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RuPaul’s Drag Race Recap: Season 9, Episode 1, “Oh. My. Gaga!”

Every opening episode of RuPaul’s Drag Race is, at the root, an orgy of first impressions.



RuPaul’s Drag Race Recap: Season 9, Episode 1, “Oh. My. Gaga!”
Photo: VH1/Logo

Opulence! O-P-U-L-E-N-C-E! You’d think season nine of Rupaul’s Drag Race would have it rough matching up to the show’s still-ballooning legacy. Season eight maybe didn’t mark itself as distinctive in many respects, but it at least afforded itself the chance to dance like Beyoncé in the end zone about reaching 100 episodes/100 queens. But the recent All Stars season truly elevated the entire Drag Race universe to new levels of sickening. Even fresh off the heels of Mama Ru’s Emmy win, though, apparently World of Wonder still has something to prove on the runway. Why else would the franchise shantay its slot all the way from Mondays on Logo (the perfect time to commemorate the total evaporation of a weekend’s worth of hangover) to Friday nights on VH1? (Cue the shade rattlesnake sound cue.)

Impenetrable as the series may still be, it’s going to be murder on the dance floor. Maybe I’m being overdramatic, but I’m hardly the only one. In any case, the ninth season opens without fanfare. Because every opening episode is, at the root, an orgy of first impressions, here’s the rundown on this season’s entrances:

Peppermint. “Sweet and sassy,” and a borderline bad girl sauntering in wearing yet another kimono after season eight’s Madonna “Nothing Really Matters” fourgy. Okay, maybe it’s not quite a kimono in the sleeves, but damned if it’s not a statement to make first out of the gate. She looks and acts like a good time waiting to happen.

Valentina. A snatched Latina starlet with not much else in her eyes on the outset, apart from sheer blue contact lenses. The series moves on pretty quickly from her introduction. Well, because…

Eureka O’Hara. Big-gurl realness makes her predictably big-gurl entrance into the workroom, slinging big shade and boasting Big Boy gurl coifs to the interview segment gods. Yeah, in other words, too too much, and likely another supervillain from the House of O’Hara. “I’ll eat you,” she threatens, and knows you know she means it. But for the time being, she can find sustenance from her chandelier earrings.

Charlie Hides. Among the reasons fans will never, but never, get sick of RPDR: that Crypt-Keeper sound the editors accord Charlie’s mumbled revelation of her age. Fifty…two. And we already know Raja’s into it for supplanting her (false) reputation as the oldest queen in the history of the show. And, ironically, she comes in wearing a full-gown, bifocals distillation of the Cyclops cap Raja entered in way back in season three. One to watch? The specs have it.

Farrah Moan. Farrah enters naked, beaten, contoured, and you just know someone else gave her that nom de plume. Like Naomi Smalls, no one’s ready to take her flat chest seriously, but she comes in wearing the Glinda the Good Witch version of that dress Rose McGowan wore to the 1998 VMAs despite being about 15 years too young to know about that dress, so you know she’s not going home for a little while.

Sasha Velour. After a buffet that’s so far served up nothing but fish and quips, Sasha’s primal-scream entrance at least clears the air, even if her boy-self interview footage suggests nothing so much as The Princess 2.0. Eureka clocks her painted unibrow, but you know it’s only because she has the rug-sized equivalent on her back.

Alexis Michelle. “How do you like them egg rolls, Mr. Charles?” Not as much as I like Arrested Development and Gypsy, Alexis. Which is to say, not much. At this point, though, the theatrical East Coast brigade is very well represented. And Valentina, bless her limited heart, tries to mark the West Coast as the center of the drag universe, though there hasn’t been a Pacific coast winner representing since Seattle’s own Jinkx Monsoon a half decade ago. And yet…

Shea Couleé. “Bitch, I’m from Chicago!” Chic on a shoestring is the name of Shea’s game. And her themotherfuckingbomb-dot-com confidence momentarily defuses the battle of the coasts through sheer force of will…

Trinity Taylor. Until Orlando waltzes in. Trinity boasts of going from “a pancake” to becoming “a Kardashian.” Embracing Madeline Ashton’s “makeup is pointless” creed, Trinity has gotten intimate with the knife. Maybe a little too close, as when she talks about the “astigmatism” attached to pageant queens. Given her Orlando locale, she may be a gateway to waterworks in some future episode. And we’ll all be living for it right there by her side. Or else, the producers will reduce her and Eureka into a rehash of the Coco-versus-Alyssa rivalry. Only a sewing challenge will tell.

Kimora Blac. You know what…who cares. I mean, you’ve seen the boy version of this queen? Not the clean-shaven one that’s displayed in this episode’s workroom interview cutaways, but the bearded, bed-headed (and yes, pumped) Instagram version? Pearl, Lineysha Sparx, Milk, and Raven have some serious competition in the thirst department. Unfortunately, cheek divots aside, she knows it. “Kimora Blac is everyone’s sexual preference.”

Jaymes Mansfield. Making the Midwest look the damn fool right out of the gate, Jaymes Mansfield can’t even bring herself to make an entrance without the assistance of a sock puppet. The entire room clocks her nervous anxiety instantly, but even someone with Trinity’s “astigmatism” could see it from a mile away. She’s a frayed nerve in a platinum blond wig, and were it not revealed by Ru upon entering that there would be no eliminations this week, she would already be working on the lip sync before even unpacking.

Nina Bo’nina Brown. If you’re a Drag Race fan who’s been waiting for a queen to interpolate Osama bin Laden into their extended stage name, (a) your wait is over, and (b) how are we not married yet? Nina’s cosplaying as Minnie Mouse and clearly stepping into Kim Chi’s shoes for the season.

Aja. Season nine’s other Naomi Smalls, only with harsher lines. She seems to be gunning for Miss Congeniality already, or maybe it’s just because the hormones in the room were starting to run high by the time she strutted in.

And then there’s Ronnie from New Jersey. Oh wait, no. It’s clearly Lady Gaga and not a soul was fooled even for a second by her perfect illusion. Yes, getting Gaga represents a coup for the show, and vice versa. But from the moment Gaga arrives, she swallows whole everything that makes the first episode of any Drag Race season so enjoyable: that rush of new talent, the confusion of feeling everyone out, the Fellini-esque muchness of everything. This episode, in contrast to the expected free-for-all, is so gaga for Gaga that it even squeezes out the usual photo challenge (a highlight every single season) and, because no one is getting eliminated, the Lip Sync for Your Life.

That we barely know these queens at all becomes a major liability when the show almost immediately moves from the introduction to the final runway, and we’re expected to judge them both on a look that showcases their hometown spirit and a look that, paradoxically, forces them to imitate Gaga. Nothing introduces queens like (a) removing screen time and giving it to a superstar, and (b) making them imitate said superstar. (Similarly, Gaga’s stone-faced observations during the second half of the challenge also sideline Michelle Visage, Carson Kressley, and Ross Mathews from spitting out the writers’ usual puns.)

Somehow, some queens manage to exceed expectations and turn out memorable looks. Sasha smartly follows a pop art-inspired New York look with an uncanny recreation of Gaga’s Artpop makeup, courtesy of Yadim. Shea serves up a gigantic weenie (a “Bitch I’m from Chicago” dog fascinator), and Nina Bo’nina somehow stuns in a crafty, nightmarish oversized Georgia peach head. Aja also manages to make something of a “statement” for her style of drag by wearing a confrontational Comme de Garçons garment, “to show that beauty has no shape.”

And, of course, some statements are made on the other side of the coin, first and foremost Jaymes Mansfield’s Holstein cow-spotted tribute to Wisconsin (and unintentional tribute to the dress that got Magnolia Crawford booted on day one back in season six). But lucky for her, RuPaul doesn’t even bother to isolate this week’s bottom queens, instead directly crowning Nina Bo’Nina this week’s winner over Sasha and Eureka. But can there really be any winners if there are no losers? The emotional stakes seem low enough that when, just before the credits roll, Ru delivers what she intends to be the new “face crack of the century” (that a previous queen is returning to the race), it carries little impact. Even lesser episodes of Drag Race go down like cotton candy, but this premiere lip-synced not for its life, nor the show’s legacy.

For more recaps of RuPaul’s Drag Race, click here.



Who Killed My Father Is Heartbreaking but Prone to Pat Sociological Analysis

Édouard Louis’s latest is strong as a portrait of a family unable to communicate through anything but volatile, toxic outbursts.



Who Killed My Father

Author Édouard Louis’s father has been an important figure in each of his previous works, even when he’s never seen or mostly at the periphery (as in The History of Violence). With his latest, Who Killed My Father, Louis finally turns to directly examining his most important, damaged relationship. Both in his previous books and interviews, Louis has repeatedly acknowledged this broken relationship, largely stemming from the author’s open homosexuality. Alongside this, Louis’s prior works have circled around a number of themes to which he returns here: the French political and working classes, the small-town prejudices that surrounded his upbringing and drove a closeted homosexual boy to escape to more cosmopolitan Paris, and the role of state power in producing social and physical illness.

With Who Killed My Father, Louis invites inevitable comparisons to Abdellah Taïa, another talented French writer who’s also gay and largely estranged from his place of origin, and also primarily an autobiographical novelist. Like Louis, Taïa incorporates his complicated relationship with a parent into several of his books. Taïa also connects that relationship, his writing, and his experience with the society he left behind in Morocco and the one he found in France. But what distinguishes his writing in, for example, Infidels or Salvation Army from that of Édouard Louis in Who Killed My Father is a strong sense of meaning. Taïa incorporates his relationship with his mother, M’Barka, to convey something more meaningful and developed.

Louis begins down this same road before clumsily inserting a political tract at the end of Who Killed My Father that doesn’t knit as effortlessly with parts one and two. The book situates Louis’s relationship with his father front and center as compared to his previous work. It’s clear that he’s exposing the painfulness of their relationship for the purpose of speaking about political power and its physical and social toll on those who don’t possess it, but Who Killed My Father stumbles in conveying its message adequately.

Louis’s account of his father’s suffering and violence toward those around him is both painful and sharp. Who Killed My Father is strongest when Louis is demonstrating his father’s most private acts of kindness, as when the father gives Louis a copy of Titanic for his birthday after trying to convince him to ask for a more “masculine” gift. After Louis realizes that his carefully planned tribute to the pop band Aqua at a family dinner has embarrassed his father, the man reassures Louis that “it’s nothing.” In the book’s first and strongest part, Louis expounds not only on the relationship with his father, but also excavates what might have made his father the man he grew up with. At one point, he recounts finding a photograph of his father in women’s clothes—undoubtedly some adolescent joke, but also inconceivable from the man who insisted to his son that men should never act like girls.

Regrettably, part one ends with a trite conclusion that says everything and nothing at the same time. In part two, the story attempts to braid together all the malignant threads of Louis’s family narrative. Louis recalls igniting a violent outburst between his father and older brother as a result of his mother shaming him for acting too much like a girl (“faggot” is what some others in the neighborhood more precisely call him). The insinuation hurts and angers him so much that he betrays his mother’s confidence on another family secret, setting loose a new wave of violence. Part two is short and important to moving Who Killed My Father toward some wider evaluation of the questions Louis begins the book with, but it ultimately fails to find its footing by pivoting in part three to an unearned polemic against the political classes.

Who Killed My Father is strong as a portrait of a family unable to communicate (except in brief moments of tenderness) through anything but volatile, toxic outbursts, but the book at its weakest when trying to ham-handedly force this narrative into some broad theorizing about power and society and structural violence. Part one aligned beautifully with a narrative of meaning more comparable to Taïa at his best. Unfortunately, the story quickly falls apart when Jacques Chirac is indicted for destroying Louis’s father’s body through changes in health care coverage. It’s not that the questions Louis ends with aren’t necessary and important ones; it’s that there’s so little threading the narrative together into anything cohesive. What was the point of the first two-thirds of the book? His father was cruel, occasionally loving, but never mind because the state is killing him? The life of the poor is one of abject powerlessness against an unremittingly powerful and callous “ruling class”?

Louis deserves credit for the attempt to tie it all together into some grander commentary on the political class and its ambivalence, but the conclusion is simultaneously glib and condescending. Perhaps Louis didn’t intend it, but the book’s conclusion drains away responsibility for the cruelty and bigotry of those like his father, and patronizes them as with a quick How could we expect any better of the noble, working poor? Is it the state’s or the ruling class’s subjugation of his father’s body that’s somehow also responsible for his inability to sympathize with gays or immigrants? Of course, the poor are subjugated by the rich and Louis has written more meaningfully about the implications of that relationship elsewhere. But in Who Killed My Father, he inadvertently demonstrates that the answer isn’t to sanctify them any more than it is to demonize them.

Édouard Louis’s Who Killed My Father is now available from New Directions.

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Through the Years: Madonna’s “Like a Prayer” at 30

To celebrate this sacred anniversary, we’re taking a look back at the single’s evolution over the last three decades.



Through the Years: Madonna’s “Like a Prayer” at 25

This week Madonna’s iconic hit “Like a Prayer” turns 30. The song is, by all accounts, her most broadly beloved contribution to the pop-music canon, landing at #7 on our list of the Best Singles of the 1980s. Even the singer’s most ardent critics can’t help but bow at the altar of this gospel-infused conflation of spiritual and sexual ecstasy, a song that helped transform Madge from ‘80s pop tart to bona fide icon. To celebrate this sacred anniversary, we’re taking a look back at the single’s evolution over the last three decades.

Editor’s Note: This article was originally published on March 3, 2014.

Pepsi Commercial

Following a teaser that aired during the 31st Annual Grammy Awards in January of 1989, Madonna premiered “Like a Prayer” in a Pepsi commercial during The Cosby Show, the #1 rated series on U.S. television at the time. Part of a $5 million sponsorship deal with the soft-drink company, the ad, titled “Make a Wish,” was an innocuous bit of nostalgia that would soon be eclipsed by the scandal surrounding the single’s forthcoming music video.

Music Video

Madonna dances in front of burning crosses and kisses a black saint in a church pew in this modern morality tale about racial profiling and pious guilt, prompting both the religious right and cultural critics, like bell hooks, to cry foul. Eventually, the mounting outrage caused Pepsi to pull out of their multi-million dollar deal with the Queen of Pop. The singer’s response was coyly defiant.

Blond Ambition Tour

Madonna’s first live incarnation of “Like a Prayer” was also her best. Sure, her voice was raw and unrefined (“Life is a misstaree, eve’one mus stan alone,” she heaves), but her 1990 tour performances of the song displayed a rapturous, almost possessed quality that she’s never been able to recapture.

Mad’House Cover

Dutch Eurotrash group Mad’House’s claim to fame is their blasphemous take on “Like a Prayer” from 2002. The glorified Madonna cover band’s version is stripped of the original’s nuance and soul, a tacky, mechanical shell of a dance track. Regrettably, this is the version you’re most likely to hear on Top 40 radio today. (Only slightly less heretical, the cast of Glee’s rendition of the song peaked at #27 in 2010.)

MTV On Stage & On the Record

Then notorious for forsaking her older material, Madonna dusted off “Like a Prayer” in 2003 during the promotion of her album American Life. Thirteen years after her last live performance of the song, even Madonna’s comparatively reedier voice and noticeably more limited range couldn’t diminish its enduring magic.

Sticky & Sweet Tour

After performing crowd-pleasing but relatively anemic versions of “Like a Prayer” during her Re-Invention Tour in 2004 and Live 8 in 2005, Madonna reinvented the song for her Sticky & Sweet Tour in 2008, using elements of Mack’s “Feels Like Home” for an amped-up techno mash-up.

Super Bowl XLVI

Madonna closed her record-breaking Super Bowl XLVI halftime show in 2012 with “Like a Prayer,” and though she wasn’t singing live, it was the closest she’s ever gotten to her ecstatic Blond Ambition performances. (For those lamenting the lip-synching, she would go on to reprise this version of the song, completely live, during her MDNA Tour later that year.) And if there were any doubt, a stadium of nearly 70,000 football fans waving flashlights and singing along is a testament to the song’s transcendent, all-encompassing appeal. The performance’s final message of “World Peace” seemed attainable, if only for a brief moment.

Met Gala 2018

Last year, Madonna dusted off her old chestnut for an epic performance at Vogue magazine’s annual Met Gala. The event’s theme was “Fashion and the Catholic Imagination,” which seemed tailor-made for both the Queen of Pop and “Like a Prayer.” Madonna slowly descended the steps of New York City’s Metropolitan Museum of Art in a shroud, flanked on both sides by a choir of monks, as she sang a Gregorian-inspired rendition of the pop classic. The performance also featured a portion of a new song, “Beautiful Game,” and a cover of Leonard Cohen’s “Hallelujah.”

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Oscars 2019: Complete Winners List

The 91st Academy Awards are now behind us, and the telecast told us just about nothing that we don’t already know about AMPAS.



Green Book
Photo: Universal Pictures

The 91st Academy Awards are now behind us, and the telecast told us just about nothing that we don’t already know about AMPAS. Which isn’t to say that the ceremony wasn’t without its surprises. For one, whoever decided to capture Lady Gaga and Bradley Cooper’s performance of “Shallow” from A Star Is Born in one single take that would end with the pair sitting side by side, rapt in each other and framed in Bergman-esque repose, should hereby be responsible for every Oscar ceremony moving forward.

For some, though not us, Green Book’s victory for best picture came as surprise. As our own Eric Henderson put it in his prediction: “Those attacking the film from every conceivable angle have also ignored the one that matters to most people: the pleasure principle. Can anyone blame Hollywood for getting its back up on behalf of a laughably old-fashioned but seamlessly mounted road movie-cum-buddy pic that reassures people that the world they’re leaving is better than the one they found? That’s, as they say, the future that liberals and Oscar want.”

In the end, the awards went down more or less as expected, with the only real shock of the evening being Oliva Colman’s stunning upset over Glenn Close in the best actress race. (Glenn, we hope you are on the phone right now trying to get that Sunset Boulevard remake to finally happen.) Black Panther proved more indomitable than expected, winning in three categories (none of which we predicted), and Free Solo pulling a victory over RBG that was the first big sign of the evening that, then and now, AMPAS members vote above all else with their guts.

See below for the full list of winners from the 2019 Oscars.

Black Panther
Bohemian Rhapsody
The Favourite
Green Book (WINNER)
A Star Is Born

Spike Lee, BlacKkKlansman
Pawel Pawlikowski, Cold War
Yorgos Lanthimos, The Favourite
Alfonso Cuarón, Roma (WINNER)
Adam McKay, Vice

Christian Bale, Vice
Bradley Cooper, A Star Is Born
Willem Dafoe, At Eternity’s Gate
Rami Malek, Bohemian Rhapsody (WINNER)
Viggo Mortensen, Green Book

Yalitza Aparicio, Roma
Glenn Close, The Wife
Olivia Colman, The Favourite (WINNER)
Lady Gaga, A Star Is Born
Melissa McCarthy, Can You Ever Forgive Me?

Supporting Actor
Mahershala Ali, Green Book (WINNER)
Adam Driver, BlacKkKlansman
Sam Elliott, A Star Is Born
Richard E. Grant, Can You Ever Forgive Me?
Sam Rockwell, Vice

Supporting Actress
Amy Adams, Vice
Marina de Tavira, Roma
Regina King, If Beale Street Could Talk (WINNER)
Emma Stone, The Favourite
Rachel Weisz, The Favourite

Adapted Screenplay
The Ballad of Buster Scruggs, Joel Coen and Ethan Coen
BlacKkKlansman, Charlie Wachtel, David Rabinowitz, Kevin Willmott, and Spike Lee (WINNER)
Can You Ever Forgive Me?, Nicole Holofcener and Jeff Whitty
If Beale Street Could Talk, Barry Jenkins
A Star Is Born, Eric Roth, Bradley Cooper, and Will Fetters

Original Screenplay
The Favourite, Deborah Davis and Tony McNamara
First Reformed, Paul Schrader
Green Book, Nick Vallelonga, Brian Currie, and Peter Farrelly (WINNER)
Roma, Alfonso Cuarón
Vice, Adam McKay

Foreign Language Film
Capernaum (Lebanon)
Cold War (Poland)
Never Look Away (Germany)
Roma (Mexico) (WINNER)
Shoplifters (Japan)

Documentary Feature
Free Solo, Jimmy Chin and Elizabeth Chai Vasarhelyi (WINNER)
Hale County This Morning, This Evening, RaMell Ross
Minding the Gap, Bing Liu
Of Fathers and Sons, Talal Derki
RBG, Betsy West and Julie Cohen

Animated Feature
Incredibles 2, Brad Bird
Isle of Dogs, Wes Anderson
Mirai, Mamoru Hosoda
Ralph Breaks the Internet, Rich Moore and Phil Johnston
Spider-Man: Into the Spider-Verse, Bob Persichetti, Peter Ramsey, and Rodney Rothman (WINNER)

Cold War, Lukasz Zal
The Favourite, Robbie Ryan
Never Look Away, Caleb Deschanel
Roma, Alfonso Cuarón (WINNER)
A Star Is Born, Matthew Libatique

Film Editing
BlacKkKlansman, Barry Alexander Brown
Bohemian Rhapsody, John Ottman (WINNER)
Green Book, Patrick J. Don Vito
The Favourite, Yorgos Mavropsaridis
Vice, Hank Corwin

Production Design
Black Panther, Hannah Beachler (WINNER)
First Man, Nathan Crowley and Kathy Lucas
The Favourite, Fiona Crombie and Alice Felton
Mary Poppins Returns, John Myhre and Gordon Sim
Roma, Eugenio Caballero and Bárbara Enrı́quez

Original Score
BlacKkKlansman, Terence Blanchard
Black Panther, Ludwig Goransson (WINNER)
If Beale Street Could Talk, Nicholas Britell
Isle of Dogs, Alexandre Desplat
Mary Poppins Returns, Marc Shaiman and Scott Wittman

Original Song
All The Stars from Black Panther by Kendrick Lamar, SZA
I’ll Fight from RBG by Diane Warren, Jennifer Hudson
The Place Where Lost Things Go from Mary Poppins Returns by Marc Shaiman, Scott Wittman
Shallow from A Star Is Born by Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt and Benjamin Rice (WINNER)
When A Cowboy Trades His Spurs For Wings from The Ballad of Buster Scruggs by David Rawlings and Gillian Welch

Costume Design
The Ballad of Buster Scruggs, Mary Zophres
Black Panther, Ruth E. Carter (WINNER)
The Favourite, Sandy Powell
Mary Poppins Returns, Sandy Powell
Mary Queen of Scots, Alexandra Byrne

Visual Effects
Avengers: Infinity War, Dan DeLeeuw, Kelly Port, Russell Earl, and Daniel Sudick
Christopher Robin, Chris Lawrence, Mike Eames, Theo Jones, and Chris Corbould
First Man, Paul Lambert, Ian Hunter, Tristan Myles, and J.D. Schwalm (WINNER)
Ready Player One, Roger Guyett, Grady Cofer, Matthew E. Butler, and David Shirk
Solo: A Star Wars Story, Rob Bredow, Patrick Tubach, Neal Scanlan, and Dominic Tuohy

Sound Mixing
Black Panther, Steve Boeddeker, Brandon Proctor, and Peter Devlin
Bohemian Rhapsody, Paul Massey, Tim Cavagin, and John Casali (WINNER)
First Man, Jon Taylor, Frank A. Montaño, Ai-Ling Lee, and Mary H. Ellis
Roma, Skip Lievsay, Craig Henighan, and José Antonio García
A Star Is Born, Tom Ozanich, Dean Zupancic, Jason Ruder, and Steve Morrow

Sound Editing
Black Panther, Benjamin A. Burtt and Steve Boeddeker
Bohemian Rhapsody, John Warhurst (WINNER)
First Man, Ai-Ling Lee and Mildred Iatrou Morgan
A Quiet Place, Ethan Van der Ryn and Erik Aadahl
Roma, Sergio Diaz and Skip Lievsay

Makeup and Hairstyling
Border, Göran Lundström and Pamela Goldammer
Mary Queen of Scots, Jenny Shircore, Marc Pilcher, and Jessica Brooks
Vice, Greg Cannom, Kate Biscoe, and Patricia Dehaney (WINNER)

Live Action Short Film
Detainment, Vincent Lambe
Fauve, Jeremy Comte
Marguerite, Marianne Farley
Mother, Rodrigo Sorogoyen
Skin, Guy Nattiv (WINNER)

Documentary Short Subject
Black Sheep, Ed Perkins
End Game, Rob Epstein, Jeffrey Friedman
Lifeboat, Skye Fitzgerald
A Night at the Garden, Marshall Curry
Period. End of Sentence., Rayka Zehtabchi (WINNER)

Animated Short
Animal Behaviour, Alison Snowden and David Fine
Bao, Domee Shi (WINNER)
Late Afternoon, Louise Bagnall
One Small Step, Andrew Chesworth and Bobby Pontillas
Weekends, Trevor Jimenez

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