I have a windows server with some spare capacity that I use to host some games for the community I'm a part of. Currently I host a couple TF2 servers and a wreckfest server. What other games can I host?

I have some disabilities that mean that I am limited to deliberative games where you proceed at your own pace. I am looking for games you enjoy or have enjoyed. Could be strategy or building or story based or other, but nothing relying on physical reflexes or reaction times. Thank in advance.

Many years ago I used to record a variety of music on an old Macbook and a dodgy copy of Logic Pro with various Native Instruments VSTs.

I had so much fun playing the drums badly on my midi pads, tightening them up in Logic, and then doing random stuff with the beat editor (changing velocity curves for specific notes like hi-hats, adding in random hits) to make it sound less rigid. Then maybe I'd record my acoustic guitar with my crappy mic, throw some reverb on it, add some vocals. Man, it was a blast!

It's been over a decade since I did that, and now I'd like to get back into that world again and produce some of my own backing music for my YouTube and TikTok videos, but I honestly don't know where to start.

I guess the big difference now is that I'm on Windows, and there is no Logic Pro here. The Ableton and Maschine layouts don't really make sense to me (I think these are more loop driven?). Reaper seems quite spartan compared to how I remember Logic (I know this is probably not actually the case, but the discoverability is not great imo).

If anyone has any suggestions about where I should start - I'm mostly looking for something that has the same layout as Logic did 10+ years ago (or at least, something that would feel similar and intuitive)- a big timeline where I can drag stuff around and try different arrangements, a piano editor I can break out at the bottom, a drum editor I can break out, set the note length and just drag my left-clicked mouse across to have a million hi-hat hits and then play around with deleting different hits until I get the right vibe, the draw the velocity across all of them easily.

The gear I have right now:

• Maschine MK3
• Some M-Audio super mini midi keyboard
• An old-school Metric Halo ULN-2 (this thing STILL costs a thousand bucks?!)
• A few Shure mics and a Wave 3 USB mic

Thanks in advance!

I know that it's mostly gacha games, but from my experience, they are usually cash grabs. Not to mention the amount of gacha IP collabs. So I'm curious if anybody knows game adaptations that are actually decent? It doesn't need to be on mobile- just any adaptation in general.

If you have no recommendation, you can just state your opinion on the state of game adaptations! Do you like seeing them? I'd love to read it.

I am mostly a TTRPG player, but lately I have been becoming a bit curious on wargaming.

I usually play TTRPGs because it allows a lot more freedom when compared to video games. However, I can't really see that much in wargaming that you can't get in video games. Is the appeal primarily a social one?

I am not bashing wargaming or saying that it's a bad hobby. I am just curious as to what the main draw is.
Thank you for any answers :)

Was recently feeling nostalgic over some RPGs I used to play back in the PS1 era and was wondering if anyone had some "hidden gems" they've been wanting to get off their chest? A couple of mine are:

Suikoden II

Azure Dreams

Disclaimer: This is just an observation of changing dynamics on Tildes! I don't mean to suggest any sort of way that Tildes should or shouldn't be.

I've noticed over the past few days that the Tildes front page has become filled with Ask posts. My best guess as to why is that these posts are the easiest to create and respond to? They're an easy way to spark discussion, generating lots of bumps back to the front page.

Now, I love seeing folks connect over all these niche topics and experiences. It feels like folks here are finding their people after losing the tight knit communities they had on Reddit, and that's lovely! In fact, it almost feels like these niche ask posts are acting as an impromptu replacement for the niche groups that Tildes currently lacks.

But, one consequence of this is that link posts get quickly pushed off the front page. I had noticed that link posts often struggled to generate discussion, even before the influx of new users. Longread articles and video essays take time to digest, and time to formulate opinions on. But now, I think this effect is compounded by the popularity of Ask threads, with fewer eyes dedicated to these links after they've left the front page.

Some closing questions:

• Have other users noticed this? How do you feel about this shift?
• Is there any merit to having a group dedicated to ask posts? Sort of like /r/AskReddit, but for Tildes? (That way, the posts can be easily filtered if a user wants to only see link posts.) EDIT: Filtering is possible already by filtering out the 'self post' tag, as suggested by @streblo.
• Should the visibility of link posts and ask posts on the front page be artificially balanced in some way?

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.”

So I got a 1.20m, 30kg punching bag, and hung it on the upper floor. I don't have boxing gloves yet but my friend suggested I just use cloth bandages on my hands. I'm looking for a boxing gym near me. I'm open to any striking art but I've done taekwondo before and I'd really like to concentrate on boxing now. I can throw basic punches. I've been watching some videos on boxing basics and I think it's awesome. Anything I could start working on for myself?

I'm already confident in self-defense. I don't have any specific reason to do it other than boxing looks fun. It's something I've been meaning to get into for years.

I'm not in shape at all.

Tips are welcome!

I'm looking for some new rpgs to play and I'm interested in stories that they and act like tye player character is some clueless out of towner to basically act as an avatar for the player.

I feel like most of the gltimes I've seen this done its pretty hamfisted and doesnt seem like the interactions go right. I'm wondering if anyone has encountered good examples of this idea?

Ever since I caught the FromSoftware bug in 2020 it's been difficult for me to enjoy action games anymore, but on the plus side, it has led me to spend more time exploring and enjoying cozy games! In particular, I love cozy games that don't involve any kind of violence or death mechanics.

It seems to me like these games are what people think of as being targeted towards kids, but kids these days aren't really interested in them because they are very calm, slow, relaxing and meditative, and everything kids actually consume in the "Screen Era" tends to be the exact opposite.

For me, these cozy games are a great way for me to get in touch with my inner child as an adult and they help me a lot with emotional regulation, making sense of my own childhood, all sorts of stuff, really.

Do you play cozy games? Are you interested in exploring cozy games? Do you stream cozy games? I'd love to hear from you and your experiences playing cozy games as an adult! Everything from recommendation requests, to reviews, to let's plays, and beyond.

Curious how many of you use Linux as your main gaming OS? I started 3 years ago and switched to Arch about a year and a half ago.

I play a lot of total war (mainly historical). Recently got into Isonzo which has been a lot of fun.

Happy Friday everyone! I'm making a post to see if anyone wants to beta test my Tildes.net iOS app Backtick.

Background

I've been wanting to create a Reddit app for quite a while, and just when I got started, the API change chaos happened. Thankfully, I remembered signing up for Tildes.net a few years ago and decided to pivot to make an app for this site instead! The app is still a work in progress, but I believe releasing early and getting as many eyes on it during development results in a better end product (and it's more fun for me 😊).

Features

Here are the current features of Backtick:

• Light mode/dark mode
• Login to Tildes.net (suports 2FA)
• Front page feed with sorting support
• View, vote, and comment on posts
• Reply and vote on comments
• Collapse comments
• View notifications
• Full markdown rendering
• Text-to-speech for posts and comments

Here is a video demo of the app in its current state (updated for v1.8.1): https://youtube.com/shorts/iukQJyJbtw8?feature=share

I know there missing features, but as I mentioned before, I would love to get as many people in as early as possible to help shape Backtick's future.

Testing

If you're interested in testing the app as I continue to work on it during my free time you will need:

• An iOS 16 device
• TestFlight (Apple's testing app)

You can access the beta here: https://testflight.apple.com/join/gNH18NE9. If you have any issues please DM me your Apple ID email and I will send you an invite manually.

Thanks, everyone! Have a great weekend.
- Ash

Edit:
Getting some great feedback! I'll be tracking bugs and potential features here if anyone is curious: https://chatter-brick-3d3.notion.site/Backtick-Tracker-888150b641ae4c0ab39dc0345783bc50?pvs=4

Edit2:
I created the Discord server to help facilitate better collaboration with those who wish to be more involved. It will be a place for discussion around potential features, bugs, and general chat. I will still be taking in feedback via TestFlight and Tildes.net, so it's perfectly fine if you don't want to join.
Join here: https://discord.gg/aah7nkfpBY

Hello everyone,

I have been craving a sort of game genre, but I'm not quite sure what it is or if it really exists as a genre at all.
It is a game with a lot of existential twists to it. I could call it Mystery though I feel it falls short.
The main story tends to be a complete upheaval of what we thought was the basic premise. Think of it like paradigm shift: the game.
They also tend to be games that you can really only play once. Lucky for me my memory is horrible.

So far I came up with these games:

• Outer Wilds
• Enderal (which is a "total conversion mod for Skyrim", but an amazing game)
• The Forgotten City
• Paradise Killer

Most of these have some kind of cycle involved in them, but I'm not sure if that's coincidental. All of them have you learn how the world works and it's never really what you first expected.
They tend to be light in battle, which is probably a skill issue bias on my part.

Honorary mention to:

• Strange Horticulture
• Horizon Zero Dawn, but the sequel less so (although still a very good game)
• The Zero Escape series, although I haven't played the first one yet
• The Legend of Zelda: Majora's Mask (as it really breaks away expectations you got from earlier games too, and the existential dread is dripping off it)
• Nier Automata
• Doki Doki Literature Club

Do you know any others? Or do you know a good match to this list?
What do you think kind of links all this? Feel like playing one of these games?

So I've been wanting to host some gameplay sessions on Discord for a while now, and I figured the best option would be visual novels or adventure games and similar types of games that are more story-driven. You don't have to worry about the video lagging as much, and you can pretty easily pause playing to talk to people without worrying about getting distracted.

What I particularly want are games that have choices that matter so people can give input. Someone once mentioned playing "Your Turn To Die" with friends where they could vote on the choices, and it's been stuck in my head ever since. If you haven't played that game, there are multiple points where you have to choose between two characters dying, which definitely shapes later chapters. Obviously I know what goes on in that game though, and I'd prefer to be just as blind as everyone else.

So please give me suggestions! Funny games, mystery games, horror games, psychological thrillers, I'm open to anything! (Except most dating sims. Those can be long and tedious if they don't have some twist to them.)

Minor edit: It doesn't have to be just visual novels or adventure games. I'm open to basically any game that doesn't depend on real-time reaction speeds (e.g. most platformers), so that we don't have to worry about getting killed while talking, or the video lagging and/or quality dropping for some people. (That's the main reason I've eliminated movies as an option, video lag and connection quality issues can really hamper the experience.)

Hey folks,

A few years ago I went in to the basement room where the cool kids hung out while they did video conversions and such. They had a playlist in the background of "Haunting Covers" or something like that. It was a take on all different music, but played in a really chilled, gothic style and by a mix of un/lesser-known artists.

Does anyone have some recommendations? To give you an idea, one of the more known tracks I heard while I was there was Nirvana's Smells Like Teen Spirit but covered by Tori Amos.

Thanks.