instruction:
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].
question:
Watch below as CNN’s  Jake Tapper  badgers a woman — President Trump’s campaign manager  Kellyanne Conway — to publicly denounce a hate-filled supporter who attended a 2016 election rally. (Conway immediately does.) Then  watch as  Jake Tapper  proceeds to publicly scold Conway because Trump did not disavow hate as strongly as  Tapper  believes Trump should disavow hate.
Again  because this point is important  as seen in the video above   the anti-Trump Tapper  does admit that Trump has already disavowed hate and has disavowed those hate-filled supporters who claim to support  him . Nevertheless  the former Democrat operative and Salon contributor  still publicly scolds Conway because  in his own opinion  Trump did not speak out strongly enough.
Additionally   Tapper  frequently presents  himself  as a male feminist  as a champion of women  and does so using  his  Twitter account and last-place CNN show as a platform to broadcast lectures that portray  him  as a hero in defense of women.
With all this in mind  now watch for yourself as  Tapper  remains silent as  his  own audience boos a rape victim:
Watch as  Tapper  remains silent when NRA spokesperson Dana Loesch has her motherhood attacked for the first time:
It has been more than 48 hours since  Tapper  hosted  his  anti-gun town hall  more than 48 hours since  he  stood silent as  his  guests and audience abused a rape survivor and a mother  but  unlike President Trump   he  has yet to denounce the hate that occurred while  he  was ringmaster  or to apologize.
 Tapper  has only offered dissembling excuses for  his  cowardice and lack of chivalry.
 Tapper  is so poisoned by  his  own hate   he  could not even summon the chivalry to defend a rape victim and motherhood  or to apologize and denounce it afterward.
answer:
Jake Tapper


question:
We know that  Nikolas Cruz  wasn't hiding a thing about  his  killing rage in the months and even years before the Florida school massacre.
According to the best British newspaper in America  the Daily Mail   Nikolas Cruz  abused his ex and sold knives out of a lunchbox.  He  was disciplined by the school 25 times and finally expelled.
Good Morning America could not pass up an interview with survivor Ariana Lopez. In her circle  everybody knew that  Cruz  was dangerous.  He  didn't bother to hide it. According to  Ms. Lopez  Cruz  was signaling  his  rage and murderous feelings like mad.
Lopez made it clear during her interview that  Cruz 's problematic behavior and mental health issues were on clear display at school. 'He used to sell knives out of his lunch box  which I thought was insane. You can't have knives  this is a school'  said Lopez of  Cruz . 'He would be like  "hey guys  want some knives?"' One of the incidents that led to his being disciplined was a fight in September 2016. Footage of the brawl emerged over the weekend.  Cruz  was suspended for two days as a result of the fight  which was over a former girlfriend.
This changes the picture completely: what the hell were the school counselors and police authorities doing while  Cruz  was signaling murderous intentions? There is an air of looming tragedy over the Florida school killings  and secretly  many people knew or suspected what was to come.
Any competent teacher  administrator  school cop  or counselor should have seen the signs and should have diverted  Cruz  into a protected environment where  he  could be educated and monitored. If  his  friend Ariana knew he was selling knives  so did dozens of other kids  teachers  administrators  and all the rest. No person in authority acted responsibly. They just kicked the can down the road.
There is no mystery about the Nikolas Cruzes of the world. They have been around forever. It's just that they were spotted and taken care of with discipline and  yes  with love and acceptance  whether they deserved it or not. If they acted out  they were punished appropriately  and if they looked dangerous  they were diverted to activities where they could do no harm.
That's what fathering is all about  and that is what the ancient phrase "in loco parentis" means.  Cruz  should have been effectively disciplined from childhood onward  but  he  was allowed to grow into a raging menace  recognized by other students and by numerous adults.
answer:
Nikolas Cruzes


question:
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.
answer:

Frank Olson