Yahoo StylePhoto of the Day
false
I’ve lost my conversational mojo – can I relearn the art of small talk?Been up to much lately? After a year of isolation, I’ve forgotten how to talk to people – but help is at hand Rhik Samadder: ‘What is small talk again?’ Composite: Nick Dawe/The Guardian
Wilhelm Reich: the strange, prescient sexologist who sought to set us freeHe believed orgasms could be a healing force and coined the term ‘sexual revolution’. Reich’s understanding of the body is vital in our age of protests and patriarchy, writes Olivia Laing Wilhelm Reich in the mid 1950s. Photograph: AP
White City by Kevin Power review – in the steps of Martin AmisThe story of a disgraced banker’s son, Power’s second novel is part rogue’s confession and part post-Celtic Tiger satire ‘Comic timing and pithy aperçus’: Kevin Power. Photograph: PR
The best UV protection on the high street. Here comes the sun – and with it, dream sunscreens, old and new, for all skin types
Art, gigs, theatre: 100 must-see events to book as Britain reopens. From David Hockney to Die Walküre, Sindhu Vee to The Suicide Squad – here’s what to catch as culture returns
Drive-in cinemas and Covid-compliant hedonism: welcome to 2021’s summer of arts. As rules begin to relax and venues start to open, the culture industry is preparing for a season like no other
Monica Jones, Philip Larkin and Me by John Sutherland review – a poisonous love In thrall to Larkin’s genius: racism, drink and despair in a generous account of a tortured relationship over four decades ‘A victim of misogyny, she was a bit of a misogynist herself’ … Monica Jones with Philip Larkin. Photograph: Rex Features
The Covid-19 pandemic's rampage through the music world has laid bare the industry's flaws, shining a bright light on "the plight of songwriters," says ABBA's Bjorn Ulvaeus.
What links Diana Ross, Audra McDonald and Andra Day? The Weekend quizFrom Koch to Kronk to Kings Oak, test your knowledge with the Weekend quiz Supreme performer: Diana Ross. Photograph: ShowBizIreland/Getty Images
15 UK market towns you’ll want to discoverThese lovely and lively towns – for a day trip or spring getaway – also make great bases for exploring the nearby countryside Lovely Ludlow … the parish church of St Laurence amid the town. Photograph: Danny Thomas/Getty Images
‘Her eyes stay shut. She doesn’t respond. But nothing feels real until I tell her’: visiting my mother’s care home after a year For the past year, the pandemic stopped novelist Katherine Heiny from seeing her mother. Now that she can, where will she start? ‘I have a year’s worth of things to tell her.’ Illustration: Giulia Neri/The Guardian
Blind date: ‘How did the call end? I needed to feed the cats’Claire, 33, global regulatory affairs, meets Chris, 33, senior statistician Claire and Chris: ‘It was nice that he was wearing a shirt.’ Photographs: Alicia Canter/The Guardian Photograph: Alicia Canter/The Guardian
Tim Dowling: is the monster in the mirror how people see me?‘Why are you looking in that mirror?’ my wife says. ‘Never look in that mirror’ ‘It is, by some margin, the most unflattering mirror.’ Photograph: Irantzu Arbaizagoitia Photography/Getty Images
(Below are details spoilers for “Covenant I,” the fifth episode of the horror series “Them” on Amazon) Halfway through the first season of Amazon Prime Video’s “Them,” we finally start to get some answers about what’s really going on in this story. That’s because this episode is all flashbacks exploring, essentially, how the Emory family ended up where they are. We start with a pretty lengthy rundown on redlining and other methods of housing discrimination — and see how the deal they made on their house in East Compton is hugely predatory. And we also get the story of why the Emorys moved to California thanks to the horrifying “cat in a bag” scene. It’s not, uh, a fun story. We saw a little bit of these scene at the very beginning of “Them,” but we didn’t see how it played out then. Unfortunately, we do get to see it in this episode. Lucky (Deborah Ayorinde) is at home in North Carolina alone with Chester, the Emorys’ new baby boy — since Chester isn’t seen on “Them” before this moment, the dread is very real — while Henry and the girls are at a movie. Then an older white woman wanders up singing a creepy old song. The woman (Dale Dickey) pets the Emorys’ dog, Sergeant, and is generally just acting like she just randomly wandered over to say hello. Also Read: Is the Amazon Series 'Them' Based on a True Story? But then we hear Chester begin to cry from inside the house. And the woman tells Lucky that she wants to take him home with her. Lucky isn’t into that, of course. But the woman won’t take no for an answer. She comes back with two burly white country boys, and they menace Lucky and Chester while Lucky tries to hide. But they do manage to find the both of them, and things go very, very badly from there. One of the men rapes Lucky, and at the same time the white woman has tossed Chester into a pillowcase and plays a game she calls “Cat in a Bag.” This “game” consists of swinging the bag around wildly and tossing it around the room — with baby Chester inside. This scene feels like it goes on forever, with the woman chanting “cat in a bag” over and over and over and over. But eventually she stops, because Chester has died and has begun to bleed through the bag. Also Read: 'Them': New Amazon Prime Series Is a Lot of Things ... But It's Not 'Us' The event is so traumatic that Lucky can’t bear to live in that house anymore, and she spends more of her time in the storm shelter out back than she does in the house afterward. Until Henry gets a job in Los Angeles and the whole family can put North Carolina behind them. The entire sequence from when the men find Lucky to then end of the scene is just four minutes, but it feels like an hour. This “cat in a bag” deal is not, as far as we know, some common old timey method of torturing animals or people, though considering how much cats dislike being constrained this is no doubt something that at least some people have done. Humanity does, indeed, have a long history of doing terrible things to other people and animals alike. But as with everything on “Them,” this sequence is constructed the way it is because it’s trying to tell you something. The particular message here is one of dehumanization. These white people simply do not view the Emorys as people. It’s not a case of racism by way of “we think white people are better than Black people.” It’s racism by way of “we think white people are human, and Black people are animals.” Chester isn’t a human baby — he’s just a cat. Also Read: So Who Actually Won in 'Godzilla vs Kong'? It’s a key distinction to make in order to get a better grasp of how white folks give themselves permission to be racist. While people tend to be less overt about it these days, this belief certainly persists and underlies so much of modern conservative thinking. White people (“us”) are the baseline for people, and Black people (“them”) are less than that. This is not something that “reputable” people explicitly say out loud anymore, but it doesn’t have to be. For these white folks it’s simply understood on a subconscious level. It’s the subtext that defines so much in our society. Read original story Amazon’s ‘Them': We Have to Talk About That ‘Cat in a Bag’ Scene At TheWrap
Bonus: They double as low-maintenance centerpieces.
“Tenet,” “Eurovision Song Contest,” “The Trial of the Chicago 7” and “Greyhound” have won feature-film awards at the Motion Picture Sound Editors MPSE Golden Reel Awards, which took place on Friday evening in a virtual event. The MPSE divides the art of sound editing into several different categories, with “Tenet” winning for underscore, “Eurovision Song Contest” for music, “The Trial of the Chicago 7” for dialogue/ADR and “Greyhound” for effects/foley. In the past, the last of those categories has most closely corresponded to the Academy Award for Best Sound Editing — but that Oscar category was merged with the Best Sound Mixing category into a single Best Sound category this year. “Greyhound” is nominated in that category, along with “Soul,” “Mank,” “News of the World” and “Sound of Metal.” Also Read: Oscar Nominated 'Sound of Metal' Sonic Designer Breaks Down the Film's Profound Final Scene “Soul” won for sound editing in an animated feature, while “The Eight Hundred” won for a foreign-language feature and “The Reason I Jump” for a documentary feature. In the television categories, “The Queen’s Gambit” won three awards, including one in which it tied with “Star Trek: Picard” in the effects/foley category. “The Mandalorian” won two, with additional awards going to “Servant” and “Vikings.” “The Last of Us Part II” won a pair of awards in the computer-game categories. “Mad Max: Fury Road” director George Miller received the Filmmaker Award, while sound mixer Dennis Drummond was given the Career Achievement Award. Also Read: What Does a Torpedo Sound Like? Watch a 'Greyhound' Scene With 3 Different Audio Tracks The winners: Filmmaker Award: George MillerCareer Achievement Award: Dennis Drummond CATEGORY WINNERS Outstanding Achievement in Sound Editing – Feature Animation“Soul” (Disney) Supervising Sound Editor: Coya Elliott, Ren Klyce Sound Designer: Ren Klyce Sound Effects Editors: Kimberly Patrick, Jonathan Stevens, Steve Orlando Supervising Dialogue Editor: Cheryl Nardi Foley Editors: Thom Brennan, Dee Selby Foley Artists: John Roesch, MPSE; Shelley Roden, MPSE Music Editors: Sally Boldt, Justin Pearson Outstanding Achievement in Sound Editing – Feature Documentary“The Reason I Jump” (Vulcan Productions) Supervising Sound Editor: Nick Ryan Sound Effects Editors: Laurence Love Greed, Alexej Mungersdorff, Jack Wensley Dialogue Editor: Jamie McPhee Foley Editor: Srdjan Kurpjel Outstanding Achievement in Sound Editing – Foreign Language Feature“The Eight Hundred” (CMC Pictures) Supervising Sound Editor and Editor: Kang Fu Sound Effects Editor: Steve Miller Dialogue Editor: Ai Long Tan Foley Artist: Lan Long Music Editor: Fei Yu Outstanding Achievement in Sound Editing – Feature Underscore“Tenet” (Warner Bros.) Supervising Music Editor: Alex Gibson Music Editor: Nicholas Fitzgerald Outstanding Achievement in Sound Editing – Feature Musical“Eurovision Song Contest: The Story of the Fire Saga” (Netflix) Music Editors: Allegra De Souza, Peter Oso Snell, MPSE; Jon Mooney Outstanding Achievement in Sound Editing – Feature Dialogue / ADR“The Trial of the Chicago 7” (Netflix) Supervising Sound and ADR Editor: Renee Tondelli Dialogue Editors: Michael Hertlein, MPSE; Jeena Schoenke, Jon Michaels Outstanding Achievement in Sound Editing – Feature Effects / Foley“Greyhound” (Apple TV+) Supervising Sound Editors: Warren Shaw, Michael Minkler Associate Supervising Sound Editor: Will Digby, MPSE Sound Designers: Ann Scibelli, Jon Title Sound Effects Editors: Jeff Sawyer, Richard Kitting, Odin Benitez, MPSE; Jason King Foley Editor: Luke Gibleon Foley Artist: Marko Costanzo Outstanding Achievement in Sound Editing – Live Action Under 35:00“Servant”: “2:00” (Apple TV+) Supervising Sound Editor: Sean Garnhart Sound Effects Editor: Mark Filip Dialogue Editor: Michael Feuser Music Editor: Lesley Langs Foley Editor: Julien Pirrie Foley Artist: Gareth Rhys Jones Outstanding Achievement in Sound Editing – Episodic Short Form – Music“Vikings”: “The Best Laid Plans” (Amazon) Music Editors: Yuri Gorbachow, MPSE; Lise Beauchesne Outstanding Achievement in Sound Editing – Episodic Short Form – Dialogue/ADR“The Mandalorian” Season 2: “Chapter 13: The Jedi” (Disney+) Supervising Sound Editors: Matthew Wood, David Acord Dialogue Editor: Richard Quinn ADR Editor: James Spencer Outstanding Achievement in Sound Editing – Episodic Short Form – Effects / Foley“The Mandalorian” Season 2: “Chapter 13: The Jedi” (Disney+) Supervising Sound Editor: David Acord, Matthew Wood Sound Effects Editors: Benjamin A. Burtt, J.R. Grubbs Foley Editor: Richard Gould Foley Artists: Ronni Brown, Jana Vance Outstanding Achievement in Sound Editing – Episodic Long Form – Music“The Queen’s Gambit”: “Adjournment” (Netflix) Music Editor: Tom Kramer Outstanding Achievement in Sound Editing – Episodic Long Form – Dialogue / ADR“The Queen’s Gambit”: “End Game” (Netflix) Supervising Sound Editors: Gregg Swiatlowski, Eric Hirsch Sound Designer: Wylie Stateman Dialogue Editors: Mary Ellen Porto, MPSE; Eric Hoehn Outstanding Achievement in Sound Editing – Episodic Long Form – Effects / Foley** TIE **“The Queen’s Gambit”: “End Game” (Netflix) Supervising Sound Editors: Gregg Swiatlowski, Eric Hirsch Sound Designer: Wylie Stateman, MPSE Sound Effects Editors: Patrick Cicero, James David Redding III, Leo Marcil, Eric Hoehn Foley Artist / Editor: Rachel Chancey “Star Trek: Picard”: “Et in Arcadia Ego, Part 2” (CBS All Access) Supervising Sound Editor: Matthew E. Taylor Sound Designers: Tim Farrell, Harry Cohen, MPSE Sound Effects Editor: Michael Schapiro Foley Editors: Clay Weber, Darrin Mann Foley Artists: Alyson Dee Moore, Chris Moriana Outstanding Achievement in Sound Editing – Single Presentation“A Christmas Carol” (FX) Supervising Sound Editor: Lee Walpole, MPSE Sound Effects Editors: Saoirse Christopherson, Tom Stewart, Andy Kennedy Dialogue Editor: Iain Wilkinson Foley Artists: Catherine Thomas, Anna Wright Music Editor: Cecile Tournesac Outstanding Achievement in Sound Editing – Non-Theatrical Animation Long Form“Mortal Kombat Legends”: “Scorpion’s Revenge” (Warner Bros. Animation) Supervising Sound Editors: Rob McIntyre, MPSE; D.J. Lynch Supervising ADR Editor: Mark A. Keatts, MPSE Sound Effects Editors: Lawrence Reyes, Roger Pallan, Ezra Walker Dialogue Editors: Mike Garcia, MPSE; Kelly Foley Downs, David M. Cowan, Patrick Foley Sound Designers: Marc Schmidt, Evan Dockter ADR Editors: Mark Mercado, Jon Abelardo Foley Editors: Roberto Allegria, Derek Swanson Outstanding Achievement in Sound Editing – Non-Theatrical Documentary“Laurel Canyon: A Place in Time”: “Episode 1” (EPIX/Amblin) Supervising Sound Editor: Jonathan Greber Sound Effects Editor: Lucas Miller Outstanding Achievement in Sound Editing – Non-Theatrical Feature“The Ultimate Playlist of Noise” (Hulu) Supervising Sound Editor: Odin Benitez, MPSE Supervising ADR Editor: Ryan Briley Sound Designer: Russell Topal, MPSE Foley Editor: Rustam Gimadlyev Foley Artists: Bogdan Zavarzin, Natalia Syeryakova Music Editor: Katerina Tolkishevskaya Outstanding Achievement in Sound Editing – Computer Cinematic“The Last of Us Part II” (Sony Interactive Entertainment) Supervising Sound Editor: Shannon Potter Sound Effects Editors: Patrick Ginn, Kyle Bailey, Michael Finley, Chad Bedell, Eric Paulsen, Keith Bilderbeck, Jim Diaz Foley Artists: Dawn Fintor, Alicia Stevenson Audio Director: Robert Krekel Sound Designers: Justin Mullens, Beau Jimenez, Neil Uchitel, Jesse Garcia, MPSE; Michael Marchisotto Supervising Music Editors: Rob Goodson, Scott Shoemaker Music Editors: Anthony Caruso, Tyler Crowder, Sonia Coronado, Adam Kallibjian, Adam Kallibjian, James Zolyak, Ted Kocher, Scott Bergstrom, Tao-Ping Chen Outstanding Achievement in Sound Editing – Computer Interactive Game Play“The Last of Us Part II” (Sony Interactive Entertainment) Audio Director: Robert Krekel Supervising Sound Editor: Shannon Potter Supervising Dialogue Editor: Maged Khalil Ragab Supervising Music Editors: Rob Goodson, Scott Shoemaker Sound Designers: Neil Uchitel, Beau Jimenez, Justin Mullens, Jesse Garcia, MPSE; Michael Marchisotto, Derek Brown, Jordan Denton Dialogue Editors: Grayson Stone, Julius Kukla, Thomas Barrett, Jaime Marcelo, Erik Schmall, Duncan Brown, Cesar Marenco Foley Editor: Eolyne Arnold, MPSE Sound Effects Editors: Patrick Ginn, Michael Finley, Kyle Bailey Music Editors: Anthony Caruso, Tyler Crowder, Tao-Ping Chen, Sonia Coronado, Adam Kallibjian, Samuel Marshall, James Zolyak, Ted Kocher, Scott Bergstrom Foley Artists: Dawn Fintor, Alicia Stevenson Outstanding Achievement in Sound Editing – Animation Short Form“Baba Yaga” (Baobab Studios) Supervising Sound Editor: Scot Stafford Sound Designers: Andrew Vernon, Jamey Scott, MPSE Sound Effects Editor: Brendan Wolf Music Editor: Rex Darnell Outstanding Achievement in Sound Editing – Student Film (Verna Fields Award)“The Unknown” (The National Film and Television School) Supervising Sound Editor: Yin Lee Sound Designer: Yin Lee Read original story ‘Greyhound,’ ‘Tenet’ Win at Motion Picture Sound Editors’ Golden Reel Awards At TheWrap
Sharon Osbourne was the first guest on “Real Time With Bill Maher” Friday night, marking her first interview since she was dropped by “The Talk” last month for freaking out when co-host Sheryl Underwood challenged her defense of Piers Morgan’s attacks on Meghan Markle. In the interview with Maher, Osbourne blamed “disgruntled ladies” for losing her job, and said anyone who has accused her of uttering slurs is making it up. Maher began the discussion with a rundown of what happened on “The Talk” that dramatically downplayed what actually happened. “So on your ironically titled show ‘The Talk,’ you were talking. And if there’s one lesson from this, it’s that’s not allowed anymore. So I just want to say my view is nothing happened,” Maher said. Also Read: Bill Maher's Got Some Shocking New Fun Facts About Matt Gaetz (Video) He continued, “Meghan Markle and Prince Harry gave their interview with Oprah. Then your friend Piers Morgan — he’s a commentator in Britain — he said he didn’t believe things that Meghan Markle said. And then on your show, you said, ‘Well, he’s a good friend of mine and I don’t necessarily agree with his opinion but he is entitled to his opinion.’ So he was called the racist and lost his job, and you were called a racist and lost your job. Do I have it right?” “You got it right,” Osbourne said. “That’s exactly how it went.” In reality, that’s not really how it went. Osbourne’s outburst (watch here) included gems such as her saying she felt “like I’m about to be put in the electric chair because I have a friend who many people think is a racist, so that makes me a racist.” Or when she yelled at her co-hosts, “How can I be racist about anybody?” “I’ve been called so many things in my life,” Osbourne told Maher. “I am so used to being called names, but a racist is one I will not take.” “Yeah,” Maher replied. “It’s an insult if you’re not one.” Also Read: Bill Maher Doesn't Buy Everything Meghan Markle Said in Oprah Interview (Video) There have been multiple times when Osbourne has been accused of uttering racial and homophobic slurs. Former “The Talk” co-host Leah Remini said Osbourne has referred to Julie Chen as “slanty eyes” and “wonton,” and that she had angrily called Sarah Gilbert, who is a lesbian, a “pussy licker” and a “fish eater.” Remini also claimed Osbourne subjected her to slurs against Italians. Another woman, an Iranian-American talent agent named Renee Tab, was reportedly subjected to slurs from Osbourne in 2003 when she won a raffle for a diamond necklace at a New Year’s Eve party for the Osbournes. Tab said Osbourne called her a “Persian carpet c—” the next day after inventing a story about Tab stealing the necklace — and then again a month later when they ran into each other at a restaurant. During the latter incident, Tab said, Osbourne also spit on her. Maher very lightly probed Osbourne about these incidents. “This is a part of culture that I’m not loving, where everyone is a snitch now. The current hosts have said they never heard you say anything racist. But some of the past ladies, they said you talk s—,” Maher said, referring to Remini’s claims mentioned above. “First of all, we’re talking about four ladies. I know men are dogs, and men are dogs.” Also Read: 'The Talk': Sheryl Underwood Feared Being Called 'Angry Black Woman' in Sharon Osbourne Blow-Up (Video) “And we’re bitches. That’s the way it goes,” Osbourne said. “That’s the way it goes with girls — ‘Jesus, did you see what she was just wearing?’ And then you go ‘Hi!’ or ‘You look great!’ We’re bitches, and that’s the way it is. And this has brought it all out.” “It’s disgruntled ladies,” she added. Then Maher brought up the incident with Tab. Osbourne told her version of that story, saying Tab shouldn’t have even been at the party — despite being the guest of someone who was invited by Osbourne’s son — and doubling down on her accusation that Tab stole the necklace. (It’s worth nothing that despite continuing to push that story after all this time, Osbourne did not pursue litigation after investigators decided it wasn’t a criminal matter.) Notably, however, Osbourne did not deny using a racial slur against Tab. “I don’t know what I said to her, but it wasn’t very nice. And I told her to bring that f—ing necklace back now, you b—- face whatever, because I had it,” Osbourne said. Read original story Sharon Osbourne Tells Bill Maher ‘I Will Not Take’ Being Called a Racist (Video) At TheWrap
Jeff and Amber Moffitt have six kids, two of which have special needs and require round-the-clock care.
Pixar’s “Soul” and Cartoon Saloon’s “Wolfwalkers” were the dominant films at the 48th annual Annie Awards Friday, with “Soul” winning seven awards and “Wolfwalkers” winning five. “Soul” won in the Best Feature category and took additional awards for its writing, music, FX, character animation, storyboards and editorial. “Wolfwalkers” won for Best Indie Feature as well as for directing, character design, production design and voice acting. No other feature film won an Annie, which is given out by the International Animated Film Society, ASIFA-Hollywood. Since the Academy Awards started a Best Animated Feature category in 2001, the Annies winner in the Best Feature category has gone on to win the Oscar 13 times in 19 years, including four times in the last five years. (The one exception was last year, when “Toy Story 4” won the Oscar but “Klaus” surprisingly won the Annie.) Pete Docter’s “Soul” was already considered a prohibitive frontrunner in the Oscar race, with Tomm Moore and Ross Stewart’s “Wolfwalkers” thought to be the only film with a remote chance to stage an upset. In television categories, Netflix’s “Hilda” won three awards and Cartoon Network’s “Genndy Tartovsky’s Primal” won two, with other awards going to “The Adventures of Paddington,” “Jurassic World: Camp Cretaceous” and “The Mandalorian.” “The Snail and the Whale,” which was shortlisted but not nominated in the Oscars’ Best Animated Short category, won the Annie for Best Special Production, while “Souvenir Souvenir” won the award for Best Short Subject. Juried awards handed out at the ceremony included the June Foray Award to Daisuke “Dice” Tsutsumi, the Ub Iwerks Award to Epic Games’ Unreal Engine, the Special Achievement Award to the documentary “Howard” and Winsor McCay Awards to Willie Ito, Sue Nichols and Bruce Smith. The ceremony took place virtually. The winners: Best Feature: “Soul” (Pixar Animation Studios)Best Indie Feature: “Wolfwalkers” (Cartoon Saloon/Melusine Productions for Apple/GKIDS)Best Special Production: “The Snail and the Whale” (Magic Light Pictures)Best Short Subject: “Souvenir Souvenir” (Blast Production)Best Sponsored: “There’s a Monster in my Kitchen” (Cartoon Saloon, Mother)Best TV/Media – Preschool: “The Adventures of Paddington,” episode: “Paddington Digs a Tunnel to Peru” (Blue-Zoo Animation Studio and Nickelodeon Animation Studio)Best TV/Media – Children: “Hilda.” episode: “Chapter 9: The Deerfox” (Hilda Productions Limited, a Silvergate Media Company, Netflix Inc. and Mercury Filmworks)Best TV/Media – General Audience: “Genndy Tartakovsky’s Primal,” episode: “Coven Of The Damned” (Cartoon Network Studios)Best Student Film: “La Bestia” (School: Gobelins, l ‘école de l ‘image; Student directors: Marlijn Van Nuenen, Ram Tamez, Alfredo Gerard Kuttikatt) Best FX for TV/Media: “Jurassic World: Camp Cretaceous,” episode: “Welcome to Jurassic World,” Emad Khalili, Ivan Wang, Chris Wombold, Kyle Goertz, Kathy D. Tran (Production Company: DreamWorks Animation; FX Production Company: Dreamworks Animation and CGCG Inc.)Best FX for Feature: “Soul,” Tolga Göktekin, Carl Kaphan, Hiroaki Narita, Enrique Vila, Kylie Wijsmuller (Production Company: Pixar Animation Studios; FX Production Company: Pixar Animation Studios) Best Character Animation – TV/Media: “Hilda,” David Laliberté (Hilda Productions Limited, a Silvergate Media Company, Netflix Inc. and Mercury Filmworks)Best Character Animation – Feature: “Soul,” Michal Makarewicz (Pixar Animation Studios)Best Character Animation – Live Action: “The Mandalorian,” Nathan Fitzgerald, Leo Ito, Chris Rogers, Eung Ho Lo, Emily Luk (Production Company: Lucasfilm; FX Production Company: Image Engine)Best Character Animation – Video Game: “Marvel’s Spider-Man Miles Morales,” Brian Wyser, Michael Yosh, Danny Garnett, David Hancock (Insomniac Games) Best Character Design – TV/Media: “Amphibia,” episode: “The Shut-In!,” Joe Sparrow (Disney TV Animation)Best Character Design – Feature: “Wolfwalkers,” Federico Pirovano (Cartoon Saloon/Melusine Productions for Apple/GKIDS) Best Direction – TV/Media: “Genndy Tartakovsky’s Primal,” episode: “Plague Of Madness,” Genndy Tartakovsky (Cartoon Network Studios)Best Direction – Feature: “Wolfwalkers,” Tomm Moore, Ross Stewart (Cartoon Saloon/Melusine Productions for Apple/GKIDS) Best Music – TV/Media: “Star Wars: The Clone Wars,” episode: “Victory and Death,” Kevin Kiner (Lucasfilm Animation)Best Music – Feature: “Soul,” Trent Reznor, Atticus Ross, Jon Batiste (Pixar Animation Studios) Best Production Design – TV/Media: “Shooom’s Odyssey,” Julien Bisaro (Picolo Pictures)Best Production Design – Feature: “Wolfwalkers,” María Pareja, Ross Stewart, Tomm Moore (Cartoon Saloon/Melusine Productions for Apple/GKIDS) Best Storyboarding – TV/Media: “Looney Tunes Cartoons,” episode: “Big League Beast / Firehouse Frenzy,” Andrew Dickman (Warner Bros. Animation)Best Storyboarding – Feature: “Soul,” Trevor Jiminez (Pixar Animation Studios) Best Voice Acting – TV/Media: “Tales of Arcadia: Wizards,” episode: “Our Final Act,” David Bradley (Merlin) (DreamWorks Animation)Best Voice Acting – Feature: “Wolfwalkers,” Eva Whittaker (Mebh Og MacTie) (Cartoon Saloon/Melusine Productions for Apple/GKIDS) Best Writing – TV/Media: “Big Mouth,” episode: “The New Me,” Andrew Goldberg, Patti Harrison (Netflix)Best Writing – Feature: “Soul,” Pete Docter, Mike Jones, Kemp Powers (Pixar Animation Studios) Best Editorial – TV/Media: “Hilda,” episode: “Chapter 9: The Deerfox,” John McKinnon (Hilda Productions Limited, a Silvergate Media Company, Netflix Inc. and Mercury Filmworks)Best Editorial – Feature: “Soul,” Kevin Nolting, Gregory Amundson, Robert Grahamjones, Amera Rizk (Pixar Animation Studios) Read original story ‘Soul,’ ‘Wolfwalkers’ Dominate Annie Awards for Animation At TheWrap