In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Q: Passage: The party turned for home after 73 days' southward travel. Rations had been cut several times to extend the return journey time beyond the original 110-day estimate. Shackleton now aimed to reach Hut Point in 50 days, since according to Shackleton's prior orders Nimrod, having returned to take the expedition home, would depart on 1 March at the latest. The four men were now much weakened, yet in the following days they achieved impressive distances, reaching the head of the glacier on 19 January. As they began the descent they had five days' food at half rations, to last them until the Lower Glacier depot; during the ascent the same distance had taken 12 days. Shackleton's physical condition was by now a major concern, yet according to Adams "the worse he felt, the harder he pulled".The depot was reached on 28 January. Wild, ill with dysentery, was unable to pull or to eat anything but biscuits, which were in short supply. On 31 January Shackleton forced his own breakfast biscuit on Wild, a gesture that moved Wild to write: "BY GOD I shall never forget. Thousands of pounds would not have bought that one biscuit". A few days later, the rest of the party were struck with severe enteritis, the result of eating tainted pony-meat. But the pace of march had to be maintained; the small amounts of food carried between depots would make any delay fatal. However, a strong wind behind them enabled them to set a sail on the sledge and maintain a good marching rate.
"We are so thin that our bones ache as we lie on the hard snow", wrote Shackleton. From 18 February onward they began to pick up familiar landmarks, and on the 23rd they reached Bluff Depot, which to their great relief had been copiously resupplied by Ernest Joyce. The range of delicacies over and above the crates of regular supplies was listed by Shackleton: "Carlsbad plums, eggs, cakes, plum pudding, gingerbread and crystallised fruit". Wild's laconic comment was "Good old Joyce".Their food worries were now resolved, but they still had to get back to Hut Point before the 1 March deadline. The final leg of their march was interrupted by a blizzard, which held them in camp for 24 hours. On 27 February, when they were still 33 nautical miles (61 km; 38 mi) from safety, Marshall collapsed. Shackleton then decided that he and Wild would make a dash for Hut Point in hopes of finding the ship and holding her until the other two could be rescued. They reached the hut late on 28 February. Hoping that the ship was nearby, they sought to attract its attention by setting fire to a small wooden hut used for magnetic observations. Shortly afterwards Nimrod, which had been anchored at the Glacier Tongue, came into view: "No happier sight ever met the eyes of man", wrote Wild later. It was a further three days before Adams and Marshall could be picked up from the Barrier, but by 4 March the whole southern party was aboard and Shackleton was able to order full steam towards the north.

A: What is the first name of "Good old Joyce?"?
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Q: Passage: Van der Weyden's depiction of the Magdalen is based on Mary of Bethany, identified by the time of Pope Gregory I as the repentant prostitute of Luke 7:36–50. She then became associated with weeping and reading: Christ's mercy causes the eyes of the sinner to be contrite or tearful. Early Renaissance artists often conveyed this idea by portraying contemplative eyes, associating tears with words, and in turn weeping with reading. Examples can be seen in 16th-century works by Tintoretto and Titian which show the Magdalen reading, often with her eyes averted towards her book (and presumably away from a male gaze), or looking up to the heavens or, sometimes, glancing coyly towards the viewer. Writing in "The Crying Face", Mosche Barasch explains that in van der Weyden's time the gesture of averting or concealing the eyes became a "pictorial formula for crying".
By the medieval period, reading became synonymous with devotion, which involved withdrawal from public view. Van der Weyden's placement of the Magdalen in an interior scene reflects the increasing literacy of domestic or laywomen in the mid-15th century. The increased production of devotional texts showed that noble women of the period routinely read texts such as a psalter or book of hours in the privacy of their homes. Whether the Magdalen herself was a reader, by the 17th century she was firmly established as such in the visual arts. Because the Magdalen was present at Christ's death and subsequent resurrection, she was seen as the bearer of news—a witness—and hence directly associated with the text.The Magdalen imagery further draws on the idea of Christ as the word, represented by a book, with the Magdalen as the reader learning of her own life story in a moment of reflection and repentance.  Her devotion to reading reflects her traditional status as the piously repentant harlot, as well as a prophetess or seer.  According to legend, the Magdalen lived the last 30 years of her life as a hermit in Sainte-Baume and is often shown with a book, reading or writing, symbolizing her later years of contemplation and repentance. By the 13th century she acquired the imagery of a once-shamed woman who, clothed in long hair, now hid her nakedness in exile and "borne by angels, floats between heaven and earth".The Magdalen's ointment jar was common in the lexicon of art in van der Weyden's period. Mary of Bethany may have used a jar when she repented of her sins at Christ's feet in her home; by the Renaissance, the image of the Magdalen was of the woman who bathed Christ's feet with her tears and dried them with her hair. She signified the "sacrament of anointing (Chrism and Unction)" by pouring precious spikenard on Christ's feet at his tomb.

A: What is the first name of the Magdalen who became associated with weeping and reading?
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Q: Passage: In Hollywood, director Fred Amiel, movie star Georgia Lorrison, and screenwriter James Lee Bartlow each refuse to speak by phone to Jonathan Shields in Paris. Movie producer Harry Pebbel gathers them in his office and explains that Shields was calling them because he has a new film idea and he wants the three of them for the project.  Shields cannot get financing on his own, but with their names attached, there would be no problem.  Pebbel asks the three to allow him to get Shields on the phone before they give their final answer.
As they await Shields' call, Pebbel assures the three that he understands why they refused to speak to Shields.  The backstory of their involvement with Shields then unfolds in a series of flashbacks. Shields is the son of a notorious former studio head who had been dumped by the industry. The elder Shields was so unpopular that his son had to hire "extras" to attend his funeral.  Despite the industry's ill feelings toward him because of his father, the younger Shields is determined to make it in Hollywood by any means necessary.
Shields partners with aspiring director Amiel, whom he meets at his father's funeral. Shields intentionally loses money he does not have in a poker game to film executive Pebbel, so he can talk Pebbel into letting him work off the debt as a line producer. Shields and Amiel learn their respective trades making B movies for Pebbel. When one of their films becomes a hit, Amiel decides they are ready to take on a more significant project he has been nursing along, and Shields pitches it to the studio. Shields gets a $1 million budget to produce the film, but betrays Amiel by allowing someone with an established reputation to be chosen as director.  The film's success allows Shields to start his own studio, and Pebbel comes to work for him there.  Amiel, now independent of Shields, goes on to become an Oscar-winning director in his own right.

A:
What is the last name of the person who becomes a Oscar-winning director in his own right?
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