 All right, let's check this out here. Ooh, nice, getting there. I think what I'm reacting to here, I feel like the ear flick is nice. It's all nice, keep alive. I think the only thing I would say, it's just because we see the structure of that collar, is that when she starts turning her head, that her rotation, especially through here, feels a bit separate. Now, I see movement through here. Just wonder if there's anything moves because I'm reacting to how the hair hits the collar. I feel like there's anything we can do to move that piece around a bit. Just feel so locked there. That's a super picky comment that I wouldn't really worry about too much. So first thing, it's cute, that little boop, that little look back. The only thing I would say is given the flick and the head shakiness, this feels light and a bit soft. I will probably ease into this a tiny bit more so you don't have over one frame. So you don't have to pop in the knees, but then go back and maybe hold that down for one more frame, so maybe two, to then snap out into that jump a bit more. But also what happens is that, arc-wise, it feels like you're doing this. You go down, you start with a bit of an arc, that's good. But then it goes fairly straight and then it suddenly stops. It actually goes back this way. But the thing is, it starts to travel this way without anything pushing her this way, except this leg, where this leg lands only here and maybe around now there would be enough force mechanically to move her forward. So for her to go up and then just change direction like this while this is still traveling over this way, that just doesn't quite feel right there. Let's pretend that's okay though let me get to maybe run here. The only thing I would say is that she feels a bit like she's on wires and she's not quite touching the ground for enough impact. That makes sense. So she would jump up and even this here, which I get some knee wobble there, I will probably extend this leg, just go a bit straighter with that extension and then she can come up and then because she is on her toes, there's not gonna be that much surface there to stop her from going down versus the full flat foot to push against the drop. But I mean, if there's only this, I just feel like there will be a stronger drop and up in the roots. It just feels light, especially then on this one where she almost feels like she hovers. Then watch out, it feels like that leg just locks out here where you just have a straight leg. I will continue to go out with that step. Maybe not. Yeah, it feels like we're suddenly locking a bit too soon. All right, this would already have a little bit of a foot roll, I guess. So not too soon, almost. It's kind of a back and forth of, just like it's almost too locked here where I wanna feel like this would already be in a bend. Stay the bend here, start to roll here. Start to be slightly bent there into this. But also if you go up here, it feels like you're going up with the leg and then it stops. We're just giving us a bit more of an arc for that path. So just generally that walk just feels a bit poppy straight in the legs and just a bit light. Now you might say, yeah, it's kind of a light feeling, especially with that arm up there. Okay, and ding, ding, ding, ding, ding. But I would just go a little bit strong on the up and down and also involve the chest up and down a bit more, up and down as in the rotation down and up. There's just a mixture of the lightness of the roots, some of those straight legs, but then this not really compressing at all where the arm movements, you know like the princesses look at this arm going forward. I'm not quite sensing anything in the shoulder going forward with that arm, nor in the chest doing any type of rotation in Y. That just feels just a bit strange through there. And then that's okay, she starts to get into this. I'm not sure if I'm buying that rotation there. If she rotates, I guess so. There's a slight feeling of her. She will go this way, then she talks it in. Now it suddenly feels like she goes the other way maybe it's for a moment, where you kind of start to lose the grounds. We don't know quite where we are. Well, there seems to be something all in the rotations. I know this is a super vague critique. She rotated, actually just rotate this way. I don't know, there's something where her butt comes towards us. It just feels like the axis of rotation starts to change. Now it's complicated because you're going this way plus this way. And I don't know if that's part of the camera. It's just something wonky in there in terms of the pivot and the axis of the rotation. And I will probably towards the ends get a bit more stretched out. So just right at the ends, you have a bit more of a stretch into a squash there. But also careful once we reach this moment here, after the untucking here, those arms are just kind of dead. Just staying put in that same pose. Then in this, I will probably go and at this point, one arm would be lower than the other. Whatever you want to do for a cleaner silhouette, maybe more like that. It just seems like again, they come down and then they're just kind of two twins parented doing the same thing. That's all cute. I think that move up here is a bit harsh. There's some good follow through and tail and legs. All right, arms, which is not super stiff, but I still feel like, especially given this move this way, pushed out, you would overshoot with that line. If we would track that line, it would overshoot a bit and then come back. It's a bit of more of a side to side wobble on the root. Boring. That's still super cute. And then watch out. If I look at the camera, it's like you're rotating over translating and then you're stopping the rotation and it's just to translate right there. So it feels like the rotation also kind of ends when she ends here. Maybe that overshoot is because of the camera. Just watch out. That they have a nice, I would say a longer, softer ease into a rotational stop. It feels like we're rotating, rotating, rotating stop and just translating back. So it's kind of like rotation ends, but translate continues, right? So if it's a graphite or a rotational end, but then the translate just ends around here. And I would just smooth that out so that there's somewhat ending at the same time. It doesn't have to be. I understand that could be some overlap, but it just feels like the rotation is a bit too harsh and sudden. Cause once I scrub through this, it just feels like that's just straight translate back. Imagine we're just easing to that rotational stop a bit more over a long period of time. Maybe, I don't know how you're doing the tail. It hasn't ever so slight simulated field tip because it's so slow and soft. If she goes, whoa, that tension and whoa, what's going on? Could also be reflected in the tail where it has a bit of a tail flick. And here it's fine. This is cool. Maybe I'm reacting also to this little quick step pop, blup. But then the tail is a bit soft. It's almost like you want to sharpen up the tail a little bit through there into that. And that's kind of that. It's very cute. It's a good update there. All right, that's it. Let me know if that makes sense or not. And if you have any questions, thanks. All right, there's an email. You can sign up. You can start whenever you want. You can submit whatever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. All right, thank you.