8522214897","cardType":"basic","points":2,"front":"What does the contrast of “cold, cold hand” and “hot cheek” emphasise?","back":"The threshold between life and death.","mcqOptions":[{"text":"The threshold between life and death.","correct":true,"explanation":"The cold hand suggests a body close to or already in death, while the hot cheek retains living warmth, placing the person at the threshold between life and death."},{"text":"The division between wealth and poverty.","correct":false,"explanation":"The temperature contrast concerns the victim’s physical condition, not economic inequality. It emphasises the threshold between life and death through the opposition of coldness and living warmth."},{"text":"The conflict between duty and compassion.","correct":false,"explanation":"Although Alagiah’s role creates moral tension elsewhere, the contrasting temperatures do not chiefly represent professional conflict. They emphasise the victim’s threshold between life and death."},{"text":"The transition from illness to recovery.","correct":false,"explanation":"The contrast does not suggest recovery, because the cold hand evokes death rather than returning health. Together, coldness and heat emphasise the threshold between life and death."}]},{"id":"ea9de6f5-7685-45f3-9bcb-bff09d22c9bf","cardType":"basic","points":2,"front":"What is the effect of “And then there was the face I will never forget”?","back":"It halts the reader and signals a tonal shift.","mcqOptions":[{"text":"It halts the reader and signals a tonal shift.","correct":true,"explanation":"The opening conjunction and decisive temporal marker interrupt the preceding description, while the unforgettable face introduces a more personal, reflective, and emotionally affected tone."},{"text":"It accelerates the narrative and sustains the detached tone.","correct":false,"explanation":"The sentence interrupts rather than accelerates the narrative, directing concentrated attention towards the face. It halts the reader and signals a shift into a more personal tone."},{"text":"It reassures the reader and makes the face seem ordinary.","correct":false,"explanation":"The declaration that the face will never be forgotten makes it uniquely significant rather than ordinary. It halts the reader and announces an important tonal shift."},{"text":"It broadens the focus and returns to general description.","correct":false,"explanation":"The sentence narrows attention to one unforgettable face rather than widening the scene. This interruption halts the reader and marks a shift towards personal emotional engagement."}]},{"id":"0ceb2351-3743-4bb9-8a76-661eff476023","cardType":"cloze","points":null,"front":"Alagiah’s rhetorical questions mirror his [ ] as his professional certainty [ ].","back":"Alagiah’s rhetorical questions mirror his internal disorientation as his professional certainty crumbles.","mcqOptions":[{"text":"Alagiah’s rhetorical questions mirror his internal disorientation as his professional certainty crumbles.","correct":true,"explanation":"The unanswered questions reproduce Alagiah’s confused inner debate. They reveal that his usual confidence as an experienced reporter is breaking down under the emotional pressure of what he witnesses."},{"text":"Alagiah’s rhetorical questions mirror his calm objectivity as his professional certainty strengthens.","correct":false,"explanation":"The rhetorical questions reveal confusion rather than calm objectivity. Alagiah experiences internal disorientation as his established professional certainty crumbles in response to the encounter."},{"text":"Alagiah’s rhetorical questions mirror his external authority as his professional certainty crumbles.","correct":false,"explanation":"Although professional confidence is under pressure, the questions do not express external authority. They mirror internal disorientation as Alagiah’s professional certainty crumbles."},{"text":"Alagiah’s rhetorical questions mirror his internal disorientation as his professional certainty recovers.","correct":false,"explanation":"The questions expose a destabilised inner response, but his certainty does not recover. They mirror internal disorientation precisely because his professional confidence is crumbling."}]},{"id":"4489b168-c6b9-447a-997d-bdf0357f803f","cardType":"basic","points":2,"front":"How does “the craving for a soft target” criticise the media?","back":"“Craving” suggests addictive hunger for others’ misery.","mcqOptions":[{"text":"“Craving” suggests addictive hunger for others’ misery.","correct":true,"explanation":"The noun “craving” has compulsive, bodily connotations, portraying the media as addicted to finding easily exploited suffering that will satisfy its appetite for dramatic stories."},{"text":"“Craving” suggests compassionate concern for others’ welfare.","correct":false,"explanation":"The phrase criticises exploitation rather than praising ethical concern. “Craving” suggests that the media has an addictive hunger for vulnerable people’s misery and easily sensationalised suffering."},{"text":"“Craving” suggests reluctant exposure to others’ suffering.","correct":false,"explanation":"A craving is an intense desire, not an indication of reluctant involvement. The word presents the media as possessing an addictive hunger for other people’s misery."},{"text":"“Craving” suggests balanced reporting of others’ hardship.","correct":false,"explanation":"The metaphor does not imply careful neutrality; it depicts an uncontrolled appetite. “Craving” suggests the media is addictively hungry to exploit the misery of vulnerable people."}]},{"id":"01cf7c19-e080-4363-8432-3567c3f61ea7","cardType":"basic","points":2,"front":"What does “a rich man’s luxury” suggest about pity?","back":"Pity depends on safe, wealthy privilege.","mcqOptions":[{"text":"Pity depends on safe, wealthy privilege.","correct":true,"explanation":"Calling pity a luxury implies that emotional sympathy is easiest for those protected by wealth and safety, unlike people whose immediate struggle for survival leaves no such comfort."},{"text":"Pity depends on direct, personal suffering.","correct":false,"explanation":"The phrase presents pity as available to the secure and wealthy, not as something created by suffering. It therefore suggests that pity depends on safe, wealthy privilege."},{"text":"Pity depends on natural, moral superiority.","correct":false,"explanation":"Alagiah’s metaphor links pity with wealth and security rather than moral superiority. It suggests sympathy is a luxury enabled by safe, wealthy privilege."},{"text":"Pity depends on shared, universal experience.","correct":false,"explanation":"The phrase does not make pity universal; describing it as a rich man’s luxury restricts it to those protected by security and wealth."}]},{"id":"4881c0c4-55a9-41e1-91a5-91e155636f5f","cardType":"basic","points":2,"front":"What is the effect of repeating “most” in “most disgusting, the most degenerate, the most terrible”?","back":"It creates escalating sensationalism and endless media appetite.","mcqOptions":[{"text":"It creates escalating sensationalism and endless media appetite.","correct":true,"explanation":"The repeated superlative intensifier builds a mounting list of horrors. This escalation imitates sensationalist reporting and implies that the media continually demands still more extreme suffering."},{"text":"It creates measured objectivity and restrained media judgement.","correct":false,"explanation":"The repeated “most” intensifies the description rather than creating restraint. It produces escalating sensationalism and exposes the media’s apparently endless appetite for increasingly extreme horror."},{"text":"It creates narrowing specificity and limited media interest.","correct":false,"explanation":"The repetition does not reduce the horror to a single example; it intensifies each successive description. This creates escalating sensationalism and suggests an endless media appetite."},{"text":"It creates comforting reassurance and declining media appetite.","correct":false,"explanation":"The accumulating superlatives heighten rather than soften the language. They create escalating sensationalism and criticise the media’s endless appetite for the most shocking suffering."}]}]}],"examCountdown":{"examDate":"2027-05-24","paperLabel":"Paper 1"},"heading":"A Passage to Africa – George Alagiah","title":"A Passage to Africa – George Alagiah Flashcards","topbar":{"backHref":"/igcse/english-language/edexcel/a/flashcards"},"topicSidebar":"$L37"}]}],"topicId":"f345611a-5415-5c94-897d-b69e0f7f6415","walled":"$L38"}],"$L39","$L3a"]