Starting with your organic intersections, you're doing a good job of establishing how these forms interact with one another in space, and how they're all individually impacted by gravity. You're also doing a good job in drawing cast shadows that are fairly consistent and abiding by a singular light source. One thing to keep in mind however is that in this exercise (and in this course in general) you should be drawing each and every such form in its entirety, rather than cutting them off where they get overlapped by another. This helps us better understand how the forms exist together in 3D space, rather than just as lines on a flat page.

Moving onto your animal constructions, you are certainly progressing in the right direction in a lot of ways, but there are a number of things that caught my eye in regards to your approach, and I feel that calling them out should help you get a lot more out of these exercises. Some of these points are things I have called out in the past, but given the long break there's certainly a good chance you may have forgotten.

To start, remember first and foremost that every drawing you do in this course is an exercise. It may seem that as we get into drawing more concrete, real objects - and especially as we get into drawing animals which can be quite enjoyable as a prospect for students - that the focus is not at all on producing an end result that looks nice or impressive. Each drawing is an exercise, and throughout Lessons 3 to 7, where we draw actual objects from different subject matters, we're really just doing the same thing: giving our brain little 3D spatial puzzles to solve, and in doing so, rewiring how it perceives the 3D space captured on a flat page.

So when you get caught up in decorating your drawings with details, you're actually more likely to get a little distracted from the core focus of the exercise. At its core, it helps to remember that "decoration" is not the goal. Even when it comes to details, decoration is kind of a difficult goal to work towards simply because it's hard to define, given that it's unclear when one has added "enough" decoration. I believe I called this out in my critique of your Lesson 4 work:

One thing that can cause students to end up getting into shading when they hit the detail phase of their drawing is when they get too caught up in the idea that they're "decorating". What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

So, when it comes to a lot of the more superficial elements - like the wrinkles on your chihuahua's face, the feathers of your birds and the fur of your dogs, remember that texture and decoration are two fundamentally different things. And in general, refrain from any kind of scribbling or haphazard marks when working on drawings for this course (your approach to fur differs quite drastically from the more specific, intentional and designed tufts demonstrated and explained here).

Another point I noticed was that you're not drawing through your ellipses two full times before lifting your pen. As discussed back in Lesson 1, this is mandatory for all the ellipses we freehand throughout this course. I also noticed that in some drawings you had a tendency to draw the ribcage quite small - remember that as shown here it should occupy about half the torso length.

Continuing on, throughout your drawings, I did notice a tendency to jump back and forth between working in 3D (that is, introducing three dimensional forms and masses and defining how they relate to one another in 3D space) and working in 2D (introducing individual lines or partial shapes). While the latter happened a lot in cases where you identified specific visual elements present in your reference image and went to capture them in your drawing (rather than actually trying to understand how those things exist as forms in 3D space, and building them upon your construction), I suspect this characterizes the majority of your approach. As shown here, while you'd draw individual components that were simple and therefore ready to be understood in three dimensions, you neglected to define the relationships between those forms (like the contour line defining the intersection between sausages) to actually define them in 3D space.

Also shown in that page, you would add partial shapes by drawing a single line across from one form to another. Instead, as shown here, every addition should be its own complete, fully enclosed form, wrapping around the existing structure.

Now, this is just a simple step off the correct path, and you've gotten a little stuck in the bushes. It happens, and looking back at your Lesson 4 work, you were a lot more mindful of focusing on the individual, three dimensional forms that made up your constructions. Since you were able to handle it well before, it really shouldn't be more than a conscious effort to apply those principles again to get you back there.

Looking at how you're handling things like additional masses (like the one along the chihuahua's back), you aren't far off, and you are demonstrating the capacity to understand how those forms fit together in 3D space, and the ability to convey those spatial relationships through the purposeful, intentional design of those masses' silhouettes. There certainly are other examples where there is room for continued improvement however, such as this cat where those additional masses can be broken down into separate pieces, and where each one benefits from wrapping around whatever other forms it can (including the big mass at the shoulder and hip).

One thing that helps with the shape here is to think about how the mass would behave when existing first in the void of empty space, on its own. It all comes down to the silhouette of the mass - here, with nothing else to touch it, our mass would exist like a soft ball of meat or clay, made up only of outward curves. A simple circle for a silhouette.

Then, as it presses against an existing structure, the silhouette starts to get more complex. It forms inward curves wherever it makes contact, responding directly to the forms that are present. The silhouette is never random, of course - always changing in response to clear, defined structure. You can see this demonstrated in this diagram.

Anyway, all in all I think that due to the break, you ended up forgetting certain points, and taking a bit of a wrong turn - but that should be fairly easily remedied. I'll assign some additional pages of revisions below where you can apply the points I've raised in this critique, and we'll move forward from there.