Read the poem. Cell Phone Sides

“What do you want
for your birthday, Sarah?
It’s not every day you turn eleven.”

“My own cell phone…?
Now Dad, no grumpy face.
Everyone has a phone. No big deal.”

“Not you. Not yet.”
Peer pressure, bullies,
he thinks. “It will interfere with homework.”

“Don’t you trust me?
I know how to study,
and it will help me be responsible.”

“You might lose it.
What about the expense?
What about your hearing, your neck, your eyes?”

“Please, Daddy, please,”
she begs, wrapping herself
and all her hopes and dreams around his neck.

“I don’t think so,”
he grumbles to the blur
stomping out—his pain, his heart, his baby.

She tries again.
“Kids need their freedom, friends.
What about calling in emergencies?”

“And touching base,
Sarah. But the minutes
talking, texting, tuning out—priceless waste?”

“I’ll pay, promise!
Give up my allowance,
Do extra chores, walk the plank. Please, Dad, please?”

“We’ll see...”
Based on the details, what is a theme of “Cell Phone Sides”?

People will sacrifice a lot for love.
Children learn important lessons as they grow.
Parents want what is best for their children.
One can learn a lot from the experiences of others.

Announcer two: ladies and gentlemen, following on the news given in our bulletin a moment ago, the government meteorological bureau has requested the large observatories of the country to keep an astronomical watch on any further disturbances occurring on the planet mars. due to the unusual nature of this occurrence, we have arranged an interview with noted astronomer professor pierson, who will give us his views on the event. in a few moments we will take you to the princeton observatory at princeton, new jersey. we return you until then to the music of ramón raquello and his orchestra. the passage is from the transcript of the radio adaptation of the war of the worlds by h. g. wells. instead of including expert interviews, h. g. wells uses a narrator to tell about an alien invasion that occurred a few years earlier. by including expert interviews, how does the radio broadcast change the story most effectively? o. a. it puts the story in the past tense, increasing its personal tone. o o b. it makes the broadcast sound more like a fictional story. o o c. it makes the broadcast sound like a news report. o d. it makes the story sound less believable by changing who presents the story's details.