Given a document, find the main entity about whom the author is writing. Write the full name if mentioned in the text. Note that URLs in the text have been replaced with [Link].

Example Input: One of the reasons  Jimmy Vesey  didnât sign with  his  hometown Bruins when the Harvard product was a college free agent in 2016 was because  he  wanted to get out of  his  comfort zone.  He  sure looks comfortable playing against them.
 Vesey  scored twice in a 29-second span in the first period in the Rangersâ 4-2 home win Wednesday night against Boston  the Blueshirtsâ fifth straight win as they continue to distance themselves from their rough start to the year.
For Buchnevichâs fellow sophomore Vesey  Wednesday represented some progress in that he remained a contributor until the final horn. In three of the previous five games   Vesey  had either had limited third-period ice time or been benched altogether for the third.
 Jimmy Vesey  celebrates  his  first of two goals scored. (Bruce Bennett/Getty Images)
âMaybe he wasnât finishing on a lot  but  Jimmy  was working hard and  like you saw (Wednesday) early on  before he scored the goals  he made a couple real strong plays along the wall in our end that permitted us to get the puck out â Vigneault said. âSo thereâs more than just finishing.â
Example Output: Jimmy Vesey

Example Input: What is known for sure about  American military scientist Frank Olson  is that on November 28  1953  the bacteriologist and father of three plunged to  his  death from the thirteenth floor of the Statler hotel in New York City  not long after  he  was secretly drugged with LSD on the orders of  his  CIA superior. Whether  Olson  was pushed  or jumped  or was nudged into committing suicide remains unclear. But indeterminacy with a generous side of conspiracy is catnip to director Errol Morris  who has made either a 241-minute film or a six-part television series depending on where and how you plan to watch it  about the tragedy's long reach into  Olson 's family and America's secretive political culture.
 Olson 's death  and the murk surrounding its cause  cast a defining shadow over the life of his son Eric  whose endless quest to find out what happened that night has pre-empted all other endeavors. The blight spread around his family. His mother became an alcoholic with  the film implies  the active encouragement of one of her husband's colleagues. But Eric  now in his sixties  has arguably been completely derailed by the tragedy. He is the central focus of Wormwood  a hybrid blend of documentary and Cold War thriller that makes The B-Side  Morris's loving portrait of radical photographer Elsa Dorfman earlier this year  look almost straightforward.
Moving back and forth between the 1953 events and 1975  when a Rockefeller commission confirmed that an army scientist had been purposefully drugged with hallucinogens   Wormwood carries us from secret meetings at Deer Lake through the long tail of misery and obfuscation left by  Frank 's death  to Eric's pursuit of the truth all the way to the corridors of power.
In hushed and menacing re-enactments  Peter Sarsgaard  whose mild manner lends itself to all kinds of tonal nuance  charts the decline and fall of  Olson   a patriotic team player whose growing unease about his agency's secretive involvement in biological warfare overseas first worries his boss (a reptilian Tim Blake Nelson) and then moves him to seize the day and use his hapless employee as a guinea pig. By the time  Frank  arrives at the hotel flanked by ambiguously supportive colleagues  he's rapidly unraveling into a gibbering wreck.
Wormwood's breathless  hopped-up style harks back to Morris's 1988 The Thin Blue Line  which called into question a murder verdict and resulted in the release of a wrongly convicted suspect from Death Row. Here the noir markers are writ so large as to verge now and then on self-parody. Morris keeps returning the action to the hotel to act out different angles and competing versions of what happened to  Olson  that night. The hypothetical range between possible perps â  Frank 's boss  his friends  two wordless thugs in fedoras  a CIA allergist played by a sinister Bob Balaban â is narrow enough to make these scenes a touch repetitive if you're watching in one sitting. Certainly they underscore Morris's standing as a lifelong participant observer of American paranoia. For which  it must be said  there is undeniable fodder in the manner of Olsen's going  the secrecy surrounding his death  the ambivalent admissions the Rockefeller Commission along with a dwindling financial settlement that looks suspiciously like hush money to  Olson  and to Morris  and the merrily chuckling presence in old footage of two well-known knowns  Donald Rumsfeld and Dick Cheney.
For all the formal beauty of the re-enactments  the most compelling scenes in Wormwood are the unembellished interviews that Morris â ordinarily an off-screen interlocutor with an appetite for the subtly leading question â is seen conducting across a table with Eric Olson  who waves his arms around with the befuddled intensity of a superannuated schoolboy as he tells his story. Articulate and charming  Eric is a talented collage artist who seems to have sacrificed career and significant relationships to his endless search for justice and truth  even after the case was officially closed and after he contacts investigative reporter Seymour Hersh  who first reported the drugging of  Olson  in The New York Times. Grandiose as always  Hersh insists that  he knows who murdered Frank Olson   but won't say for fear of compromising an anonymous source. We can't tell whether  he 's fibbing either.
A romantic view â and I wouldn't entirely put this past Morris â is that  Olson  is  like  his  interlocutor  an artist with a magnificent obsession that sustains  him  even when it's doomed to failure. But in Wormwood  he  emerges with enormous poignancy as a tragic figure  perpetually stuck in limbo like the father we see tumbling  over and over  to  his  fate.
Example Output: Frank Olson

Example Input: In 1992  Clint Eastwoodâs  âUnforgivenâ won four Academy Awards and sent  his  career on an entirely new trajectory.
Yes  it was a Western and  Eastwood  had made plenty of those already but  âUnforgiven â was different. It had some action but mostly it was a bleak character study and was regarded by many as âart.â Whether intending to or  not Eastwood  had become an auteur.
In the wake of this critical and artistic breakthrough  Warner Brothers â  Eastwood âs exclusive distributor for  his  entire output as a director since  his  debut âPlay Misty for Meâ in 1971 â began to position not all but most of  his  future efforts as âOscar bait.â Thirteen of Eastwoodâs next 19 films came out in the fall â the highly-treasured time of year reserved for awards contenders. The six that were not released in autumn were low achievers such as âAbsolute Powerâ and âBlood Workâ and lightweight fluff like the senior citizen buddy comedy âSpace Cowboysâ and the bizarre misfire that was âJersey Boys.â
Warner Brotherâs long term  Eastwood  strategy paid off in spades. Since and including âUnforgiven â Eastwoodâs films have been nominated for 35 Oscars and have won 12 with  Eastwood himself  walking away with four as well as receiving the prestigious Irving G. Thalberg Memorial Award in 1994.
Less than a dozen people have won more Oscars than  Eastwood  and most of those were in technical categories. Not bad for a guy who used to co-star with monkeys.
Beginning in 2006 with âFlags of Our Fathersâ and âLetters from Iwo Jimaâ (shot at the same time but released three months apart)  Eastwoodâs choice of material started to change. The political content began to increase (âJ. Edgar â âInvictus â âGran Torinoâ) and although not overt it confirmed what many had known for a while:  Eastwood  was a conservative. While a moderate on most social issues   Eastwood  considers  himself  a âpragmatic Libertarianâ who eschews political correctness and  his  output in the last dozen years has indicated that  he âs an unabashed patriot.
While not a backer of most American Wars  he âs a staunch and unwavering supporter of armed service personnel  a point made with unmistakable clarity in âAmerican Sniper.â In addition to being the highest-grossing movie of 2014 and Eastwoodâs career  this throttling and unflinching bio-drama about the late Chris Kyle (Bradley Cooper) lit a welcomed fire under red state Middle America.  Eastwood  pulled off a delicate balancing act by crafting an inspirational  crowd-pleasing film that didnât pander while acknowledging the efforts of an American hero without addressing the war itself.
âThe 15:17 to Parisâ â the new movie about the three soldiers that thwarted the 2015 Thlys Train Attack â opens this Friday and it is the first  Eastwood  movie in at least 20 years that was not made available for advance press viewing.
Instead of hiring regular actors to portray the leads   Eastwood  cast the actual soldiers who confronted the terrorist â a bold move indeed and one sure to appeal to fans of âAmerican Sniper.â
Example Output:
Clint Eastwood