Updated: June 29th 2023

Hello folks,

Like many of the other people that have been around lately, I'm new to Tildes, I've been browsing it without an account since last Monday or so while waiting for an email response (thanks @Deimos), and in that time I've been working on a little tool to add some QOL features I thought would make my experiences with the site feel better.

I didn't plan on sharing it initially, because I didn't think I'd be able to get the javascript into a usable state, and I'm not fond of sharing my code in general, as I always get a big wave of impostor syndrome whenever I do, "What if they look at my messy code and see how silly I do some things", that sort of thing. But with Tildes I want to try to correct some of my internet behaviours, for years I've generally stayed as a lurker, never commenting or sharing content of my own, so, hello there, hopefully, I stick to my guns and you see more of me.

Onto the script itself, currently, I've built five main features into it all of them being rather minor on their own, I did do bug testing on everything and couldn't find anything else, but if you notice anything please feel free to report it to me or post an issue on the repo. It's easy to miss bugs when you've only got one set of eyes.

Tildezy Github

The GitHub contains installation instructions if you've never used a userscript before, and contains some images showing off each feature described below.

Hopefully, someone gets some use out of this with me, I look forward to chatting with you all.

EDIT
Refactored the code and added a new comment traveller feature based on some of the comments below.

EDIT 2
Up to 1.3.0, we've got markdown buttons now, see comment explaining the change or check out the github readme

Edit:

This might be a caching issue - Tildes mods have edited this post's title accordingly.

Anyway, this issue is concerning, as many people deleted their comments and accounts. Now the accounts are gone but the comments are back. Intentional or not, Reddit should fix this asap and communicate. This isn't acceptable.

Edit 2, 16 days after the original post:

For the 4th or 5th time, comments are popping back. Most of them in their original form, very few (2 out of 25) still edited as "[deleted]"

Original post:

(I know, more reddit stuff, sorry)

On June 16, four days after the beginning of the current Reddit protests, some users were reporting that their deleted comments were getting restored:

• https://mstdn.games/@chris/110553477682106144
• https://kbin.social/m/RedditMigration/t/34112/Heads-up-Reddit-is-quietly-restoring-deleted-AND-overwritten-posts-and

There were doubts if this was intentional or a bug caused by the blackout, or some rollbacks. Hanlon's razor, etc.

I then personally mass-edited my comments to "[removed]" two days ago, and lo & behold, they're getting edited back. And from what I've seen, there's definitely a pattern:

• All restored comments are at least 8-12 months old, so several pages deep in the comments history
• 90% of them are about programming, a few of them on my country's subreddit.
  • (More than half of my comments are on gaming subreddits, they're still edited as "[removed]")
• The vast majority of them have responses
  • (Though most of my comments also have responses)
• They're edited back in "small waves". 15-20 this morning, 4 this evening (so far).

I'm now editing them back twice, hoping that Reddit only keeps the previous version of a comment.

I find Reddit's behavior to be absolutely shameful. I've been on internet forums for nearly 25 years, and I've never seen a site unilaterally and silently decide to un-delete or (un-)edit comments. Never.

It feels like a golden rule of internet has been broken, and I'm surprised to not see more talks about it.

To set the stage, I've always been a fan of non-nonsense reliable phones. My cellular usage started with a Nokia brick, moved on to a few Motorolo flip phones, then entered the Blackberry world as soon as data service become available in my area. With the demise of RIM, I went o a Moto X, made a misstep in to the Samsung world, then to a Pixel, a Pixel 3XL, and now a Pixel 7 Pro.

I only made the jump to the 7 Pro due to the 3XL starting to show it's age. The charging part wouldn't always connect, the battery would barely make it through the day, and the case was starting to fall apart. Of within three days of removing the case I dropped the phone, cracking the glass back....

The 7 Pro is awful to hold, without a case. I was waiting a week for the Spigen Liquid Air case to show up, and during the time I hated using the phone. The camera bulge felt awkward and sharp, the surfaces were slippery and the phone would slide around. The rounded edges of the screen would produce phantom taps, just all around a bad experience. Now that I've added the case though, it feels a whole lot better.

The user experience has been fairly good, thought not without some annoying bugs. I did the migration from my old Pixel to my new one, and while it did a reasonably job, preserving the launcher layout etc, the app installation process was strange. Google Play tried to install all the apps, but was stalled. I had to tap on each app to manually install them, they were just sitting there "Pending...", whether I was on battery or charger, WiFi or mobile. Once everything installed, and I added my accounts, it was fine, and now apps auto-update.

Notifications are acting a bit funny with Reddit is Fun, although that won't be an issue for much longer :-(. If I get notified of Mod Mail and a Message in RiF, tapping the notification message does nothing. This worked fine on the 3XL. I've also had one spontaneous reboot, and one night where the phone was plugged in, but decided not to charge. Lots of people complained about heat issues, which was a problem for me on the 3XL, but only in extreme cases. After sitting out in full sun with the 7 Pro, I'd say it is about the same, possibly a bit better regarding it's overheating. Many people also reported that the phone would feel warm/hot in their hands for the first few days as it "learned" your behavior. Never experienced that. Battery life and (lack of) heat levels have remained the same.

I have a small suggestion for a change to Tilde's mobile design and I'm apprehensive about posting a whole new thread here since it's relatively insignificant. This makes me wonder in general what the best way is for me and others to submit ideas or issues without creating the clutter of a lot of threads.

Would it be appropriate to create somewhat specific feedback threads? E.g. one for design issues and suggestions, one for feature suggestions, one for general bug reports, etc.? At the end of the day, I just want to let someone know about my suggestion without creating noise.

Context: Last year I struggled for a long, long time to make my new Xbox Elite Series 2 gamepad work properly with Steam. After more than a day of frustration and following various trails of other discussions on the topic, I finally figured out the exact series of actions needed to solve the issue. I posted these steps on Reddit, and they ended up getting me dozens of comments and messages, even as recently as yesterday people still let me know that I saved them from the same frustration. With reddit in its current state of uncertainty, I'd hate for this guide to be lost, so I'm hoping new readers and controller fanatics will find it useful here.

The Problem: You have a Xbox Elite Series 2 Controller, which you are trying to use in Steam on Windows. When using the default (no profile lights) profile mode, the paddles are detected and can be mapped in Steam Controller config. However, they still register no input in-game when pressed. Here is how to fix your problem:

The Solution:

Step 1: You must first revert the firmware of the controller to version 4.8.1908.0. On a PC with your controller plugged in, open the Xbox Accessories app (from the Windows Store), then hit Windows + R to open the Run dialog. Run this command:

xboxaccessories:\firmwareupdate?legacyDowngrade=true

This should give you option to revert. Do it.

Step 2: In Steam Big Picture, go to Gear Icon -> Controller Settings and Enable Xbox Extended Feature Support if it isn't already checked. After enabling it you will have to Reboot. If it's already enabled, there is no need to reboot.

Step 3: Back to the desktop, make sure the Xbox Accessories app is CLOSED. If it is open, you must close it, then disconnect the controller entirely, then power it off, and then finally reconnect it to the computer.

Step 4: Press the central profile button on the controller a few times until it cycles through the profiles. You need to cycle it until the profile light turns off, indicating the controller is in its default layout.

Step 5: Open Steam's controller configuration for your game of choice, and you should now be able to re-map the paddles therein.

Every time I have done the above process, the paddles on the default profile (with no lights on) are now mappable in Steam and usable in-game. I have completed this successfully now with five total controllers, and all worked with Steam flawlessly afterward.

Notes & Clarifications:

• You do not have to uninstall the Xbox Accessories app. However, if ever you use it to modify the controller at all, you must repeat step 3. If you try to use the steam-remapped paddles in the game with the app open, they won't work. You have to turn off the app, disconnect and power cycle the controller, and then reconnect, and very specifically do not re-open the accessories app. I'm assuming this is because the Accessories app inserts some kind of override layer that only goes away after removing the controller and closing the app.
• This process will almost certainly make the Bluetooth connection wonky, if it even works at all. Instead, you'll want to use either a direct cable connection and/or the official wireless adapter. In fact, all of the above steps worked for me with the wireless adapter connection just as well as with the wired connection. As a bonus, you can seamlessly transition between wired and wireless mode this way by simply plugging or unplugging the cable.
• At least as of May 2023, I've received now multiple reports saying that newer purchases of the Elite 2 controller are being shipped with the controller now pre-flashed with a default firmware that is newer than the one that was available in the above post. As a result, this means that rolling back the firmware might not work, as it can't be rolled back to version 4.8.1908.0 anymore. However, I have since purchased two more new controllers of my own since then, and neither had this issue, and in fact both worked with Steam immediately out of the box (after telling Xbox app "no!" to firmware upgrades, that is).

I hope I have posted this correctly (it's my first post here!), and that others continue to find it useful.

1. Read Part 107 from the official government website of the Cod Of Federal Regulations This is a very easy to read list of the do's and don't under Part 107. Any study guide that does not tell you to read this is a bad study guide.

2. Read Remote Pilot -- Small Unmanned Aircraft Systems Study Guide - This is an official study guide put out by the FAA. Either save it to your computer/phone or print it off and mark it up as you read. But read this cover to cover and comprehend it. It is 88 pages, but this alone could pretty much get you to pass the Part 107 exam. There isn't a single YouTube video out there that covers all of this.

3. Read the official FAA ruling on "Operations Over People General Overview". This details new requirements for flying over other people. There are 4 categories and this can get a little bit confusing. There is a great dedicated Youtube Video from a small channel run by a gentleman named Tim McKay who explains it all crystal clear.

4. Read the official FAA requirements for Night Operations.  This has changed in the last year.

5. By this point you pretty much know everything you need to. But we want to have a thorough understanding of everything not just basic knowledge so we can "just pass" the test. Fog is a topic that will come up on your test. Make sure you understand the characteristics and causes of each of the 6 major types of fog. A great resource for this is Fly8MA.Com Flight Trainings video.

6. Sectional Charts. You've already read about them in the study guide, but practice these. Try to memorize which lines mean what. But if you forget always remember there is a legend in the front of your supplement book that you will have on test day. Some great tools I used for this were:

   1. Altitude Universities FAA Part 107 Study Guide [How To Read A Sectional Chart]. They teach you almost all of what you need to know, but he also teaches you a great "game" you can use to practice.
   2. Fly8MA.Com Flight Trainings - Video on Advanced Sectional Chart Knowledge. You see a lot of lazy videos out there on "5 Tricky questions about sectional charts on the part 107 test". Well this video will make it so there are no tricky questions!

7. Understand abbreviations for METAR and TAF reports. Weather.GOV has a chart of this. You certainly do not need to memorize every single one of them. But the major ones regarding precipitation, cloud, winds, max, min, began/begin, end, etc. A great way I learned to read these was to install the Avia Weather app on my Android phone and use that for my weather app for a few weeks. It presents weather in METAR format. It forced me to learn to read them. I would see new abbreviations pretty regularly and then look them up and know them. You can also spend some time using the Aviation Weather Center website. It provides METAR reports and you can decode them to verify your answers.

8. Understand air masses, fronts & clouds. This too comes directly from the FAA. It is comically old looking, but the information was incredibly helpful. It is 30 pages with tons of pictures. It helped supplement the knowledge from the official study guide on the 3 phases of every storm cloud. I probably have 4-5 questions on this during my test. If you understand weather you almost don't even need to study much on the effects it has on and aircraft because it all becomes incredibly easy to process.

9. Density Altitude & Pressure Altitude. This is one I see almost never talked about. Sure enough I had a question for this on my part 107 test.

10. Know how to talk on a radio. You will basically never have to do this, but I had two questions on radio procedure come up. One was how to contact ATC for authorization via radio (you never ever do this) the other was how something would be properly announced using phonetic alphabet. This video from Fly With the Guys does a great job of digging deeper into this.

11. Spend the time to understand Aeronautical Decision Making (ADM) The video series I watched was 4 parts. Here is part 1. When I initially read through the study guide this didn't quite click with me, but the videos helped a ton.

12. Understand Weight & Balance basics for aircraft. A guy named Jeffery Bannish has a pretty great video on this. Understand loads during banked flight. I had multiple questions on this on my test as well.

13. Lastly. This one is completely optional. It cost me $15. John Peltier of Peltier Photo Courses has a bank of $300 questions he put together into a test that you can take as many times as you like. It picks 60 random questions so you are not taking the same test over and over. When you buy it you can access the test for 2 months. I probably took his test 10 times over the course of the month I was studying. What I would do is take the test once each day. Then review any questions I got wrong and I would spend time to learn the correct answer. As I would learn the correct answer I would absorb additional information. The next day I would take the test again. Get some new questions and repeat the process. After about 4 days I started routinely getting 94-98% on the practice tests.

A short story

Last night, I posted an article about fraud related to COVID funding in the United States.

I debated about where to put it. Was it ~news since it was an investigative report that was just released? ~finance because it was about money? ~health because it was about COVID?

In reading through other comments here, especially related to our current group structure I’ve noticed other people expressing similar sentiments about submitting things.

The same goes for tagging your topic. What are the right tags? What if I use the wrong one? There’s a non-negligible amount of anxiety regarding submitting things to the site.

If you go to the article I posted, and then click Topic Log on the sidebar, you can see what got changed. I realized I forgot to add the tag usa. You can then see that another user changed the capitalization on my title, moved my post from ~news to ~health, and added additional tags.

The betrayal(?)

Someone moved my post? Someone changed my title? Without telling me?! 😡

Yes, they did, and I’m here to tell you that I couldn’t be happier about that. It’s not a betrayal; it’s a collaboration. 🥰

Submissions on Tildes aren’t like other places. You won’t get your hand slapped here for not following the right protocol, especially because there’s not a fully clear protocol in the first place. Topic placement, tagging, and titling are all things that often require judgment calls. It’s not uncommon for the titles we see on Tildes to actually differ from published titles to make them less clickbaity or clearer, for example.

Furthermore, Tildes isn’t a place where people are competing to post content. There’s no karma to be harvested or influencers to influence. On other sites, big news items will often get dozens or hundreds of duplicate posts because, on other sites, who posted the content matters a whole lot. People will post and repost things because it’s important that they, individually, get “credit” for that.

Tildes works a bit differently, with submissions being owned more by the community at large rather than individual posters. It doesn’t mean we don’t have our own content (and it definitely doesn’t mean someone can or will edit the actual body of a post, like what I’m writing here), but more that the content’s place and appearance in the community is something we work together on. If you want to discuss something and you see someone already posted it here, that’s not a bummer — it’s a great thing! It saves you some work, plus you know at least one other person is on the same page as you and wants to discuss the same thing.

Which group should this go to? Which tags should I use?

Don’t worry too much about those things! We’ll collaborate on them. There are several users here who are librarians of Tildes, dutifully organizing submissions behind the scenes.

When I first started posting, I was nervous about getting my tags and title exactly right. I’d occasionally post a title with a typo and cringe, hard, wondering if I needed to delete the post entirely.

Now, when I post, I’m happy that if I don’t know what to do exactly or I make a mistake, someone else will come along and help me out with it. No more anxiety!

I hope all our new users can feel that way too. Having your submissions reorganized is not combative; it’s collaborative. Don’t stress about posting anything perfectly. Someone will help you out if need be.

I'm following the New York Times' liveblog and list of winners; I'll try to update this post.

• Best Play: “Leopoldstadt”

“Leopoldstadt,” a wrenching drama that explores the destructive toll of antisemitism by following a family of Viennese Jews through the first half of the 20th century, won the Tony Award for best play on Sunday night.

The play is by Tom Stoppard, an 85-year-old British playwright who is widely regarded as among the greatest living dramatists, and who had already won the best play Tony Award more times than any other writer. This is his 19th production on Broadway since his debut in 1967, and his fifth Tony for best play, following “Rosencrantz and Guildenstern Are Dead,” “Travesties,” “The Real Thing” and “The Coast of Utopia.”

“Leopoldstadt” is an unusually personal work for Stoppard, prompted by his late-in-life reckoning with his Jewish roots, and the realization that many of his relatives were killed in the Holocaust. Stoppard was not yet 2 years old when his own family fled what was then Czechoslovakia, where he was born, to escape the Nazi invasion; he was raised in Britain and has said he only fully came to understand his family’s Jewish heritage when he was much older.

“Leopoldstadt,” directed by Patrick Marber, was first staged in London, where it opened in 2020, shortly before the coronavirus pandemic forced the shutdown of theaters, and then resumed performances in the West End after theaters reopened in 2021. That production won the Olivier Award for best new play in 2020.

The Broadway production began previews Sept. 14 and opened Oct. 2 at the Longacre Theater. The run is scheduled to end on July 2.

The play, named for a historically Jewish section of Vienna, begins in 1899 in the living room of an affluent and assimilated Austrian Jewish family and continues until 1955, after much of the family has perished; some members of the family had mistakenly thought that their integration into Viennese society would somehow protect them.

The show is quite large for a Broadway play, with a cast of 38, including several children. It was capitalized for up to $8.75 million, according to a filing with the Securities and Exchange Commission.

The lead producer is Sonia Friedman, a prolific British producer who has notched an impressive set of wins on Broadway: She was also a lead producer of the best play Tony winners in 2020 (“The Inheritance,” which was granted the award at a pandemic-delayed ceremony in 2021), 2019 (“The Ferryman”) and 2018 (“Harry Potter and the Cursed Child”).

• Best Musical: “Kimberly Akimbo”

“Kimberly Akimbo,” a small-scale, big-hearted show about a teenage girl coping with a life-shortening genetic condition and a comically dysfunctional family, won the coveted Tony Award for best musical Sunday night.

The musical is the smallest, and lowest-grossing, of the five nominees in the category, but it was also by far the best reviewed, with virtually unanimous acclaim from critics. (Nodding to the show’s anagram-loving subplot, New York Times critic Jesse Green presciently suggested one of his own last fall: “sublime cast = best musical.”)

The show, set in 1999 in Bergen County, N.J., stars the 63-year-old Victoria Clark as Kimberly, a 15-going-on-16-year-old girl who has a rare condition that makes her age prematurely. Kimberly’s home life is a mess — dad’s a drunk, mom’s a hypochondriac, and aunt is a gleeful grifter — and her school life is complicated by her medical condition. But she befriends an anagram-obsessed classmate and learns to find joy where she can.

“Kimberly Akimbo,” which opened at the Booth Theater in November, was written by the playwright David Lindsay-Abaire and the composer Jeanine Tesori, based on a play Lindsay-Abaire had written in 2003. The musical, directed by Jessica Stone, began its life with an Off Broadway production at the nonprofit Atlantic Theater Company in the fall of 2021.

The musical, with just nine characters, was capitalized for up to $7 million, according to a filing with the Securities and Exchange Commission; that’s a low budget for a musical on Broadway these days, when a growing number of shows are costing more than $20 million to stage. The lead producer is David Stone, who, as a lead producer of “Wicked,” is one of Broadway’s most successful figures; this is the first time he has won a Tony Award for best musical.

• Best Revival of a Play: "Topdog/Underdog"

A new production of “Topdog/Underdog,” Suzan-Lori Parks’s tour de force about two Black brothers weighted down by history and circumstance, won the Tony Award for best play revival Sunday night.

The play, first staged at the Public Theater in 2001, was already a widely hailed masterpiece: In 2002 it won the Pulitzer Prize for Drama, making Parks the first African American woman awarded that prize, and in 2018 a panel of New York Times critics declared it the best American play of the previous quarter century.

The new production, which ran from September 2022 through January 2023 at the John Golden Theater, was directed by Kenny Leon. It starred Corey Hawkins and Yahya Abdul-Mateen II as the two brothers, ominously named Lincoln and Booth.

In the play, Lincoln works in whiteface as a Lincoln impersonator at an arcade, while Booth makes ends meet by shoplifting. They share a one-room apartment, a fondness for three-card monte, and a set of familial and societal burdens from which they cannot escape. “‘Topdog/Underdog’ is both a vivid, present-tense family portrait and an endlessly reverberating allegory,” the New York Times critic Ben Brantley wrote in 2018.

• Best Revival of a Musical: "Parade"

“Parade,” a musical based on the early 20th century lynching of a Jewish businessman in Georgia, won the Tony Award for best musical revival Sunday night.

The prize cements a remarkable rebirth for the show, which was not successful when it first opened on Broadway in 1998, but which is shaping up to be a hit this time, thanks to strong word-of-mouth and the popularity of its leading man, Ben Platt. It was one of several shows this season about antisemitism, as the number of reported incidents has been rising.

The success of “Parade” is also a significant milestone for the musical’s composer, Jason Robert Brown, who is widely admired within the theater community but whose Broadway productions have struggled commercially. Brown wrote the music and lyrics for “Parade,” and the book is by Alfred Uhry; both men won Tony Awards for their work on the show in 1999.

... Audible groans here as Jason Robert Brown, the composer behind “Parade,” gets cut off at the microphone. He started to say something about Mary Phagan, the girl whose murder in Georgia set the Leo Frank trial in motion.

• Best Leading Actor in a Play: Sean Hayes, “Good Night, Oscar”, as Oscar Levant

Sean Hayes, who portrays the witty but troubled pianist Oscar Levant in “Good Night, Oscar,” won the Tony for best lead actor in play.

Best known for his long-running role as Jack McFarland in the television series “Will & Grace,” Hayes received critical praise for his drastic transformation in this stage production, adopting the hunched posture, irritable scowl and anxious twitching of Levant, who channeled his neuroticism into crowd-pleasing radio and television banter.

Hayes, 52, has also brought one of his lesser known talents to the stage for this performance: classical piano, which he started studying at age 5.

Telling the story of one night in 1958 when Levant finagled his way out of psychiatric hospital to be interviewed on Jack Paar’s “Tonight Show,” the play focuses on the pianist’s idiosyncrasies, compulsions and struggles with opioid addiction as surrounding characters try desperately to manage him.

This is Hayes’s first Tony Award. He was previously nominated for his Broadway debut in the 2010 revival of “Promises, Promises,” a musical adaptation of the Billy Wilder film “The Apartment.”

• Best Leading Actress in a Play: Jodie Comer, "Prima Facie", as Tessa Ensler

The leading actress in a play category this year was a face-off of extremes: Jodie Comer, who delivers a physically and emotionally exhausting performance in Suzie Miller’s one-woman legal thriller “Prima Facie,” versus Jessica Chastain, who scarcely stirs from her chair during the entirety of “A Doll’s House.”

In the end, it was Comer who triumphed, for her tour-de-force solo turn as a lawyer who defends men accused of sexual assault. Jesse Green, the chief theater critic for The New York Times, described it as “a performance of tremendous skill and improbable stamina.”

It was a remarkable win for the 30-year-old English actress, who is best known for playing the assassin Villanelle on the television show “Killing Eve.” She not only took home her first Tony Award on her first try; she won it for her first performance on a professional stage — ever.

“It kind of felt unattainable,” she told The Times in April of the prospect of doing theater.

• Best Leading Actor in a Musical: J. Harrison Ghee, "Some Like It Hot", as Jerry/Daphne

J. Harrison Ghee, whose portrayal of a gender-questioning musician fleeing the mob in “Some Like It Hot” has charmed critics and audiences, won a Tony Award for best leading actor in a musical Sunday night, becoming the first out nonbinary actor to win that award.

Ghee’s victory came shortly after Alex Newell, who is also nonbinary, won a Tony Award for best featured actor in a musical, becoming the first out nonbinary performer to win a Tony.

The Tony Awards, like the Oscars, have only gendered categories for performers, and Ghee and Newell agreed to be considered eligible for awards as actors. (Another nonbinary performer this season, Justin David Sullivan of “& Juliet,” opted not to be considered for awards rather than compete in a gendered category.)

Asked in a recent interview with The New York Times about having been nominated in a gendered category, Ghee said: “Wherever I am, I will show up as who I am. Someone’s compartmentalization of me doesn’t limit me in any way.

“I hope for the industry we can remove the gender of it,” they added, “because we are creators and we should free ourselves beyond so many labels and let the work speak for itself.”

At least two performers who later came out as nonbinary have previously won Tony Awards as best featured actress in a musical: Sara Ramirez, who won in 2005 for “Spamalot,” and Karen Olivo (also known as K O), who won in 2009 for a revival of “West Side Story.” Also: Last year, the Tony Award for best score went to Toby Marlow and Lucy Moss for “Six,” and Marlow is nonbinary.

Ghee’s depiction of a main character in “Some Like It Hot” reflects the way views on gender have evolved since 1959, when the Billy Wilder film it was based on was released. In the movie Jack Lemmon plays a musician named Jerry who dresses as a woman named Daphne to flee the mob; in the musical Ghee plays the same character, but Jerry’s path to becoming Daphne becomes one of self-discovery, not disguise.

The performance earned critical praise. Jesse Green, The Times’s chief theater critic, wrote that Ghee “carefully traces Jerry’s transformation into Daphne, and then the merging of the two identities into a third that takes us into territory that’s far more complex than jokey drag.”

Ghee, 33, worked as a drag performer before finding success in musical theater, with key roles on Broadway in “Kinky Boots” and “Mrs. Doubtfire” before “Some Like It Hot.”

• Best Leading Actress in a Musical: Victoria Clark, “Kimberly Akimbo”, as Kimberly Levaco

Victoria Clark won the Tony for best leading actress in a musical on Sunday night for her role in “Kimberly Akimbo,” in which she plays a teenager with a rare disease that causes her to age rapidly.

As unusual as Clark’s role has been as a sexagenarian playing a gawky teenager with a fatal diagnosis, critics pointed to the pedestrian subtlety with which she imbued her performance.

“So remote is she from the bellowing divadom of those tourist-bait extravaganzas that I’m tempted to call what she does not singing at all, but acting on pitch,” wrote Jesse Green in his review of the musical for The Times.

This is Clark’s second award in the category: In 2005, she won for “The Light in the Piazza,” a musical in which she played an American tourist traveling with her daughter — a performance that Ben Brantley of The Times praised as a rare reflection of a “real human being” in an American mainstream musical.

A veteran stage actress, Clark, 63, has performed on Broadway since the 1980s, earning Tony nominations for featured roles in “Sister Act,” “Rodgers and Hammerstein’s Cinderella” and “Gigi.”

• Best Featured Actor in a Play: Brandon Uranowitz, “Leopoldstadt”, as Ludwig Jakobovicz and Nathan Fischbein

Brandon Uranowitz, a four-time Tony nominee, won his first Tony Award on Sunday for performing a pair of featured roles in the critically acclaimed play “Leopoldstadt.”

The play, by Tom Stoppard, follows an Austrian Jewish family — the Merzes — from 1899 to 1955. In the early days, the bourgeois family is comfortable and complacent, shown enjoying time together at holiday gatherings and family functions. But eventually the Nazis arrive, and their lives are upended and destroyed.

“My impostor syndrome is on fire,” he said in accepting the award.

“Thank you, Tom Stoppard, for writing a play about Jewish identity and antisemitism and the false promise of assimilation with the nuances and the complexities and the contradictions that they deserve,” he added. “My ancestors, many of whom did not make it out of Poland, also thank you.”

• Best Featured Actor in a Musical: Alex Newell, "Shucked", as Lulu

Alex Newell, a “Glee” alumnus who is bringing down the house nightly with a barn-burning number in “Shucked,” won the Tony Award for best featured actor in a musical Sunday night, becoming the first out nonbinary actor to win a Tony for performance.

Newell, who identifies both as nonbinary and gender fluid, plays a fiercely self-reliant whiskey distiller in “Shucked,” which is a country-scored, pun-rich musical comedy about a small farming community whose corn crop begins mysteriously dying.

“The standing ovation isn’t jarring as much as the consistency of it,” Newell told The New York Times last month. “I’m beside myself a lot of the time because I’m like, ‘Y’all are really still standing up.’”

Newell agreed to be considered in the gendered actor category, explaining, “I look at the word ‘actor’ as one, my vocation, and two, genderless. We don’t say plumbess for plumber. We don’t say janitoress for janitor. We say plumber, we say janitor. That’s how I look at the word, and that’s how I chose my category.”

• Best Featured Actress in a Play: Miriam Silverman, “The Sign in Sidney Brustein’s Window”, as Mavis Parodus Bryson

Miriam Silverman, the only acting nominee from “The Sign in Sidney Brustein’s Window,” has been with this production since its Chicago debut. “I’m always more drawn to complicated, tricky, flawed characters,” she told the Times. “And not trying to make them likable, per se, but just trying to be inside of them in all of their humanity.”

Alice Ghostley won a Tony for the same role when the play debuted in 1964.

• Best Featured Actress in a Musical: Bonnie Milligan, “Kimberly Akimbo”, as Aunt Debra

On Sunday night, Milligan, 39, took home her first Tony Award for best featured actress in a musical, for her scene-stealing performance as Debra, Kimberly’s scheming aunt.

It was the first Tony nomination for Milligan, known for her vocal range and vocal belting, who made her Broadway debut in 2018 in “Head Over Heels,” a musical that combined a Renaissance pastoral romance with the music of the Go-Go’s.

• Best Direction of a Play, Patrick Marber, “Leopoldstadt”

Patrick Marber won his first Tony on Sunday for his direction of the harrowing, critically acclaimed Tom Stoppard play, “Leopoldstadt.”

Marber, who was previously nominated for directing a 2018 revival of Stoppard’s “Travesties” has also written plays and worked as a stand-up comedian.

“I’m thrilled to win this,” he said, calling Stoppard one of his heroes.

• Best Direction of a Musical: Michael Arden, “Parade”

“‘Parade’ tells the story of a life that was cut short at the hands of the belief that one group of people is more or less valuable than another and that they might be more deserving of justice,” he said in accepting his award. “This is a belief that is the core of antisemitism, of white supremacy, of homophobia, of transphobia and intolerance of any kind. We must come together. We must battle this. It is so, so important, or else we are doomed to repeat the horrors of our history.”

Arden went on to recall how he had been called a homophobic slur — “the F-word,” he said — many times as a child. And he drew raucous cheers as he reclaimed the slur, making clear that he was now one with a Tony. “Keep raising your voices,” he said.

One of the production’s most talked-about features is Platt’s wordless presence onstage during the entire 15-minute intermission. Arden recently told Michael Paulson that he “wanted to challenge the audience, when they’re getting their cocktail or texting their friends or talking about what they’re having for dinner, to look back and see Ben onstage, and to get a sense that while the world was turning, this man was sitting in a prison cell.”

• Best Book of a Musical: David Lindsay-Abaire, "Kimberly Akimbo"

A tough category this year, with fine work addressing daunting needs. David West Read somehow made a jukebox musical (“& Juliet”) witty. Robert Horn (“Shucked”) came up with more corn puns than anyone thought possible. Matthew López and Amber Ruffin revamped a classic farce (“Some Like It Hot”) as a contemporary exploration of race and gender. But David Lindsay-Abaire may have had the hardest job of all: turning his own play “Kimberly Akimbo” gently, cleverly, ruthlessly into a great musical.

• Best Original Score: Jeanine Tesori (music) and David Lindsay-Abaire (lyrics), “Kimberly Akimbo”
• Best Choreography: Casey Nicholaw, “Some Like It Hot”

Casey Nicholaw won the Tony for best choreography for “Some Like It Hot,” a boisterous Prohibition-era musical with tapping, swing dancing and intricate staging.

Nicholaw, who also directed the production, has been nominated in the category six times before, but this is his first win. In 2011, he shared the Tony for best direction of a musical with Trey Parker for “The Book of Mormon.”

• Best Orchestrations: Charlie Rosen and Bryan Carter, “Some Like It Hot”

Broadway World: In their visit to the press room, recently annointed Tony winners, Some Like It Hot orchestrators, Charlie Rosen and Bryan Carter discussed the timely and important subject of the need for Broadway-sized orchestras for Broadway shows.

Bryan said, "Having an 18-piece orchestra is a luxury. We're hoping that the show inspires new companies to use large orchestras because orchestras really are the heartbeat of musical theatre."

In discussing the challenges of bringing their larger-than-life orchestrations to life, Charlie shared, "The challenge of this show, in particular, was that I hold Marc Shaiman and Scott Wittman in such high regard. They're such legends, I really thought twice, three times, four times, about every single note that I wrote on the page. I really wanted to do their score justice because they're so incredible and so prolific," Charlie added.

• Best Scenic Design of a Play: Tim Hatley and Andrzej Goulding, “Life of Pi”

NYTG: The Broadway transfer gave the cast and creative team the opportunity to make changes. "We were able to make some positive adjustments to the story based on the feedback from the West End," said director Max Webster, noting the first act was tightened.

The move also gave the designers the opportunity to expand the design elements of the show. “It is always good to get the opportunity to work on a show for a second (or third, or fourth...) time,” said scenic and costume designer Tim Hatley. “In my experience designing for theatre and film over the past 30 years, I have never walked away from a production thinking I have managed to get it all right.”

Most importantly, the design teams needed to adjust the scope and scale of the scenic design to fit the Gerald Schoenfeld Theatre in New York, which is wider and shallower than Wyndham’s. “This has, of course, had a knock-on effect, and video and lighting have had to adapt their designs to work with the new dimensions,” Hatley said.

For his part, video designer Andrzej Goulding (co-nominated with Hatley in the scenic design category) upgraded the show’s simulations. He also worked with lighting designer Tim Lutkin to recolor some scenes for the Broadway run and blend his projections, which naturally light the set, with Lutkin's lighting of the actors. The designers also had to adjust certain visual elements to accommodate different sight lines.

“The heart of the design is the ability to transition seamlessly from the hospital into Pi’s story, which is, for the most part, at sea,” said Hatley. The split-second transitions, which happen in full view of the audience, are integral to the narrative. “This was my challenge as the designer of the show, and I am pleased to have pulled it off.”

• Best Scenic Design of a Musical: Beowulf Boritt, “New York, New York”
• Best Costume Design of a Play: Brigitte Reiffenstuel, “Leopoldstadt”
• Best Costume Design of a Musical: Gregg Barnes, “Some Like It Hot”
• Best Sound Design of a Play: Carolyn Downing, “Life of Pi”
• Best Sound Design of a Musical: Nevin Steinberg, “Sweeney Todd: The Demon Barber of Fleet Street”
• Best Lighting Design of a Play: Tim Lutkin, “Life of Pi”
• Best Lighting Design of a Musical: Natasha Katz, “Sweeney Todd: The Demon Barber of Fleet Street”
• Special Tony Award for Lifetime Achievement: Joel Grey and John Kander

The actor and director Joel Grey, 91, will be honored for Lifetime Achievement at the Tony Awards this evening for his “everlasting impact” to the theater, said Heather Hitchens, president and chief executive of the American Theater Wing.

• Isabelle Stevenson Award: Jerry Mitchell

Parade: When Jerry Mitchell moved to New York City in 1980 to dance in his first Broadway show, Brigadoon, he'd inadvertently walked into one of the worst tragedies of American history. By 1985, he'd lost his first friend to AIDS. By 1990, he'd lost four more. As a gay dancer and choreographer performing in New York, he lived in the epicenter of the AIDS epidemic and felt helpless as his friends and colleagues died.

That helplessness turned into action in the early '90s, after Mitchell was cast in The Will Rogers Follies, in which he was "dancing every night...practically naked" in a tribute to the Ziegfeld Follies. "I was really in great shape," he told me over coffee on a warm May afternoon in a park only a few blocks from Broadway. "I looked hot, and people were noticing...and so a friend of mine said, you should go dance at the Splash Bar on 17th St., which was this famous gay bar, and raise money for our fundraiser." The fundraiser in question was for Broadway Cares/Equity Fights AIDS, an organization founded in the theater community to fight back against the disease that ravaged their friends and loved ones.

"A light bulb went off over my head. I called seven friends who were in Broadway shows who also, I knew, had great bodies, and I put together a strip show, a burlesque show on the bar. We made $8,000." And that was the birth of Broadway Bares.

While Broadway Bares my have started as an eight-man strip show in a gay bar, its Chelsea nightclub days are long behind it. In total, the dancing/body-celebrating fundraiser has earned more than $22.5 million for Broadway Cares/Equity Fights AIDS, with the burlesque dancers raking in nearly $1.9 million last year alone. The charity provides lifesaving medications, health care, nutritious meals, counseling and emergency financial assistance to those in need due to HIV/AIDS and other illnesses.

• Regional Theater Tony Award: Pasadena Playhouse

LA Times: Pasadena Playhouse will receive the 2023 Regional Theatre Tony Award, becoming only the second Los Angeles institution to earn the honor and continuing its triumphant streak after years of turbulence.

The prize, which includes a $25,000 grant sponsored by City National Bank, will be presented at the 76th Tony Awards on June 11 in New York.

The Mark Taper Forum, in 1977, was the first L.A. theater to receive the Regional Theatre Tony. Other Southern California recipients include the Old Globe in 1984, South Coast Repertory in 1988 and La Jolla Playhouse in 1993.

The award marks an astonishing turnaround for Pasadena Playhouse, which was on the verge of shutting down in 2010, when it laid off most of its staff, canceled the remainder of its season and filed for Chapter 11 bankruptcy protection. Rescued by the generosity of donors, the theater was back on shaky ground when producing artistic director Danny Feldman was appointed to succeed long-term artistic director Sheldon Epps in 2016.

• Tony Award for Excellence in Theater Education: Jason Zembuch Young

Jason Zembuch Young is the artistic director of the public South Plantation High School in Plantation, Fla. He stages full-length musicals and a full-length plays in both voice and American Sign Language.

Now, his efforts are being rewarded with a special Tony Award, granted each year in partnership with Carnegie Mellon University to a U.S. educator who has “demonstrated monumental impact on the lives of students and who embodies the highest standards of the profession.”

• Tony Honors for Excellence in the Theater: Lisa Dawn Cave, Victoria Bailey and Robert Fried

Broadway will have an unusually busy summer

There usually tends to be a lull in new Broadway shows between the Tony Awards eligibility deadline in late April and the start of the school year. But this season is shaping up to be different, with seven openings between Memorial Day and Labor Day.

The first, a horror play called “Grey House” starring Laurie Metcalf, has already opened. Jesse Green had mixed feelings about it, describing it in his review as “so expertly assembled from spare parts by the playwright Levi Holloway and the director Joe Mantello that you may not notice, between the jump scares and the shivery pauses, how little it has on its mind.”

Up next is “Once Upon a One More Time,” about the feminist awakening of fairy tale princesses set to the music of Britney Spears. That show will be followed by two other big musicals: “Here Lies Love,” about Imelda Marcos, a former first lady of the Philippines, with a score by David Byrne and Fatboy Slim; and “Back to the Future,” adapted from the hit film.

Broadway’s summer openings will also feature a comedian, Alex Edelman, performing his acclaimed solo show, “Just for Us,” as well as two comedic plays, “The Cottage,” which is a contemporary version of an old-school farce, and “The Shark Is Broken,” which is about the backstage chaos that challenged the making of “Jaws.”

How do I launch an egg directory?
I found a package that I want to use. It's a windows desktop widget. I downloaded the source from Git and unzipped. Installed Python 3.11 in powershell. Executed py setup.py --install from inside the unzipped package directory.
Python reports it installed into C:\users\user\appdata\local\programs\python\python311\lib\site-packages[package].egg.
What do I do to launch the package? I've tried py [package]. The .egg inside that directory appears to be a directory. I tried simply ps: [package]. Nothing seems to launch it.
Kindly help.

Edit: I've since learned my efforts are moot because the widget I was trying to install requires dependencies that are no longer available, and also .egg is a deprecated (and perhaps poorly implemented) way to use python. Thanks to everyone for their help

Pop-Up Event: Demo Disc Days

Today we are going to take a trip back to the 90s, when the best way to try out new games was to use a now-antiquated piece of magical circular plastic that you might have gotten along with your subscription to something like PC Gamer, PlayStation Underground, or the Official Sega Dreamcast Magazine.

The demo disc offered gamers a small taste of a variety of different games, letting you try out the beginning levels of lots of different titles in hopes that you'd find ones you like and buy the full games.

One of the most iconic demo discs actually came with the PlayStation console itself, and featured its games laid out in a grid. This is the format we'll be exploring in this pop-up: it's our taste of the 90s, but with the games of today ^{or yesterday or ten years ago.}

Community Task: Together, we will create our own modern demo disc by filling in cells in the grid below. To fill in a cell, you must "demo" a game, which consists of:

• playing the beginning of a game,
• that you have never played before,
• for at least 30 minutes.

Choose an unfilled category below, find a game to demo that fits it, and report back here with your thoughts once you've done so! Once you successfully demo a game, it gets put into that slot.

At the end of the pop-up, we will have what may very well be the first demo disc of the 2020s featuring a spread of 42 games across multiple styles and genres!

Additional Info: The styles and genres have been taken from among the list of Steam's most popular tags (with a slight preference for things that give a more 90s feel). You can use Steam's search tool or Steam's library filtering to find games that fit two tags simultaneously.

If you don't use Steam, that's fine too! A game doesn't have to be "officially" tagged to fit its category. If you feel the game fits, then go for it -- no matter what platform you're playing it on. PC games are fine; console games are fine; emulated games are fine; web games are fine; phone games are fine. Any and all games are welcome on our demo disc!

Also, the game does not have to be a modern game -- just new to you. If the game is playable today and can be demoed, then it works for our demo disc!

Finally, it is fine to demo more than one game for the event. In fact, please do! We’ve got a lot of slots to fill!

Recently I've been reading about the benefits of doing an extended water fast. There are apparently benefits when it comes to entering autophagy for cell repair, as well as increases in stem cell production in the a couple of parts of the body. I believe there is also some data to suggest that it increases sensitivity to insulin and does some lasting things to ghrelin and leptin levels. Many people also report clearer thinking, feelings of euphoria, and increased levels of focus after the first day of fasting.

After reading these benefits I decided to try a 72 hour water fast. Unfortunately, I did not feel almost any of the acute effects that were described in most all places that fasting is discussed. For both of the nights that I was fasted I woke up slowly and felt lethargic for a couple hours after waking. I had fairly severe brain fog throughout most of the second and third days. I was drinking electrolyte water, as is suggested (trying to hit 3g sudium/potassium and taking 250mg magnesium supplement/day), but when I drank that at a rate where I would be able to get all of the electrolytes in throughout the day I would have GI distress. I was only able to stomach about 1-2g of sodium/potassium per day

There were times where I felt the focus/energy that was described by other posters online, but it always came with an asterisk. I felt as though I was slightly detached from myself? Almost as through I was sitting inside my own mind/body and driving it as a third party. I will say that after the 18 hour mark I only felt hungry a couple of times. I did have a lot of thoughts about food, but those came from being very introspective about the fact that I was fasting more than anything else.

I want to believe that I did something wrong and thats the reason that I was not able to get the experience that it seems most others do; I would be willing to give it a second shot, but I want to try and figure out what could be improved.

Has anyone else here tried a 3+ day extended fast? What were your experiences?