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Tony Awards offer many intriguing matchups in a star-studded season
Tony Awards offer many intriguing matchups in a star-studded season

The Independent

time17 hours ago

  • Entertainment
  • The Independent

Tony Awards offer many intriguing matchups in a star-studded season

A pair of singing androids. Two Pulitzer Prize-winning plays. A drunken Mary Todd Lincoln. A musical with a corpse as its hero. Romeo, Juliet and teddy bears with rave music. Not to mention George Clooney. Broadway has had a stuffed season with seemingly something for everyone and now it's time to recognize the best with the Tony Awards, hosted by Cynthia Erivo, set for Sunday night on CBS and streaming on Paramount+. Broadway buzz is usually reserved for musicals but this year the plays — powered by A-list talent — have driven the conversation. There's Clooney in 'Good Night, and Good Luck,' Denzel Washington and Jake Gyllenhaal in 'Othello,' Sarah Snook in a one-woman version of 'The Picture of Dorian Gray' and her 'Succession' co-star Kieran Culkin and Bob Odenkirk in 'Glengarry Glen Ross.' (Clooney, Snook and Odenkirk are nominated for Tonys.) There were two Pulitzer winners — 2024 awardee 'English' and 'Purpose' from 2025 — but perhaps one of the season's biggest surprises was 'Oh, Mary!,' Cole Escola's irreverent, raunchy, gleefully deranged revisionist history centered on Mary Todd Lincoln. All three are nominated for best play, along with 'John Proctor is the Villain' and 'The Hills of California.' On the musical side, three options seem to be in the mix for the top prize: 'Maybe Happy Ending,' a rom-com about a pair of androids; 'Dead Outlaw,' about an alcoholic drifter whose embalmed body becomes a prized possession for half a century; and 'Death Becomes Her,' the musical satire about longtime frenemies who drink a magic potion for eternal youth and beauty. 'Maybe Happy Ending,' 'Death Becomes Her' and another musical nominee, 'Buena Vista Social Club,' lead nominations with 10 apiece. The 2024-2025 season took in $1.9 billion, making it the highest-grossing season ever and signaling that Broadway has finally emerged from the COVID-19 blues, having overtaken the previous high of $1.8 billion during the 2018-2019 season. 'We're going through this strange period, which I would think someday we can draw the line from COVID to this, as you can draw the line from the early 1980s with AIDS to the explosion of big musicals again,' says Harvey Fierstein, who will get a special Tony for lifetime achievement. Audra McDonald, the most recognized performer in the theater awards' history, could possibly extend her Tony lead. Already the record holder for most acting wins with six Tonys, McDonald could add to that thanks to her leading turn in an acclaimed revival of 'Gypsy.' She has to get past Nicole Scherzinger, who has been wowing audiences in 'Sunset Blvd.' And Kara Young — the first Black female actor to be nominated for a Tony Award in four consecutive years — could become the first Black person to win two Tonys consecutively, should she win for her role in the play 'Purpose.' Other possible back-to-back winners include director Danya Taymor, hoping to follow up her 2024 win with 'The Outsiders' with another for 'John Proctor Is the Villain,' and 'Purpose' playwright Branden Jacobs-Jenkins, who won last year with 'Appropriate.' Other possible firsts include Daniel Dae Kim, who could become the first Asian winner in the category of best leading actor in a play for his work in a revival of 'Yellow Face.' And Marjan Neshat and her 'English' co-star Tala Ashe could become the first female actors of Iranian descent to win a Tony. Broadway this season saw a burst in alt-rock and the emergence of stories of young people for young people, including 'John Proctor is the Villain' and a 'Romeo + Juliet' pitched to Generation Z and millennials. Sunday's telecast, as usual, will have a musical number for each of the shows vying for the best new musical crown, as well as some that didn't make the cut, like 'Just in Time,' a musical about Bobby Darin, and 'Real Women Have Curves.' This year, there's also room for 'Hamilton,' celebrating its 10th year on Broadway. But the musicals 'BOOP! The Betty Boop Musical' and 'SMASH' didn't get slots. ___ For more coverage of the 2025 Tony Awards, visit

On Instagram, Recipe-Sharing Automation Is Here to Stay
On Instagram, Recipe-Sharing Automation Is Here to Stay

Eater

time2 days ago

  • Entertainment
  • Eater

On Instagram, Recipe-Sharing Automation Is Here to Stay

In December, the actress Sarah Snook, best known for playing the icy Shiv Roy on Succession , commented just one word on an Instagram post by NYT Cooking: 'Meatball.' And who could argue with that? Ali Slagle's Thai-inspired chicken meatball soup looked good, and getting the recipe required only that one leave the word 'meatball' in a comment. Do so, and a message from NYT Cooking pops into your inbox in seconds, offering a direct link to the recipe. This new format for engaging readers circumvents the clunky 'link in bio' maneuver, a workaround necessitated by the photo app's incompatibility with clickable links in captions and now considered the norm for publications and creators who use the platform to promote work that lives on other websites. Recently, a slew of new add-ons — including Manychat, which NYT Cooking uses — has allowed creators to automate messages and replies in this way. Food52 uses them too, as do recipe developers with unwieldy follower counts, like Yumna Jawad of Feel Good Foodie (4.7 million) and Deb Perelman of Smitten Kitchen (1.8 million). Influencers and creators have taken advantage of automation like this for a while, whether it's to send followers recipes or to share shoppable affiliate links. The effect is twofold, saving individuals from the tedious act of manually responding thousands of times and guaranteeing higher engagement since it prompts people to leave comments. These tools have become common enough to have instilled a habit: Some people now attempt to trigger chatbots even when a creator doesn't use them or instructs other steps for getting recipes. 'It doesn't actually matter as a content creator/pusher whether you use the bot thing — it's so standard now that people assume you do,' Perelman of Smitten Kitchen told me in a DM. For viewers, these tools are easier and less confusing than asking people to click the link in her bio. 'The actual conversation I had with myself was, 'Am I going to ignore hundreds of comments a day like this, or am I going to cough up $100/month(!) to give people what they want? With social media, the latter is my default — just make it easy; meet people where they are.' It's true: Recipe developers and creators use these tools because Instagram isn't the best place to share their recipes. Dropping instructions and measurements into a caption is easiest for viewers, but for creators, that means losing the potential revenue and the boosts to their engagement statistics that come from someone clicking through to their blog or signing up for their newsletter. However, since it isn't in Instagram's best interest to direct people to leave the app — or empower them to do so easily — the workarounds for highlighting off-platform content are annoying. Today, many people still don't understand their way around a 'link in bio,' even though the strategy has been in use since around 2018. Thus, recipe-sharing chatbots have emerged and taken hold. Do creators like them? Not necessarily. Do users? Begrudgingly. For the people who use them, these automation tools are a new necessary evil, just like being beholden to the whims of an algorithm. At best, these tools ensure that creator and commenter both get what they want. For one, that's a click; for the other, a recipe. At worst, they undermine the social nature of social media and depersonalize the experience of sharing food online. I went to Instagram — where I post pictures of food, pointedly without recipes — to ask food creators for their thoughts on these tools. The responses were overwhelmingly negative. 'Yes I hate it if that's strong enough of a sentiment,' said one. 'HATEEEEE,' said another. 'I HATE IT,' said yet another. Non-creators felt strongly enough that they had to write in too. Words that came up often were 'scammy' and 'desperate,' and some people resented them for being too obvious a play for engagement. Indeed, in one ad, which claims 'No Follow. No Freebies,' Manychat promotes that it allows creators to 'request a follow' before they 'give away content.' A common throughline was the idea of transactionality. 'On a deeper level, as a content creator who puts a lot of thought into how I create my recipes and corresponding content, I don't want people to simply think of me as a robotic recipe mill, constantly churning out recipes for consumption,' Lisa Lin, who runs the blog Healthy Nibbles, told me. 'An automated tool seems antithetical to that sentiment,' she added. This has long been the situation with food on social media. Get enough eyes on a picture of food online and you'll certainly become familiar with the 'recipe?' commenter. Not all pictures of food warrant a recipe, and not all people who post food are recipe developers; sometimes, the point is just to be proud of a nice lunch. Yet the 'recipe?' commenter sees no distinction between the professionalism of a published recipe meticulously shot and developed, and the individual's personhood, preserved and savored. At best, it's a well-meaning follower's detour into modest annoyance; at worst, it's the prelude to a total internet stranger becoming put out when a poster doesn't provide on-demand service, tailored to every need. In 2022, The New York Times 's Tejal Rao wrote of this phenomenon, coining it the 'endless torment of the 'recipe?' guy.' The core intentions of the ''recipe?' guy' are rarely bad: Isn't a desire to imitate a compliment? Yet their assumptions speak to a sense of entitlement around recipes and theto cooks for providing them. With one word, that request turns a shared appreciation of food into a transaction, regardless of whether its creator intended for it to be or if they even benefit at all financially. 'It's a way of treating the people who share their cooking online entirely as products. But I think it's also a way of becoming a bit less human,' Rao wrote. Indeed, this use of chatbots and automation tools only accelerates the normalization of treating people who share food online like robots themselves. Automation tools reward this behavior. They make it normal to drop a one-word comment to a stranger, like a caveman grunting a demand, without any effort toward etiquette or building a rapport. They reinforce the notion that creators must always provide, as well as the problematic sentiment that whatever we see on our screens should also be available for us to have. 'I've worked so hard to build a community,' said recipe developer and creator Erin Clarkson, known as @cloudykitchen. She chooses not to use automation tools, in part because she feels they detract from the conversational vibe she works to foster on her platforms. 'A chatbot destroys comment sections,' Clarkson said. That sentiment was echoed in the responses I got on Instagram, especially from non-creators. It used to be funny or helpful to read the comments, where people made jokes, shared their candid reactions and experiences, or asked clarifying questions. Now, as people seek to trigger auto-response tools, it's useless. We might see this as yet another example of enshittification: a once-social space optimized in favor of efficiency, but ultimately resulting in a worse experience for the people using the product. To Clarkson, these tools have also made readers 'even more lazy.' Clarkson says she regularly sees readers' assumptions that she uses them, even though she doesn't. She sees those presumptive comments another way: If these people can't bother to read the captions to figure that out, then they likely won't fare well with the level of detail on her blog . Everyone wants things instantly and easily, and recipes are no exception. Still, these tools remain a 'stopgap,' Lin said. Despite her ideological hesitation to tools that encourage robotic behavior from both creators and their audiences, the reality for her and most other recipe developers and food creators is that she 'primarily earns a living on a website outside of Instagram. At the end of the day, I need eyeballs on my website,' she said. Having now subscribed to one of these tools for several months, Lin has found that they're useful in getting people to visit her website. (Even when it comes to the established link-in-bio system, 'many, many people can't be bothered.') 'If Instagram would simply allow us to embed clickable links in our captions, we would not need this ridiculous workaround to deliver links to our audience,' Lin said. 'This automated recipe-sharing ecosystem wouldn't even need to exist. But I don't see Instagram developers changing their ways any time soon, so we're all stuck in this situation.' After hearing the malaise of social media users on all sides of the issue, I returned to the prompt that started it all. Committed to testing it out, I, like Snook, commented on that NYT Cooking post. Immediately, it felt silly — not just to comment 'meatball' publicly, but also to add to the mindless cacophony of requests and to masquerade as yet another someone who didn't bother to Google or search NYT Cooking. Afterward, I felt weirdly embarrassed: What friction was I really removing from my life by commenting? Sure, the recipe ended up in my inbox immediately, but then again, my mess of DMs is where useful information goes to die. The instant access didn't make me any more likely to make the recipe, and in fact, it would take me an awkwardly long time just to find the link in my inbox if I were in need of it while planning out dinner. I thought about all the recipes that have piled up in my saves on Instagram and in my screenshots folder. So many of them came to me so easily, offered up by way of too-knowing algorithms, and yet, I've never made most of them either. We now have access to so much information that we take its abundance — and the work that went into creating it — for granted. We see recipes as commodities that we are owed by virtue of us simply having seen them, even when we don't have any intention of following through. I thought about the technique that always works better for me anyway: just googling ingredients I have and then seeing how other people have already put them together. It makes me think a little more, of course, but especially in the age of AI, the most humanizing thing is to do a little of the work yourself — to have to think through a problem. I end up with something that's all mine; not something anyone willing to just comment 'meatball' can reproduce. The freshest news from the food world every day

‘Maybe Happy Ending' dominates the 2025 Drama Desk Awards with 6 wins, ‘Boop!' and ‘Gypsy' stage upsets
‘Maybe Happy Ending' dominates the 2025 Drama Desk Awards with 6 wins, ‘Boop!' and ‘Gypsy' stage upsets

Yahoo

time6 days ago

  • Entertainment
  • Yahoo

‘Maybe Happy Ending' dominates the 2025 Drama Desk Awards with 6 wins, ‘Boop!' and ‘Gypsy' stage upsets

Winners of the 2025 Drama Desk Awards were announced at a ceremony on June 1, hosted by Debra Messing and Tituss Burgess. These awards are unique in that Broadway, off-Broadway, and off-off Broadway compete together in the same categories. Maybe Happy Ending was a clear favorite with Drama Desk voters, claiming six awards to become the winningest production of the ceremony. The show's victories include the coveted Outstanding Musical prize and Outstanding Director for Michael Arden. Writers Will Aronson and Hue Park pulled off a clean sweep with wins for Music, Lyrics, and Book of a Musical. More from GoldDerby Ready for her close-up: Nicole Scherzinger takes the lead in Tony odds for Best Actress in a Musical Inside the Drama Desk Awards: Sarah Snook, Nicole Scherzinger, Jasmine Amy Rogers and more on theater's big night Kate Hudson and Mindy Kaling shoot for Emmys recognition for 'Running Point' at the Lakers training facility The Drama Desks employ combined gender acting categories, with an expanded number of nominees. As such, they've decided to present two winners by default in each acting race. Tony Award frontrunner Sarah Snook claimed Lead Performance in a Play for The Picture of Dorian Gray, alongside fellow Tony nominee Laura Donnelly for The Hill of California. Tony favorite Kara Young (Purpose) won Featured Performance in a Play alongside Amalia Yoo for John Proctor Is the Villain. The Tonys nominated Yoo's John Proctor costar Fina Strazza instead. A tie in voting resulted in a trio of winners for Featured Performance in a Musical: Tony nominees Brooks Ashmanskas (Smash) and Jak Malone (Operation Mincemeat), plus a flamboyant comedic turn from Michael Urie (Once Upon a Mattress). Broadway fans have long predicted a Tonys showdown between Audra McDonald and Nicole Scherzinger for their respective performances in Gypsy and Sunset Boulevard So most pundits assumed that these two leading ladies would share the win for Lead Performance in a Musical. But Drama Desk voters feted McDonald and Jasmine Amy Rogers (Boop! The Musical) instead. It was a tough night for Sunset Boulevard, which also lost the Revival of a Musical race to Gypsy. The acting win for Rogers complicates what is already the most competitive Tony race of the season, as there is clear passion for the young actress within the industry. It might be tempting to shrug off this result since Boop! was the most nominated show at the Drama Desks, but not so fast. Individual tastes can appear within Drama Desk nominations because the nominating committee is just seven people strong. But the entire 100-person membership votes for the winners, indicating that Rogers is capable of mustering support within a wider voting body. The good news for Boop! didn't stop there, as the bubbly show picked up two more wins. Gregg Barnes won Costume Design of a Musical over Paul Tazewell for Death Becomes Her. Then Jerry Mitchell won Choreography. Though Mitchell didn't face his toughest Tony competition, since Justin Peck and Patricia Delgado were not eligible at the Drama Desks for Buena Vista Social Club. Nevertheless, Boop! has now picked up this same trio of wins for its lead actress, choreography, and costume design at both the Drama Desk and Outer Critics Circle Awards. These also happen to be the same categories where the show earned Tony nominations. Can Betty Boop stage a massive upset at Sunday's Tony Awards ceremony? The full list of 2025 Drama Desk winners is below: Outstanding Play Blood of the Lamb, by Arlene Hutton Deep Blue Sound, by Abe Koogler Grangeville, by Samuel D. Hunter John Proctor Is the Villain, by Kimberly Belflower Liberation, by Bess Wohl **, by Branden Jacobs-Jenkins Outstanding Musical Boop! The Musical Death Becomes Her Just in Time **Maybe Happy Ending Music City Outstanding Revival of a Play ** Garside's Career Home Wine in the Wilderness Yellow Face Outstanding Revival of a Musical Cats: 'The Jellicle Ball' Floyd Collins **Gypsy Once Upon a Mattress See What I Wanna See Sunset Blvd. Outstanding Lead Performance in a Play Betsy Aidem, The Ask **Laura Donnelly, Patsy Ferran, A Streetcar Named Desire Danny J. Gomez, All of Me Doug Harris, Redeemed Patrick Keleher, Fatherland Louis McCartney, Stranger Things: The First Shadow Lily Rabe, Ghosts Jay O. Sanders, Henry IV (Theatre for a New Audience) **Sarah Snook, Paul Sparks, Grangeville Olivia Washington, Wine in the Wilderness Outstanding Lead Performance in a Musical Tatianna Córdoba, Real Women Have Curves Darren Criss, Maybe Happy Ending Sutton Foster, Once Upon a Mattress Tom Francis, Sunset Boulevard Jonathan Groff, Just in Time Grey Henson, Elf Jeremy Jordan, Floyd Collins **Audra McDonald, **Jasmine Amy Rogers, Nicole Scherzinger, Sunset Boulevard Helen J Shen, Maybe Happy Ending Jennifer Simard, Death Becomes Her Outstanding Featured Performance in a Play Greg Keller, Pre-Existing Condition Julia Lester, All Nighter Adrienne C. Moore, The Blood Quilt Deirdre O'Connell, Glass. Kill. What If If Only. Imp. Maria-Christina Oliveras, Cymbeline Maryann Plunkett, Deep Blue Sound Michael Rishawn, Table 17 Jude Tibeau, Bad Kreyòl Anjana Vasan, A Streetcar Named Desire Frank Wood, Hold On to Me Darling **Amalia Yoo, **Kara Young, Outstanding Featured Performance in a Musical **Brooks Ashmanskas, Nicholas Barasch, Pirates! The Penzance Musical André De Shields, Cats: 'The Jellicle Ball' John El-Jor, We Live in Cairo Jason Gotay, Floyd Collins Gracie Lawrence, Just in Time **Jak Malone, Lesli Margherita, Gypsy Zachary Noah Piser, See What I Wanna See Jenny Lee Stern, Forbidden Broadway: Merrily We Stole a Song **Michael Urie, Natalie Walker, The Big Gay Jamboree Outstanding Solo Performance David Greenspan, I'm Assuming You Know David Greenspan Ryan J. Haddad, Hold Me in the Water Sam Kissajukian, 300 Paintings Mark Povinelli, The Return of Benjamin Lay **Andrew Scott, Outstanding Direction of a Play David Cromer and Caitlin Sullivan, The Antiquities Stephen Daldry and Justin Martin, Stranger Things: The First Shadow Tyne Rafaeli, Becoming Eve Jack Serio, Grangeville **Danya Taymor, Whitney White, Liberation Kip Williams, The Picture of Dorian Gray Outstanding Direction of a Musical **Michael Arden, Zhailon Levingston and Bill Rauch, Cats: 'The Jellicle Ball' Jamie Lloyd, Sunset Boulevard Jerry Mitchell, Boop! The Musical Alex Timbers, Just in Time George C. Wolfe, Gypsy Outstanding Choreography Camille A. Brown, Gypsy Warren Carlyle, Pirates! The Penzance Musical Jakob Karr, Ain't Done Bad Arturo Lyons and Omari Wiles, Cats: 'The Jellicle Ball' **Jerry Mitchell, Sergio Trujillo, Real Women Have Curves Outstanding Music **Will Aronson and Hue Park, David Foster, Boop! The Musical Joy Huerta and Benjamin Velez, Real Women Have Curves Zoe Sarnak, The Lonely Few The Lazours, We Live in Cairo Outstanding Lyrics Gerard Alessandrini, Forbidden Broadway: Merrily We Stole a Song **Will Aronson and Hue Park, David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts, Operation Mincemeat Adam Gwon, All the World's a Stage Marla Mindelle and Philip Drennen, The Big Gay Jamboree Luis Quintero, Medea: Re-Versed Outstanding Book of a Musical **Will Aronson and Hue Park, David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts, Operation Mincemeat Warren Leight and Isaac Oliver, Just in Time Bob Martin, Boop! The Musical Marla Mindelle and Jonathan Parks-Ramage, The Big Gay Jamboree Marco Pennette, Death Becomes Her Outstanding Orchestrations Will Aronson, Maybe Happy Ending Doug Besterman, Boop! The Musical Joseph Joubert and Daryl Waters, Pirates! The Penzance Musical **Andrew Resnick and Michael Thurber, Michael Starobin, All the World's a Stage Outstanding Scenic Design of a Play Miriam Buether, Glass. Kill. What If If Only. Imp. **Miriam Buether, and Jamie Harrison and Chris Fisher (illusions and visual effects), Gabriel Hainer Evansohn and Grace Laubacher, Life and Trust Rob Howell, The Hills of California Johan Kølkjær, Dark Noon Matt Saunders, Walden Outstanding Scenic Design of a Musical Clifton Chadick, Music City Rachel Hauck, Swept Away **Dane Laffrey and George Reeve, (includes video design) Derek McLane, Just in Time David Rockwell and Finn Ross (projections), Boop! The Musical Outstanding Costume Design of a Play Brenda Abbandandolo, The Antiquities **Dede Ayite, Christopher Ford, The Beastiary Camilla Lind, Dark Noon Karl Ruckdeschel, Twelfth Night Outstanding Costume Design of a Musical **Gregg Barnes, Sarah Cubbage, The Big Gay Jamboree Toni-Leslie James, Gypsy Qween Jean, Cats: 'The Jellicle Ball' Paul Tazewell, Death Becomes Her Catherine Zuber, Just in Time Outstanding Lighting Design of a Play Isabella Byrd, Glass. Kill. What If If Only. Imp. **Jon Clark, Natasha Katz, John Proctor Is the Villain Tyler Micoleau, The Antiquities Paul Whitaker, Sumo Outstanding Lighting Design of a Musical Kevin Adams, Swept Away Adam Honoré, Cats: 'The Jellicle Ball' **Jack Knowles, Philip S. Rosenberg, Boop! The Musical Scott Zielinski and Ruey Horng Sun (projections), Floyd Collins Outstanding Sound Design of a Play **Paul Arditti, Johnny Gasper, Two Sisters Find a Box of Lesbian Erotica in the Woods Matt Otto, All of Me Bray Poor, Glass. Kill. What If If Only. Imp. Clemence Williams, The Picture of Dorian Gray Fan Zhang, Good Bones Outstanding Sound Design of a Musical Adam Fisher, Sunset Boulevard **Peter Hylenski, Scott Lehrer, Gypsy Mick Potter, Stephen Sondheim's Old Friends Dan Moses Schreier, Floyd Collins Outstanding Projection and Video Design Nathan Amzi and Joe Ransom, Sunset Boulevard Jake Barton, McNeal **David Bergman, Jesse Garrison, The 7th Voyage of Egon Tichy [redux] Hana S. Kim, Redwood Outstanding Wig and Hair Alberto 'Albee' Alvarado, Sumo **Charles G. LaPointe, Sabana Majeed, Boop! The Musical Nikiya Mathis, Cats: 'The Jellicle Ball' Nikiya Mathis, Liberation Outstanding Puppetry Dorothy James, Bill's 44th Tom Lee, See What I Wanna See Simple Mischief Studio, Small Acts of Daring Invention **Amanda Villalobos, Kirjan Waage, Dead as a Dodo Outstanding Fight Choreography Drew Leary, Romeo + Juliet Chelsea Pace and James Yaegashi, Sumo **Rick Sordelet and Christian Kelly-Sordelet, Bret Yount, King Lear Outstanding Adaptation Becoming Eve, by Emil Weinstein Cymbeline, by Andrea Thome Medea: Re-Versed, by Luis Quintero **, by Rupert Holmes The Devil's Disciple, by David Staller Outstanding Revue ** Mama, I'm a Big Girl Now! The Jonathan Larson Project The World According to Micki Grant Unique Theatrical Experience Odd Man Out The 7th Voyage of Egon Tichy [redux] **The Picture of Dorian Gray The Voices in Your Head The Wind and the Rain: A Story About Sunny's Bar Show with Multiple Awards 6 Wins Maybe Happy Ending 3 Wins Boop! The Musical Stranger Things: The First Shadow The Picture of Dorian Gray 2 Wins Danger and Opportunity (2 Special Awards) Gypsy John Proctor Is the Villain Just in Time Pirates! The Penzance Musical Purpose SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby 'Maybe Happy Ending' star Darren Criss on his Tony nomination for playing a robot: 'Getting to do this is the true win' Who Needs a Tony to Reach EGOT? Sadie Sink on her character's 'emotional rage' in 'John Proctor Is the Villain' and her reaction to 'Stranger Things: The First Shadow' Click here to read the full article.

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