I'm looking for the simplest possible marinade recipe. Something with very few ingredients that will work on any cut of meat.

My plan is to use that as a base and learn to modify it based on the meat, dish, and flavor profile I'm going for.

I have a couple iTunes libraries, and one of them contains every song I have ever collected. I decided to load it up on one of my flash modded iPods a few days ago, shuffling, and having some fun listening to music I haven't listened to in a long time.

I was about 25 songs in when the autotuned mess of Untitled by The Title came on and a wave of nostalgia and disgust washed over me.

It's so terrible, I can't believe I used to listen to the album on repeat, but it tickled my brain the same way it did when I was 12.

Any nostalgic cringe songs you've been listening to? Or what are your guilty pleasures songs?

I've been using Obsidian for notes for a year now and iA Writer for writing prose for a decade (wow!) and love both of them for their simplicity, cloud sync, and most importantly, their innate ability to get out of the way and let me work.

But I'm always interested in other people's workflows! What do you use to write or take notes?

I’m always looking for a good new book or, on lesser occasions, a good documentary. I love reading about “how stuff works”, astrophysics (space and its sheer size are insane to me), and oddly, random fantasy stuff like wizarding worlds, etc.
Judgements aside I like reading Harry Potter and some of the books by Neil Degrasse Tyson as well as watching Cosmos (Carl and Neil both).

What hidden gems do you have?

Any fans of this series over here? I was planning a series reread before book 5 comes out. It was going to be hosted on the bobiverse subreddit, but... well, ya know.

If enough people want to do one here I'd be happy to host it, probably starting in about 4 weeks and doing one book every 2 weeks.

I know a lot of people have been asking for an app, if just for a home screen/app drawer icon, so I cobbled together a small WebView wrapper that installs on your phone as an app.

It's for Android only (sorry iOS users) and probably will receive very little support, since I'm not an Android developer! In fact, this is just a fork of the vastly more capable woheller69's gptAssist, ported over to support Tildes and with some limiting functionality removed. Absolutely check out some of their stuff! My app and the original gptAssist are both licensed under the GPLv3. If anyone would like to contribute, please do! In fact, if you're an Android dev, feel free to fork and make it much better.

I absolutely appreciate the design philosophy of the Tildes devs and think that a WebView wrapper is a good compromise between having an app and using the thoughtfully-built website. If you're anything like me, you just like being able to tap on an icon to get to where you're going. I put this together with that in mind.

Do you expect a Fed rate hike, pause, or rate cut on June 14?

I personally believe the Fed will surprise the market with another rate hike because although CPI has cooled, core PCE has remained sticky and the Fed doesn’t want inflation to rear its ugly head at all costs.

According to the CNN Fear & Greed Index we are at “extreme greed” levels not seen since February 3rd, which also coincided with a temporary market top.

This leads me to believe the market will begin to fall over the next few weeks until we hit “fear” or “extreme fear” levels again around July.

I've lost weight, and regained, and lost, and regained more. Every method, I tried it, succeeding for months until not succeeding anymore and quitting (and regaining). Finally, starting in 2014 at the age of 51, I lost weight and I've kept it off.

In total, I've lost 125 pounds since July 9th of 2014, down from 298 pounds (135 kg) pounds to 171 pounds (78 kg). I'm male, 5'11 (179cm). I had a semi-desk semi-field job during most of this time, working as a jack-of-all-trades "IT guy" for a hospitality company with spas and restaurants and hotels in my region.

Today in The Daily Stoic book, I read from Epictetus, “In this way you must understand how laughable it is to say, ‘Tell me what to do!’ What advice could I possibly give? No, a far better request is, ‘Train my mind to adapt to any circumstance’….In this way, if circumstances take you off script…you won’t be desperate for a new prompting.”

In weight loss, I think it's a given that the most important step is to start. But after that gets going, to stay started and to adapt as you learn more and figure things out. Don't quit, even after caving in to a big eating day or weekend. Shake off the mistake and keep going. Don't quit in a plateau. Don't quit thinking you don't need to diet anymore or that your diet is too weird or untenable or that your body just won't ever lose weight. Instead adapt and continue.

Ultimately, Epictetus is right that this becomes not a diet with weird rules and tight restrictions, but a way to gain the training about how and how much to eat as ourselves. Not following a script but gaining the skills and second nature habits of living a healthy lifestyle. Ultimately, we have to keep off the weight we lose and still be eating the foods we grew up with, the foods our family and friends share, what was and will likely still be our long-term forever diet -- but tuned and tweaked so that we keep off the weight. If we start on keto or IF or cabbage soup, at some point transition to your regular and normal foods and figure those out. Those foods and food situations are in our future, so that's the puzzle we truly need to solve.

Even if we calorie count (and I do), the calories are just our data -- they're helpful to see the way but calorie counting itself is not the way -- the things we do, perhaps measured by calories, is what causes weight loss/gain to happen. A focus must be on shaping the internal long-term habits -- Train my mind to adapt to any circumstance -- so that the natural thing to do when life gets rough and distracting is going to keep us from gaining weight. We don't just eat healthy and light out of intention but also out of thoughtless, automatic "in the zone" or "flow" habit.

I recently decided to start using RSS to curate interesting news as I feel I am being overloaded with Clickbait from all directions when I am looking for the latest news or updates on Google. I'm looking for some good sources for Tech or Programming Articles or news that aren’t just clickbait and have good informative content.

I currently have BBC News, Krebs On Security and Ars Technica, does anyone have any other website suggestions which are worth subscribing to?

Ars Technica Information Technology - https://feeds.arstechnica.com/arstechnica/technology-lab
Ars Technica - Gaming & Entertainment - https://feeds.arstechnica.com/arstechnica/gaming
BBC Tech - http://feeds.bbci.co.uk/news/technology/rss.xml
Krebs On Security - https://krebsonsecurity.com/feed/

With the Reddit blackout, and me deleting my account, I'm not entirely sure how to fill the void that Reddit has left. I'm using Tildes and Kbin as a replacement, and they're amazing for discussing the topics I'm interested in, but I had grown to rely on Reddit for keeping up with the news topics that interest me; gaming, tech, astrophysics, hip hop, fantasy novels, and many more. And while alternative communities exist for each of my examples, they aren't the one-stop-shop that Reddit had become for me. On top of that, my initial reaction to a lot of questions or queries would be to Google "Steam Deck vs ASUS Ally reddit.com" (for example), to get some first hand community opinions. I know that it took Reddit many years to get to such a point, and that I can't expect any new alternative to be at the same level right now. I've thought about trying to get into RSS feeds, which I've never tried, but again my gut reaction would be to look on Reddit as to what are the best sources to add. I don't have much of a point to my ramble, just wanted to vent and lament that I'm kind of lost without Reddit at the moment; it had become such a useful and ingrained tool in my life.

My main needs are:

• Not too pricey
• Very low idle power
• At least 6 x SATA

I don't need a beefy GPU (the iGPU will be more than I need) or lots of CPU performance (I'll probably pick one of the cheapest compatible CPU).

AM5 is still pretty expensive and the cheap(-ish) motherboards mostly only have 4 x SATA so I would need an extension card. But I'm considering it because 5nm vs 7nm should improve the power efficiency, right? What kind of improvements should I expect there?

Are there any other reasons to go for AM5? I might prefer it for emotional reasons (the lastest and greatest always feels better) so I could use some input from kind strangers.

I could also just wait a bit longer. When should I expect the low-end AM5 comonents to become cheaper?

I saw the favorite anime post the other day but there weren't many sports anime there, so thought I'd start another thread for them, this is my first post (topic?) on tildes hopefully I didn't do anything wrong lol and hopefully it's fine to post this here

I personally haven't been watching sports anime lately but my favorite is probably haikyuu (although I've yet to watch the last season), but I've just begun watching Tsurune too.

I'm in zone 4b so it gets frigid here in winter, I'm thinking wood burning stove and I bought the thickest double walled plastic panels for the roof that I could find. I'm just finishing an insulated slab and I'm about to start framing. Please share with me any photos, plans, or guidance you might have! I have no idea what I'm doing!

After seeing the recent espresso post, I figured I'd start a thread for cocktails. I've been recently getting into decent rums (Smith & Cross is a favorite) and have been playing around with different recipes and uses.

So far, I've found a good spring/summer spritzer of cachaça (raw sugarcane distillate from Brazil, with a grassy, vegetal flavor), elderflower liqueur, and tonic water. I need to refine it, but I think I'm at a 2/0.5/4 ratio of spirit/liqueur/tonic. I love the way the herbal-sweet elderflower mixes with the cachaça, balanced by the bitterness of the tonic.

I was a huge fan since 2000 listening Tiesto, Paul Van Dyk, Ferry Corsten, AvB, ATB and many more.

I was lucky I went to few night events with my favorite DJs and producers. Right now I only listen Aly & Fila and Solarstone.

Having finished out the Amazon Prime series "The Expanse" I'm now working my way through the novels and I keep coming up against a problem with with railguns. Specifically, the way that railguns are used in The Expanse doesn't mesh well with the way they're portrayed.

First, some background. Ships in The Expanse are generally unarmored. There are a bunch of reasons for this but the short version is "most things that can hit you in space will kill you anyway" and armor adds mass which makes every manuver more expensive in terms of reaction mass. So no one has armor. This is important because it means that ships in the Expanse can get ripped up by something as mundane as a stray bullet from a Point Defense Cannon (PDC). PDCs are... well, they're guns. Regular guns which are flinging around much less mass and at much lower velocities than railguns.

Thus, ships in the Expanse are equipped to handle impacts but nothing much bigger than a sand-grain moving at a few km/s.

When we're introduced to rail-guns in the series we're given to understand that they use magnetic acceleration to chuck a 5kg chunk of tungsten and/or uranium at a target at an "appreciable percentage of C." That's much faster than a bullet or any micrometeors ships are likely to encounter. Even 1% of C is ~3,000 km/s.

5 kg of Tungsten is less than you think. Some back of the envelope math suggests that's about cube about 2.6 inches on a side... which is not big. That works out to an incredible energy density which would make a lot of sense if railguns were routinely being fired at planets or asteroids but, since they seem to mainly target ships, the vast, vast majority of the energy that goes into flinging that slug at its target is going to carry through to the other side of the ship.

All total we're talking about 488.5 million Newtons of force for 1% of the speed of light. Helpfully, this scales roughly lineraly so long as we don't get too close to C and induce relativistic mass issues, so 10% of C is 4.8 billion Newtons and so on. So, that railgun slug is carrying a lot of energy. At 1% of C it represents 22.5 trillion joules of kinetic energy. Written out long-ways so we can appreciate all those zeros it's 22,500,000,000,000 J. At 10%, we're talking 2.25 quadrillion joules. To give some sense of scale, that means that, at 1% of C, three rail-gun slugs are delivering about as much energy as the bomb that destroyed Hiroshima in 1945. At 10% of C one round carries about 537 kilotons, or about the yield of a modern, city-busting hydrogen bomb.

Those are absolutely titanic amounts of energy but, realistically, they'll never deliver that much power to a target. After all, a railgun round can only push on its target as hard as the target can push back on it. If the round just punches through the entire ship like it's made of paper, most of the energy stays in the railgun slug as it exits the other side of the ship and you get a neat hole rather than a gigantic flash as trillions of joules of kinetic energy turn into heat.

And obviously, if we're trying to kill things, we want the latter. The solution to this problem is fairly obvious: you need fragmentation. While it's great to have a tungsten cube all tightly packed together as you accelerate it, if you're shooting at a ship, you want a fairly diffuse impact, especially if we're talking about a 10% of C railgun slug. There aren't a lot of things out there in the solar system which can take 500 kilotons of hate and come out the other side in one piece. Moreover, at the distances at which a rail-gun fight happens, that spread would help ensure that you hit your target. Like a shotgun loaded with birdshot, a fragmenting railgun round would provide a cone of impact rather than a line, making dodges less effective.

And, as I mentioned earlier, you don't need a ton of mass to make this work. If a PDC round can go straight through a military craft then we can safely assume that a chunk of tungsten with the same kinetic energy will do the same thing. PDCs look rather a lot like the close in weapons systems in use on many naval ships today so we'll use those as a guide. The 20mm cannon on a Phallanx CWIS tosses out rounds at about 1,035 m/s. Those rounds weigh about 100 g (0.1 kg) which gives them a kinetic energy at the muzzle of 53,422 J.

So, if we could predictably shatter our 1% C railgun round into 421,136 pieces, each would have about the same kinetic energy as a PDC round and be able to hole the ship. At 10% C we could go even smaller and do the same thing with upwards of 40 million shards. 1% is plenty though. Each hull-penetrating piece of our original 5 kg bullet needs only weigh about 1/100th of a gram, which works out to being about 1/100th of the size of a grain of sand.

Put another way, if the fragmentation of a rail round could be precisely controlled, a target ship would experience hundreds of thousands of individual hull breaches with the mean distance between them determined only by the geometry of the ship and the angle of the attack. The result of this would be either the delivery of a titanic amount of energy to the ship itself as the armor attempts to absorb the impact or, if no armor is present (as seems to be the case in the Expanse) the rapid conversion of the interior of the ship to a thin soup.

This, however, seems never to happen in the series and what leaves me scratching my head. As a book and TV series, The Expanse does an otherwise bang-up job with hard science fiction. Most things in universe make sense. This, however, does not. We have take as a given that the materials science technology exists to allow the mounting and firing of a railgun on a ship -- there are a lot of challenges there -- but the straight-line-of-fire use of them is a rare problem with the world-building.

Any fans have any suggestions to help me square this circle?

Reject modernity, return to analog

Let's talk retro tech, or anything of the sort! What projects or hobbies are you currently working on? Are you leaning towards a crisp hi-fi sound for your turn-table (yo), or just browsing eBay for old broken tech you know you don't need? Is this submission just a cry for help, because I've found myself browsing old Bose Wave systems from days gone by?

I have a box full of old Gameboy motherboards I need to do something with (the current plan is to gift my close friends their own modded Gameboy, because seriously why can't I hold all these Gameboy motherboards). Then there's my AIWA Walkman that needs a new belt, but I've never cracked one of those open before, so we'll see. Then there's this Gameboy Camera mod that is keeping me up at night.

What about you fine folks? I thought about posting this to ~tech, but I thought ~hobbies was just as relevant, since this isn't exactly leading edge stuff (though it may be in the retro tech space!)

So let's be real, a lot of dubs don't live up to the original. Stuff gets lost in translation, the actors aren't as good, for some reason they choose a guy who sounds like he's 10 to voice the teenage protagonist (coughanothercough). A lot of people prefer subs for that reason.

But sometimes, sometimes the dubs throw out the original script and go all-in on the hamminess for gag dubs, and by god they can be amazing.

The golden example: the Ghost Stories dub. They got a generic ghost hunting anime that they knew wouldn't sell that well in western markets, and thus gave the English distributors free reign on changing the script. Every episode is like an Abridged series, and so politically incorrect but so amazing for it. The voice actors are very obviously having a blast with all the ad-libbing going on, you can see them developing the characters themselves and loving it.

So what other amazing gag and parody dubs do you guys know of?

Hello!

I was just wondering if anyone has any tried and true vegetarian/vegan cabbage recipes? I got a local farmer's produce box and have been receiving a whole head of cabbage each time. I'm running out of ideas on what to make. So far I have made:

• Korean Vegetable Pan Cakes
• Veggie Stir Fry
• Ginger Cabbage Gyoza
• Cabbage Stew
• Sour Kraut
• Veggie Lasagna
• Atkilt

It's to the point where I'm tossing cabbage into whatever (shredded cabbage ontop of tacos or on
veggie burgers, mixing it into spaghetti sauce, etc.). So any recommendations on additional things that can be made with cabbage would be most appreciated!

https://postimg.cc/phNYcrTJ

Just deleted my Reddit account. I was a Digg addict, and thereafter way to absorbed in Reddit for my own good.

Wanted to thank Christian for a brilliant app (if he ever was to see this: you poured your soul into that thing. Thank you for all you did). I’ve now deleted the app on all devices and am moving on!

Am looking forward to a fresh change.

I really like the feel of this place. Low key, easy to navigate and not crowded. And the civil conversations just blow my mind!

PS: sincerely appreciate the invite link!

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.”

I noticed that r/pokemongo and r/TheSilphRoad are down because of the blackout, so now I'm not sure where to go for information. The actual Silph Road forum was shut down by Niantic, and ones like Pokemon Go Hub aren't as focused on PvP or have the kind of discussion that the subreddit did. Does anyone know of other forums out there?

I tried to use Gnus to set up some rss feeds about a year ago, and I became more than frustrated: I was actually confused.

So here are a couple questions I don't even understand where to ask or whether they're relevant or being asked in the right way:

Are most newsgroups mirrored? And along those lines, is there one particular newsgroup server that would be sufficient for most users?

Can I post to a newsgroup in the same way I would post to a mailing list: send an email somewhere? Where do I send that?

What even is NNTP? Someone literally sent me the spec for the protocol, but I don't think they actually wanted to be helpful: I felt like they were putting me down and intentionally not answering while giving the appearance of being helpful. Is it actually something I need to understand to use Gnus effectively?

If you're familiar with newsgroups, I would surely appreciate your knowledge.

I'm heading to Japan for about 10 days next month for the first week of July and then some, and I was wondering if there's anything I've missed in my trip planning process. I'm gonna be in Tokyo, Kyoto, and Osaka.

So far I have a nice list of stores to visit for fashion, specifically streetwear and techwear, (Mountain Research, Arcteryx, PARCO building, etc), and a good list of foods I'm looking forwards to, (sushi, ramen, onigiri, etc). I'm planning on going to Tsujiki Fish Market, Akihabra, and Shibuya, and I have a tattoo appointment for one of the days. I also have a reservation for the Pokemon Cafe!

My family is originally from an Asian country, so I'm already familiar with the beauty and quality of Asian 7-11's/FamilyMarts. (If you haven't tried them yet, definitely do!) Not a huge fan of anime in general, and I prefer cities for sure. Probably gonna see Osaka Castle and the one in Tokyo as well!

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!

Hi Everyone!

First post on Tildes. I'm excited to have been invited to give it a shot!

I was wondering if anyone here is using Unreal Engine 5 for any project their working on? It could be game design, virtual production, architecture, automotive or you name it!

I'm currently testing out numerous areas of Unreal Engine 5 for virtual production.

Thanks!!