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].

Q: On Tuesday  fashion house Gucci dipped into the culinary scene with the luxe Gucci Osteria  a green-walled  50-seat restaurant nestled inside the new Gucci Garden  an experiential museum-retail concept in the historic heart of Florence  Italy.  The chef  is  Massimo Bottura   the Modena-based proprietor of three-Michelin-starred Osteria Francescana  in 2016 named the best restaurant in the world.
Now fully open to the public  the menu  glimpsed here  includes the parade of pasta one expects from  Bottura  considering Osteria Francescanaâs carbo-loaded cameo on the Netflix show Master of None.
Visitors can scarf down decadent plates of golden Parmigiano-Reggiano-enriched tortellini  buttery cacio e pepe  and creamy mushroom risotto. But the menu evidently has a sense of humor  too  offering high-end interpretations of a hot dog  a burger (fun fact:  Bottura  loves Shake Shack)  and for dessert  a piÃ±a colada. There are also a fair number of dishes inspired by Botturaâs world travels  including Peruvian tostadas and Asian-tinged buns stuffed with fatty pork belly.
Main dishes are priced from 20 to 30 euros ($24-$36) eachâthis is Gucci  after all. âHaute couture and haute cuisine are a recipe made in heaven â  Bottura  told reporters. Not for nothing  Gucci Chief Executive Officer Marco Bizzarri and Bottura are childhood friends as well.

A: Massimo Bottura
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Q: Eli Manning  will not be standing at midfield after Sundayâs final episode of Nightmare In The Swamp to give an emotional goodbye speech to Big Blue Nation.
Thatâs because  Manning  doesnât know if  he âs about to play  his  last game for the Giants or where  he  will be playing in 2018.  He  will be 37 years old next week  but  he âs not ready to retire and  his  first choice is to continue playing for the Giants.
âI want to play and feel like I can still play at a high level â  he  said Wednesday.
Will  Manning  agree to play the Kurt Warner role for Sam Darnold or Josh Rosen just as Warner  who made the Hall of Fame this year  did for  Manning  in  his  rookie year in 2004? Warner won the job in training camp  got the Giants off to a 5-2 start  but Tom Coughlin benched him after back-to-back losses and inserted  Manning  into the starting lineup in the 10th game.
 Manning  lost  his  first six starts before a last-second victory over the Cowboys in the final game. Warner had been cut by the Rams and was looking for a one-and-done situation to restore  his  reputation to put  him  in position to get a starting job in 2005.
Warner wanted to continue playing when Coughlin benched  him   but he never complained. He sat in front of his locker during down time and read the Bible. He signed to start for the Cardinals the next year.
 Eli Manning  and the Giants will need to decide whether it is best for both parties to move on. (Norm Hall/Getty Images)
Can  Manning  accept that role?
âI donât know â  he  told the Daily News. âI havenât thought about situations right now.â
Would  he  rather go somewhere else or take  his  chance playing Warner and trying to hold  his  job longer than nine games?
âI donât know yet â  he  said.
Iâm not sure itâs in  him  to hold space until the young guy is ready. Remember  the Giants wanted Kerry Collins to stick around and babysit Manning his rookie year  and he responded by asking to be cut. The Giants obliged and Collins signed with the Raiders and Warner signed with Giants.
Mentoring is easy.  Manning  has done that all season with non-threatening rookie Davis Webb  who jumped up to No. 2 on the depth chart Wednesday. Babysitting until the rookie is ready to handle the job is not for everybody  especially a two-time Super Bowl MVP who believes thereâs a third championship in his right arm.
Sunday could be  Eli Manning's  final game as a Giant. (Christian Petersen/Getty Images)
 Manning âs skills have deteriorated. Whether itâs the natural erosion for QBs his age other than Tom Brady or because itâs been years since heâs played with an offensive line that can protect or a running game that can make defenses creep up a little bit  the fact is  Manning  is no longer an elite QB.
 He  is prepared to compete for  his  job this summer  but if the situation is explained that at the first sign of trouble  he âs going to be benched just like Warner was in 2004   he  may not want any part of it.

A: Eli Manning
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Q: But Gaga has spent the past three years deconstructing her previous project  which is its own kind of performance. Elaborate dance pop ceded ground to jazz standards  showtunes  and country rock. Tentacle gowns went into the closet; jeans and a pink cowboy hat came out. The director Chris Moukarbel shot Five Foot Two largely on handheld—maybe even smartphone—cameras. You see Gaga cooking  recording  planning  crying  bonding. In one scene  she’s topless as she chats with her team by the poolside. The implication: This is Gaga  au naturel. Yet she never seems to forget the camera. Five Foot Two documents last year’s release of her album Joanne  and makes clear how much Gaga’s public reboot relied on demonstrating that she  like everyone else  suffers. Gaga has increasingly mined the traumas of her own life  with songs and philanthropic efforts growing out of her rape at age 19. The dissolution of her engagement to the actor Taylor Kinney  mournfully referenced a few times in the documentary  seemed to inform the breakup-themed Joanne singles “Perfect Illusion” and “Million Reasons.” But there was a deeper source of anguish on  Joanne   too. The album is named for  her  aunt  an aspiring artist who died of lupus at age 19 in 1974. “Seeing what that did to [my father] and my family was the most powerful thing I experienced growing up ” Gaga tells the journalist Darryl Pinckney in the film. “I am Joanne. I am my father’s daughter. That is what this record is about.”
The most memorable scene of the documentary comes when she first plays the album’s delicate  acoustic title track for her grandmother   Joanne’s  mom. The moment verges on uncomfortable  and not only because Gaga’s father   Joanne’s  brother  gets up and leaves the room in apparent distress midway through. Gaga herself seems hungry to have her telling of an ordeal she did not personally experience validated by those who did. “Did I get it right?” she asks her grandmother  mid-hug. “Yes you did ” her grandmother responds. But she has a warning for Gaga  too: “Don’t become maudlin over all this.” For now  Gaga is asking not for applause but understanding. It’s never explicitly stated  but Gaga seems to connect to  Joanne ’s story in part because of  her  own medical situation. Iconography about hospitals and crutches and wheelchairs over the years hinted that the seemingly bionic pop star faced problems of the flesh off-stage. In 2010   she  told Larry King  she  tested “borderline positive” for lupus.  She ’s still feeling the effects of the injury  she  sustained in 2013  as seen in a Five Foot Two moment when  she  pauses rehearsals for  her  Super Bowl halftime show because of hip tightness.  Fibromyalgia  appears to make that problem worse  and being a pop star in chronic pain certainly doesn’t seem easy. One scene shows  her  having  her  makeup done for a performance while sitting in a doctor’s examination room.
Gaga’s particular ailment is an almost-literal rendering of Jamison’s “pain without a cause”—which is  as  she  notes  “pain which can’t be trusted.” A poorly understood but widespread disorder that seems to inordinately affect women  fibromyalgia is sometimes assumed to be psychosomatic. “Drug Approved. Is Disease Real?” read a 2008 New York Times headline about the first FDA-sanctioned drug to treat it. Gaga has said that she wants to help raise awareness and research dollars. During one excruciating flare-up shown in Five Foot Two  she sympathizes with less-privileged sufferers of the disorder: “Like  I don’t know what I’d fuckin’ do if I didn’t have everybody here to help me.” A few moments later  she’s looking straight into the camera. “Do I look pathetic?” she asks  tear-streaked  lying on a couch  a therapist massaging her. “I’m so embarrassed.” It’s a powerful moment because the stigma of pain is clearly part of the pain itself. But it’s also aesthetically striking. To answer Gaga’s question  she actually looks like she did in parts of the “Bad Romance” video—crying  stripped down  and oddly luminous. It’s a sign of fame’s power on the viewer: Whatever lengths she might go to put person over persona  the persona remains. * * * Pop music has firmly moved on from the phase of gleeful  Technicolor artifice that Gaga stood for at her peak. Contemporaries in wildness like Kesha and Miley Cyrus have done much what Gaga has done and traded Alexander McQueen creations for cowboy boots. They have also made a diaristic turn  harmonizing their music with their angsty  tabloid sagas.
Usually this means trading on the spectacle of suffering to sell pop’s ultimate commodity—inspiration. Beyoncé’s Lemonade is the signal example  taking the sting of infidelity to spin a tale of hurt and overcoming. Kesha’s alleged abuse by her mentor and producer Dr. Luke was addressed and transcended on this year’s Rainbow. Katy Perry marketed her latest album with an on-camera therapy session in which she cried about her “real” self wanting to be known. Taylor Swift seems on the verge of unveiling a more acidic survival story. “Victim to victory” songs are always in fashion  but the latest boom relies  more than pop usually does  on the feeling of authenticity. Adult listeners of drive-time radio typically know they’re in the realm of fantasy and commerce  yet fully enjoying the confessional-pop performance means buying into the non-musical narratives surrounding them. Beyoncé rolled her own child and husband into the Lemonade visual experience. “I write this shit  baby ” Kesha insisted on a recent single. You’re explicitly asked to believe that the gap between performer and person is negligible.  Joanne  already fit into this triumphant-confessional class  with Gaga singing about family members and friends by name and roaring  “I might not be flawless but you know I’ve got a diamond heart.” The meta-text  all along  was Gaga’s own career arc—a sense that  she ’d come down from the heights  she ’d reached from 2008 to 2013  stumbled with  her  third album  and might never recover. Glimmers of past traumas and family tragedy contributed to the pathos.  Her  medical troubles would seem to retroactively add in a new layer  though it’s unclear when  she  received  her  fibromyalgia diagnosis  and little on the album can be heard as an explicit reference to illness. Certainly the lyrics about healing through love on  her  post- Joanne  single  “The Cure ” now seem a lot less generic.

A:
Joanne
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