A TV or Online Programme That You Enjoy Watching

Part 3 follow-up questions

These are the discussion questions examiners asked after this cue card. Sample answers are shown where available.

1. 1. What types of TV or online programmes/shows are popular in your country?

   May–Aug 2026
   Compare Band 6.5 / 7.0 / 7.5 for this question

   Band 6.5

   The plain closing 'which my grandmother watches very loyally' states the observation simply, without a vivid comparison.

   My parents' evening covers most of it in about three hours: first the seven o'clock news, which almost everyone their age watches, then a Korean drama, and then a dating game show, all without even changing the channel. Korean and Chinese dramas are very popular on television, but younger people have mostly moved to streaming shows, reality competitions, and short videos that aren't really programmes at all. Comedy game shows with celebrities are also huge and quite loud, which feels very Vietnamese. Football is the one thing that brings all ages together, especially when the national team plays. And there's a long history of historical dramas, which my grandmother watches very loyally.

   Why this band

   • FC“My parents' evening covers most of it in about three hours:” — A plain, complete-sentence opener with a colon leading into a list, typical of 6.5's directness, compared with 7.0's 'basically' and 7.5's leaner unhedged version of the same structure.
   • LR“brings all ages together” — A general, everyday phrase, less precise than the more specific 'unites the ages' used at higher bands.
   • GRA“Comedy game shows with celebrities are also huge and quite loud, which feels very Vietnamese.” — A simple sentence with a relative clause tacked on, typical of plain 6.5 grammar, compared with the noun-phrase construction used at 7.5.

   Band 7.0

   The simile 'something close to religious loyalty' adds a more developed, reflective comparison than a plain adverb.

   My parents' evening basically covers most of it in about three hours: the seven o'clock news, which almost every household of their age watches, then a Korean drama, then a dating or matchmaking show, all without ever changing the channel. Korean and Chinese-language dramas still dominate television, whereas younger people have largely moved on to streaming series from everywhere, reality competitions, and short videos that aren't really programmes at all. Comedy game shows with celebrities are huge too, and pretty loud, which honestly feels very Vietnamese. Football is the one thing that unites the ages, especially when the national team is playing. And there's a long tradition of historical dramas, which my grandmother follows with something close to religious loyalty.

   Why this band

   • FC“My parents' evening basically covers most of it” — The tag 'basically' softens and personalises the topic sentence, a slightly more natural spoken move than 6.5's unhedged version.
   • LR“largely moved on to streaming series” — The phrasal verb 'moved on to' is a more natural, idiomatic collocation than 6.5's plainer 'moved to'.
   • GRA“which my grandmother follows with something close to religious loyalty” — The noun phrase 'something close to religious loyalty' as the object of 'follows... with' shows more flexible grammar than 6.5's simpler adverbial 'watches very loyally'.

   Band 7.5

   The semicolon-linked 'Korean and Chinese-language dramas dominate television; younger people have moved to streaming series' and the closing comparison to religion give the answer a tighter, more vivid shape.

   My parents' evening covers most of it in three hours: the seven o'clock news, which almost every household of their age watches, then a Korean drama, then a dating or matchmaking game show, all without changing channel. Korean and Chinese-language dramas dominate television; younger people have moved to streaming series from everywhere, reality competitions, and short videos that aren't programmes at all. Comedy game shows with celebrities are huge and very Vietnamese in their sheer noise level. Football is the one thing that unites the ages, especially when the national team plays. And there's a long tradition of historical dramas, which my grandmother watches with the same loyalty other people reserve for religion.

   Why this band

   • FC“dominate television; younger people have moved to streaming series from everywhere” — The semicolon links the generational contrast directly, a tighter cohesive device than 7.0's 'whereas'-joined version.
   • LR“sheer noise level” — The intensifier 'sheer' paired with 'noise level' is more vivid and precise than 7.0's plainer 'pretty loud'.
   • GRA“my grandmother watches with the same loyalty other people reserve for religion” — The comparative clause 'the same loyalty other people reserve for religion' is a more flexible, extended construction than 7.0's shorter 'something close to religious loyalty'.

2. 2. Do younger and older people enjoy watching similar programmes/shows?

   May–Aug 2026
   Compare Band 6.5 / 7.0 / 7.5 for this question

   Band 6.5

   The plain closing 'the idea of everyone watching the same programme together is slowly disappearing' states the trend directly.

   Rarely, I think, which is why that Japanese show is unusual — it's the only programme that both my four-year-old nephew and my sixty-year-old father ask for. I think that's because it doesn't really depend on any cultural background to enjoy. In general, older people want familiar formats, their own language, and news or dramas with a clear message. Younger people want speed, humour, and content from anywhere in the world. They even watch differently — a television in the living room versus a phone in bed. They do share some things, like sport and family game shows. But the idea of everyone watching the same programme together is slowly disappearing.

   Why this band

   • FC“Rarely, I think, which is why that Japanese show is unusual” — A plain statement with the hedge 'I think' inserted, typical of 6.5's directness, compared with 7.0's fuller 'Rarely, I'd say, which is exactly why' and 7.5's leaner, unhedged version.
   • LR“a clear message” — A general, plain phrase, less precise than the more specific 'a fairly clear moral' used at higher bands.
   • GRA“They do share some things, like sport and family game shows.” — A simple sentence with a comparative example, typical of plain 6.5 grammar, compared with the cleft construction 'Where they do overlap is' used at higher bands.

   Band 7.0

   The cleft structure 'Where they do overlap is sport, family game shows, and the occasional national event' shows more developed, economical grammar.

   Rarely, I'd say, which is exactly why that Japanese show is so unusual: it's the only programme both my four-year-old nephew and my sixty-year-old father actually request. I think it's because there's no cultural reference in it to be excluded by. In general, older people tend to want familiar formats, their own language, and news and drama with a fairly clear moral; younger people want speed, irony, and content from literally anywhere on earth. The way they watch differs too — a television in the living room versus a phone in bed. Where they do overlap is sport, family game shows, and the occasional national event. But honestly, the shared living room is disappearing, and with it the whole habit of watching the same thing together at all.

   Why this band

   • FC“Rarely, I'd say, which is exactly why that Japanese show is so unusual:” — The colon leading into the explanation, with the hedge 'I'd say' inserted mid-sentence, is a slightly more natural spoken rhythm than 6.5's dash-based version.
   • LR“no cultural reference in it to be excluded by” — This precise phrase is more developed and specific than 6.5's vaguer 'doesn't really depend on any cultural background to enjoy'.
   • GRA“Where they do overlap is sport, family game shows, and the occasional national event.” — A cleft sentence ('Where... is...') shows more economical, sophisticated grammar than 6.5's plain 'They do share some things, like...' sentence.

   Band 7.5

   The compact opener with no hedge and the tight semicolon-linked contrasts give the answer an economical, confident shape.

   Rarely, which is why that Japanese show is unusual: it's the only programme both my four-year-old nephew and my sixty-year-old father request, and I think it's because it has no cultural reference to be excluded by. In general, older people want familiar formats, their own language, news and drama with clear morals; younger people want speed, irony, and content from anywhere on earth. The delivery differs too — a television in the living room versus a phone in bed. Where they overlap is sport, family game shows and the occasional national event. The shared living room is disappearing, and with it the habit of watching the same thing at all.

   Why this band

   • FC“Rarely, which is why that Japanese show is unusual:” — This version drops the hedge 'I'd say' entirely, joining the claim and its explanation directly with a colon, a more confident fluency than 7.0's hedged opener.
   • LR“no cultural reference to be excluded by” — This slightly tighter version of the same phrase, dropping 'in it', is a more economical variant than 7.0's fuller wording.
   • GRA“older people want familiar formats, their own language, news and drama with clear morals; younger people want speed, irony, and content from anywhere on earth” — The semicolon links the two contrasting generational clauses directly, a tighter construction than 7.0's version, which uses the word 'whereas' is absent and instead relies on the plainer 'younger people want' as a fresh sentence.

3. 3. Why do some people spend so much time watching TV and online programmes/shows?

   May–Aug 2026
   Compare Band 6.5 / 7.0 / 7.5 for this question

   Band 6.5

   The plain closing 'this is where most stories are now' states the point simply.

   Often it's to avoid thinking about something else. A colleague of mine watched four seasons of a series in one week after a breakup, and when I asked her why, she said it was 'to stop thinking' — a screen is a cheap and easy way to distract yourself. Also, shows are designed to keep you watching, because the next episode starts automatically and each episode ends with a question. Some people are lonely, and a familiar group of characters feels like company. Some people are just tired, and watching doesn't require any effort. And some people genuinely love stories, and this is where most stories are now.

   Why this band

   • FC“Often it's to avoid thinking about something else.” — A plain, short topic sentence, typical of 6.5's directness, compared with 7.0's fuller hedged version and 7.5's leaner unhedged one.
   • LR“a cheap and easy way to distract yourself” — A general, everyday phrase, less vivid than 7.0's and 7.5's more precise 'the cheapest, most available anaesthetic there is'.
   • GRA“Also, shows are designed to keep you watching, because the next episode starts automatically and each episode ends with a question.” — A long sentence with a single 'because' clause, typical of plain 6.5 grammar, compared with the colon-introduced version used at higher bands.

   Band 7.0

   The metaphor 'the cheapest, most available anaesthetic there is' adds a more developed, vivid comparison than a plain description.

   Often it's to avoid something else, I'd say. A colleague of mine watched four seasons of a series in a single week after a breakup, and when I asked her why, she said it was 'to stop thinking' — screens are basically the cheapest, most available anaesthetic there is. Beyond that, programmes are genuinely designed to keep you hooked: the next episode starts by itself, and the plot ends nearly every episode on some kind of question. Some people are lonely, and a familiar cast becomes a sort of company. Some are simply exhausted, and watching asks absolutely nothing of them. And some people genuinely love stories, and this happens to be where the stories mostly are now. The time spent is rarely the plan; it's really just what fills the hours nobody planned for.

   Why this band

   • FC“Often it's to avoid something else, I'd say.” — The hedge 'I'd say' is appended to the short topic sentence, a more natural spoken rhythm than 6.5's unhedged version.
   • LR“the cheapest, most available anaesthetic there is” — This vivid medical metaphor is far more developed than 6.5's plainer 'a cheap and easy way to distract yourself'.
   • GRA“The time spent is rarely the plan; it's really just what fills the hours nobody planned for.” — The semicolon-linked antithesis shows more controlled cohesion than 6.5's simpler standalone sentences making the same point.

   Band 7.5

   The compact opener 'Often to avoid something else' and the adverb 'quietly' in the closing give the answer an economical, understated finish.

   Often to avoid something else. A colleague of mine watched four seasons of a series in a single week after a breakup, and when I asked why, she said 'to stop thinking' — screens are the cheapest and most available anaesthetic there is. Beyond that, programmes are designed to keep you hooked: the next episode starts by itself, and the plot ends every episode on a question. Some people are lonely and a familiar cast is company. Some are exhausted and watching asks nothing of them. And some genuinely love stories, and this is where the stories are now. The time is rarely the plan; it's what quietly fills the hours nobody planned.

   Why this band

   • FC“Often to avoid something else.” — This three-word fragment drops the hedge 'I'd say' entirely, the most compact and confident opener of the three versions.
   • GRA“the cheapest and most available anaesthetic there is” — This slightly tightened version of the same metaphor, using 'and' instead of a comma, is marginally more economical than 7.0's wording.
   • LR“it's what quietly fills the hours nobody planned” — The adverb 'quietly' adds a subtle, vivid touch beyond 7.0's plainer 'it's really just what fills the hours nobody planned for'.

4. 4. What makes some TV or online programmes/shows popular?

   May–Aug 2026
   Compare Band 6.5 / 7.0 / 7.5 for this question

   Band 6.5

   The plain closing idiom 'basically half the battle' states the observation directly, in a familiar everyday phrase.

   They need a risk that everyone understands, and a moment worth sharing. That toddler-errand show works because everyone, in any country, understands what's at risk when a three-year-old crosses a road, and a video clip of a child forgetting something can be sent to a friend in ten seconds. Popular programmes give viewers something to feel, like suspense, laughter, or sadness, and something to talk about the next day. Characters that people care about matter more than the plot. Timing also matters — a show that appears when people need comfort spreads faster. And now, being easy to cut into short clips is basically half the battle.

   Why this band

   • FC“They need a risk that everyone understands, and a moment worth sharing.” — A plain, complete-sentence opener, typical of 6.5's directness, compared with 7.0's fuller hedged version and 7.5's leaner, unhedged rewording.
   • LR“a video clip of a child forgetting something” — A general, plain phrase, less specific than the vivid 'a single clip of a child forgetting the tofu' used at higher bands.
   • GRA“Popular programmes give viewers something to feel, like suspense, laughter, or sadness, and something to talk about the next day.” — A long sentence with a simple 'like' list, typical of plain 6.5 grammar, compared with the dash-set list used at higher bands.

   Band 7.0

   The dash-set list 'suspense, laughter, tears' and the semicolon-linked closing shows more developed structure than a plain listing sentence.

   A stake everyone understands, I'd say, and a moment that's genuinely worth sharing. That errand show works because anyone, in any country, immediately understands what's at risk when a three-year-old crosses a road, and a single clip of a child forgetting the tofu can be sent to a friend in ten seconds and make them stop and watch. Popular programmes give viewers something to actually feel — suspense, laughter, tears — and something to talk about the next day. Characters people genuinely care about matter more than the plot ever does. Timing matters too: a show that arrives exactly when people need comfort or escape tends to spread faster. And these days, being clippable is basically half the game; a programme that can't be cut into thirty seconds struggles to even be found.

   Why this band

   • FC“A stake everyone understands, I'd say, and a moment that's genuinely worth sharing.” — The hedge 'I'd say' is inserted mid-sentence, a more natural spoken rhythm than 6.5's unhedged version of the same opener.
   • LR“a single clip of a child forgetting the tofu” — This precise, vivid detail is more developed and specific than 6.5's vaguer 'a video clip of a child forgetting something'.
   • GRA“being clippable is basically half the game; a programme that can't be cut into thirty seconds struggles to even be found” — The semicolon links two related independent clauses directly, a tighter, more complex construction than 6.5's single standalone closing sentence.

   Band 7.5

   The compact opener with no hedge and the idiom 'in ten seconds flat' give the answer an economical, vivid edge.

   A stake everyone understands, and a moment worth sharing. That toddler-errand show works because anyone, anywhere, knows exactly what's at risk when a three-year-old crosses a road, and a single clip of a child forgetting the tofu can be sent to a friend in ten seconds flat and make them stop and watch. Popular programmes give viewers something to feel — suspense, laughter, tears — and something to talk about the next day. Characters people care about matter more than plots ever do. Timing matters: a show that lands exactly when people need comfort or escape spreads faster. And now, being clippable is half the game; a programme that can't be cut into thirty seconds struggles to be found at all.

   Why this band

   • FC“A stake everyone understands, and a moment worth sharing.” — This version drops the hedge 'I'd say' entirely, joining the two elements directly with 'and', a more confident fluency than 7.0's hedged opener.
   • LR“in ten seconds flat” — The idiom 'flat' intensifies the time phrase, more vivid and natural than 7.0's plainer 'in ten seconds'.
   • GRA“a show that lands exactly when people need comfort or escape spreads faster” — The verb 'lands' replaces 7.0's more neutral 'arrives', a small but telling grammatical choice that adds idiomatic precision to the clause.

5. 5. Do you agree or disagree that there are too many programmes/shows for people to choose from these days?

   May–Aug 2026
   Compare Band 6.5 / 7.0 / 7.5 for this question

   Band 6.5

   The plain closing 'choice has become more of a chore than a benefit' states the conclusion directly.

   I agree, and I have proof from my own Sunday nights. My sister and I once spent forty minutes scrolling through a streaming menu, rejected everything, and ended up watching the same Japanese show again — so much choice actually made us feel stuck instead of happy. More choice sounds like freedom, but every new option makes you worry that something better exists somewhere. Good programmes also get lost in the flood, so things I might have loved I never even found. There is a good side — smaller interests are served now, and nobody has to watch whatever the one channel decided. But I think choice has become more of a chore than a benefit.

   Why this band

   • FC“I agree, and I have proof from my own Sunday nights.” — A plain statement with the evidence tacked on via 'and', typical of 6.5's directness, compared with 7.0's fuller 'I've got the evidence... to prove it' and 7.5's leaner version.
   • LR“made us feel stuck instead of happy” — A general, everyday phrase, less precise than the more abstract, technical 'the abundance produced paralysis, not pleasure' used at higher bands.
   • GRA“so much choice actually made us feel stuck instead of happy” — A simple clause using everyday adjectives, typical of plain 6.5 grammar, compared with the abstract noun pairing 'paralysis, not pleasure' used at higher bands.

   Band 7.0

   The abstract noun pairing 'the abundance produced paralysis, not pleasure' shows more developed, precise phrasing than a plain description.

   I agree, and I've got the evidence of my own Sunday nights to prove it. My sister and I once spent forty minutes scrolling through a streaming menu, rejected absolutely everything, and ended up rewatching the same Japanese show we always watch — the abundance produced paralysis, not pleasure. More choice sounds like freedom, but honestly, each new option just raises the fear that something better must exist, and the platforms have turned the menu itself into a kind of entertainment. Good programmes also drown in the flood; plenty of things I'd probably have loved, I never found. The upside is real, to be fair — niche tastes get served now, and nobody has to watch whatever the one channel decided for them. But there's a point past which choice turns into a chore, and I'd say we're well past it.

   Why this band

   • FC“I agree, and I've got the evidence of my own Sunday nights to prove it.” — The added verb phrase 'to prove it' extends the claim with a small rhetorical flourish, more developed than 6.5's plainer version of the same idea.
   • LR“the abundance produced paralysis, not pleasure” — This precise abstract-noun antithesis is far more developed than 6.5's plainer 'made us feel stuck instead of happy'.
   • GRA“Good programmes also drown in the flood; plenty of things I'd probably have loved, I never found.” — The semicolon-linked clause, with the fronted object 'plenty of things I'd probably have loved', shows more flexible word order than 6.5's plainer 'so'-clause sentence.

   Band 7.5

   The compact opener and the fronted clause 'things I'd have genuinely loved, I simply never found' give the answer an economical, emphatic shape.

   I agree, and I have the evidence of my own Sunday nights. My sister and I once spent forty minutes scrolling through a streaming menu, rejected everything, and ended up rewatching the same Japanese show — the abundance produced paralysis, not pleasure. More choice sounds like freedom, but each new option raises the fear that something better exists, and the platforms have turned the menu itself into a form of entertainment. Good programmes also drown in the flood; things I'd have genuinely loved, I simply never found. The upside is real — niche tastes are served, and nobody has to watch whatever the one channel decided. But there's a point past which choice becomes a chore, and we're well past it.

   Why this band

   • FC“I agree, and I have the evidence of my own Sunday nights.” — This version drops the verb phrase 'to prove it', ending the sentence more economically than 7.0's fuller version of the same opener.
   • LR“things I'd have genuinely loved, I simply never found” — The intensifier 'genuinely' paired with 'simply' sharpens the emotional contrast beyond 7.0's plainer 'plenty of things I'd probably have loved, I never found'.
   • GRA“there's a point past which choice becomes a chore, and we're well past it” — The confident, unhedged closing 'we're well past it' replaces 7.0's hedged 'I'd say we're well past it', a more flexible and assertive grammatical choice.

6. 6. What do you think of the view that parents should choose what programmes/shows their children watch?

   May–Aug 2026
   Compare Band 6.5 / 7.0 / 7.5 for this question

   Band 6.5

   The plain closing 'Choosing is only for one stage, but knowing is permanent' states the conclusion simply.

   I think it's right for young children, but less so as they get older. My sister chooses everything for her four-year-old, but she negotiates with her eleven-year-old, and watches with both of them, which seems like the correct approach. A small child can't judge what might frighten or mislead them, and programmes made for children aren't always good for them. As children grow older, choosing for them stops working well and can even teach them to hide things — it's better to watch together and talk about what they saw. But at any age, I think a parent should always know what their child is watching. Choosing is only for one stage, but knowing is permanent.

   Why this band

   • FC“I think it's right for young children, but less so as they get older.” — A plain statement with the hedge 'I think' fronted, typical of 6.5's directness, compared with 7.0's mid-sentence 'I'd say' and 7.5's unhedged version.
   • LR“aren't always good for them” — A general, plain phrase, less precise than the more specific 'aren't always on their side' used at higher bands.
   • GRA“Choosing is only for one stage, but knowing is permanent.” — A simple contrastive sentence with 'but', typical of plain 6.5 grammar, compared with the tighter semicolon version at higher bands.

   Band 7.0

   The semicolon-linked antithesis 'Choosing is really a stage; knowing is permanent' shows a tighter, more developed closing than a plain contrastive sentence.

   Right for young children, I'd say, and gradually less so as they get older. My sister chooses everything for her four-year-old, negotiates with her eleven-year-old, and watches with both, which seems to me the correct shape overall: a small child genuinely can't judge what will frighten or mislead them, and programmes aimed at them aren't always on their side. As children grow, choosing for them stops working and starts teaching secrecy instead; it's better to watch together, talk about what they've seen, and set limits on time rather than on specific titles. The one thing I'd hold to at any age, though, is that a parent should know what their child watches. Choosing is really a stage; knowing is permanent.

   Why this band

   • FC“Right for young children, I'd say, and gradually less so as they get older.” — This fragment opener with the hedge inserted mid-phrase is more compact than 6.5's fuller sentence with the hedge fronted.
   • LR“stops working and starts teaching secrecy instead” — The precise phrase 'teaching secrecy' is more developed and specific than 6.5's vaguer 'can even teach them to hide things'.
   • GRA“Choosing is really a stage; knowing is permanent.” — The semicolon-balanced antithesis is a tighter, more compact construction than 6.5's 'but'-joined version of the same idea.

   Band 7.5

   The compact opener 'Right for young children, and gradually less so' drops the hedge for an economical, confident start.

   Right for young children, and gradually less so. My sister chooses everything for her four-year-old, negotiates with the eleven-year-old, and watches with both, which seems to me the correct shape: a small child can't judge what will frighten or mislead them, and the programmes aimed at them aren't always on their side. As children grow, choosing for them stops working and starts teaching secrecy; better to watch together, talk about what they've seen, and set limits on time rather than on titles. The one thing I'd hold to at any age is that a parent should know what their child watches. Choosing is a stage; knowing is permanent.

   Why this band

   • FC“Right for young children, and gradually less so.” — This version drops the hedge 'I'd say' entirely, joining the claim and its qualification directly with 'and', a more confident fluency than 7.0's hedged opener.
   • GRA“better to watch together, talk about what they've seen, and set limits on time rather than on titles” — The verbless imperative-style clause 'better to watch together' is a slightly more economical construction than 7.0's fuller 'it's better to watch together'.
   • LR“starts teaching secrecy” — This slightly tighter version, dropping 'instead', is marginally more economical while keeping the same precise collocation used at 7.0.

7. 7. What social problems might individuals have when they spend too much time watching a screen?

   May–Aug 2026
   Compare Band 6.5 / 7.0 / 7.5 for this question

   Band 6.5

   The plain opener 'The first problem is simply not being there' states the idea directly, in everyday words.

   The first problem is simply not being there. A friend of mine stopped coming to our monthly dinners because every evening had a TV series in it, and when he came back after a year, he found normal conversation really difficult. Watching too much screen time takes away the time that friendships actually need. It can also change what people expect — someone whose social life is on a screen might compare real friends to TV characters and find real friends boring. Sleep gets worse, then mood, then patience. And there's a quieter problem too — someone who just watches life instead of joining it slowly becomes an audience, and audiences don't get invited back.

   Why this band

   • FC“The first problem is simply not being there.” — A plain, short topic sentence, typical of 6.5's directness, compared with 7.0's hedged 'The first problem, I'd say, is simply absence' and 7.5's leaner, more formal noun 'absence'.
   • LR“not being there” — A plain, everyday phrase, less precise than the more formal single noun 'absence' used at higher bands.
   • GRA“Watching too much screen time takes away the time that friendships actually need.” — A simple sentence with a relative clause, typical of plain 6.5 grammar, compared with the more formal 'crowds out' construction used at higher bands.

   Band 7.0

   The formal noun 'absence' and the verb phrase 'crowds out' show more precise, developed vocabulary than a plain description.

   The first problem, I'd say, is simply absence. A friend of mine stopped coming to our monthly dinners because every evening had a series in it, and when he finally came back after a year, he genuinely found conversation hard — he was out of practice with the pauses, the interruptions, the general effort of dealing with other people. Heavy screen time crowds out the unplanned contact that friendships are actually built on. It can also distort expectations: people whose social life happens mostly on screen sometimes compare their real friends to written ones and find the real ones dull by comparison. Sleep suffers first, then mood, then patience. And there's a quieter problem underneath it all — a person who just watches life rather than joining it slowly turns into an audience, and audiences don't tend to get invited back.

   Why this band

   • FC“The first problem, I'd say, is simply absence.” — The hedge 'I'd say' is inserted mid-sentence, a more natural spoken rhythm than 6.5's unhedged version.
   • LR“absence” — This single, formal, abstract noun is more precise than 6.5's plainer phrase 'simply not being there'.
   • GRA“Heavy screen time crowds out the unplanned contact that friendships are actually built on.” — The verb phrase 'crowds out' plus the passive 'are actually built on' shows more sophisticated grammar than 6.5's plainer 'takes away the time that friendships actually need'.

   Band 7.5

   The compact opener with no hedge and the phrase 'the sheer effort of other people' give the answer an economical, precise finish.

   The first problem is simply absence. A friend of mine stopped coming to our monthly dinners because every evening had a series in it, and when he came back after a year he found conversation genuinely hard — out of practice with the pauses, the interruptions, the sheer effort of other people. Heavy screen time crowds out the unplanned contact that friendships are actually made of. It can also distort expectations: people whose social life sits mostly on a screen start comparing real friends to written ones and finding them dull. Sleep suffers, then mood, then patience. And there's a quieter problem still — a person who watches life rather than joining it slowly becomes an audience, and audiences don't get invited back.

   Why this band

   • FC“The first problem is simply absence.” — This version drops the hedge 'I'd say' entirely, stating the claim directly, a more confident fluency than 7.0's hedged opener.
   • LR“the sheer effort of other people” — The intensifier 'sheer' is more vivid and precise than 7.0's plainer 'the general effort of dealing with other people'.
   • GRA“he found conversation genuinely hard — out of practice with the pauses, the interruptions, the sheer effort of other people” — The dash introduces a fragment list without repeating the subject and verb, a more compact, elliptical construction than 7.0's fuller 'he was out of practice with' clause.

8. 8. Do you agree or disagree that the programmes/shows people watch can influence their expectations of society?

   May–Aug 2026
   Compare Band 6.5 / 7.0 / 7.5 for this question

   Band 6.5

   The plain closing 'the shows a society watches quietly tell people what to expect' states the conclusion directly.

   I strongly agree, and I've actually watched it happen with one four-year-old. After a few weeks of that errand show, my nephew asked why he couldn't go to the shop alone 'like the Japanese children', and his idea of what a child is allowed to do had changed. Programmes show us what's normal — how families argue, what homes look like, how police behave, what success means. People who watch a lot of crime shows tend to think crime is more common than it really is, and people who watch a lot of wealth can start to feel poor. It isn't usually done on purpose, and real life still pushes back a bit. But the shows a society watches quietly tell people what to expect.

   Why this band

   • FC“I strongly agree, and I've actually watched it happen with one four-year-old.” — A plain statement of position with the evidence tacked on via 'and', typical of 6.5's directness, compared with 7.0's fuller hedged version and 7.5's terser dash-linked one.
   • LR“think crime is more common than it really is” — A general, plain phrase, less precise than the single formal verb 'overestimate' used at higher bands.
   • GRA“It isn't usually done on purpose, and real life still pushes back a bit.” — A simple contrastive sentence with 'and', typical of plain 6.5 grammar, compared with the more formal 'rarely deliberate, and never total' construction at higher bands.

   Band 7.0

   The formal verb 'overestimate' and the balanced 'rarely deliberate, and never total' show more precise, developed phrasing.

   Strongly agree, I'd say — I've watched it happen at the scale of exactly one four-year-old. After a few weeks of that errand show, my nephew asked why he couldn't go to the shop alone 'like the Japanese children', and his sense of what a child is actually allowed to do had genuinely shifted, without anyone deciding it should. Programmes tell us what's supposedly normal: how families argue, what homes look like, how police behave, what counts as success. People who watch a lot of crime drama tend to overestimate how much crime there actually is, and people who watch a lot of wealth on screen can start to feel poor by comparison. It's rarely deliberate, and never total, since real life pushes back eventually. But the stories a society watches are, quietly, its instructions for what to expect.

   Why this band

   • FC“Strongly agree, I'd say — I've watched it happen at the scale of exactly one four-year-old.” — The hedge 'I'd say' inserted after the two-word opener, plus the dash-linked elaboration, is a more natural spoken rhythm than 6.5's fuller 'and'-joined sentence.
   • LR“tend to overestimate how much crime there actually is” — The single precise verb 'overestimate' is more formal and economical than 6.5's plainer 'think crime is more common than it really is'.
   • GRA“It's rarely deliberate, and never total, since real life pushes back eventually.” — The parallel adverbial pair 'rarely deliberate, and never total' followed by a 'since' clause shows more complex, balanced grammar than 6.5's simpler 'and'-joined sentence.

   Band 7.5

   The semicolon-balanced pair 'People who watch a lot of crime drama overestimate crime; people who watch a lot of wealth start to feel poor' gives the answer a tight, memorable rhythm.

   Strongly agree — I've watched it happen at the scale of one four-year-old. After a few weeks of that errand show, my nephew asked why he couldn't go to the shop alone 'like the Japanese children', and his sense of what a child is allowed to do had shifted without anyone deciding it should. Programmes tell us what's normal: how families argue, what homes look like, how police behave, what success means. People who watch a lot of crime drama overestimate crime; people who watch a lot of wealth start to feel poor. It's rarely deliberate and never total, since real life pushes back. But the stories a society watches are, quietly, its instructions for what to expect.

   Why this band

   • FC“Strongly agree — I've watched it happen at the scale of one four-year-old.” — This version drops both the hedge 'I'd say' and the word 'exactly', stating the claim in the most compact and confident form of the three.
   • GRA“People who watch a lot of crime drama overestimate crime; people who watch a lot of wealth start to feel poor.” — The semicolon-balanced pair of parallel clauses is tighter and more rhythmic than 7.0's fuller version joined with 'and'.
   • LR“overestimate crime” — This compact two-word collocation is even more economical than 7.0's fuller 'tend to overestimate how much crime there actually is'.

9. 9. How might society change if most people watched only entertainment programmes/shows and never watched the news?

   May–Aug 2026
   Compare Band 6.5 / 7.0 / 7.5 for this question

   Band 6.5

   The plain closing image 'finds out about the flood only when the water finally arrives' states the conclusion directly.

   I think it would become easier to govern, but harder to govern well. During the floods upriver from Da Nang last year, some of my colleagues only heard about it days later because their social media feeds were full of comedy videos. Without news, people lose the shared facts that arguments actually need, so public discussion turns into rumours, and people in power get less scrutiny. Charity and protest both depend on people knowing something bad is happening. There is a small upside — news can also distort things, and a less worried public isn't all bad. But a society that only entertains itself finds out about the flood only when the water finally arrives.

   Why this band

   • FC“I think it would become easier to govern, but harder to govern well.” — A plain statement with the hedge 'I think' fronted, typical of 6.5's directness, compared with 7.0's mid-sentence hedge and 7.5's unhedged version.
   • LR“comedy videos” — A general, plain phrase, less precise than the more specific 'comedy clips' used consistently at higher bands.
   • GRA“Without news, people lose the shared facts that arguments actually need, so public discussion turns into rumours, and people in power get less scrutiny.” — A long sentence chaining 'so' and 'and' clauses, a simple additive structure typical of plain 6.5 grammar.

   Band 7.0

   The idiom 'the water is already at the door' gives the closing image a more vivid, developed edge than a plain statement.

   It would become easier to govern, I'd say, but genuinely harder to govern well. During the floods upriver from Da Nang last year, several of my colleagues found out days late, simply because their feeds were entirely comedy clips — a small preview, really, of a society that's both amused and uninformed at the same time. Without news, people lose the shared facts that real arguments depend on, so public debate slides into rumour, and those in power face noticeably less scrutiny. Both charity and protest depend on people actually knowing something is wrong. There's a small upside, to be fair — news can distort things too, and a slightly less anxious public isn't entirely bad. But a society that only entertains itself is, in the end, one that finds out about the flood only when the water is already at the door.

   Why this band

   • FC“It would become easier to govern, I'd say, but genuinely harder to govern well.” — The hedge 'I'd say' is inserted mid-sentence, a more natural spoken rhythm than 6.5's fronted 'I think'.
   • LR“a small preview, really, of a society that's both amused and uninformed at the same time” — This precise, reflective aside is more developed than 6.5's plainer, unelaborated description of the same event.
   • GRA“a society that only entertains itself is, in the end, one that finds out about the flood only when the water is already at the door” — The cleft construction 'is, in the end, one that...' with the idiom 'at the door' shows more complex, flexible grammar than 6.5's plainer final sentence.

   Band 7.5

   The compact opener with no hedge and the colon-introduced concession give the answer an economical, confident shape.

   It would become easier to govern and harder to govern well. During floods upriver from Da Nang last year, several colleagues learned about them days late because their feeds were entirely comedy clips — a small preview of a society that's amused and uninformed at the same time. Without news, people lose the shared facts that arguments need, so public debate turns into rumour, and those in power face less scrutiny. Charity and protest both depend on people knowing something is wrong. There's a small upside: news can distort too, and a less anxious public isn't all bad. But a society that only entertains itself is one that finds out about the flood only once the water is already at the door.

   Why this band

   • FC“It would become easier to govern and harder to govern well.” — This version drops the hedge 'I'd say' entirely, joining the two contrasting outcomes directly with 'and', a more confident fluency than 7.0's hedged opener.
   • GRA“There's a small upside: news can distort too, and a less anxious public isn't all bad.” — The colon introduces the concession directly onto the claim, a tighter cohesive device than 7.0's dash-linked 'to be fair' version.
   • LR“finds out about the flood only once the water is already at the door” — The conjunction 'once' replaces 7.0's 'when', a small but more precise temporal choice that sharpens the final image.