 Okay, so let's check this out. Be honest, Walton, I'm feeling more intimidated than impressed. This kind of company scares me. Whoa, there's good stuff in there. Be honest, Walton. My main reaction to this is still kind of the same, that it feels like you're at a certain height and then you dip down. It's almost like it takes a step and it comes back up. It feels less like a shuffle, like you're rearranging of pelvis, butt cheeks kind of like shuffling around. It's an interesting big dip and it's accentuated by elbows going down, head going down. There's a lot of stuff going on and I would keep that adjustment down kind of here. But even this seems still a lot, like a lot. This area goes down a lot where it feels more like a step, like a side step and then settle versus I'm just shuffling around. So what I would do is take that out. I would really take that out and see how flat it is. Maybe you'll see that, man, there's not enough in there and we need to put something back. But right now it just feels a bit confusing and reduce this. And again, it's accentuated by elbows as well. Just this weird Sutton drop. You know, it's not Sutton, I would say Sutton, but it's just a lot. Someone that just kind of adjusts. Other than that, it's cool. I think that definitely helps. Your look here on the cup, looking over, that's cool, that's cool. This seems almost a bit long, that's there. Because the thing is you're having stare, stare, stare, look over, stare, stare, stare, it's very repetitive. So I would do this, look over and then we're also pretty far over in terms of pupils that we're starting to almost lose them. So I would go this way and then boom dart over so that in this pupil. Bro, this is gonna be closer because we see more of his eyes. You can go over, hold a bit, go down, up again. That's a bit more thought process. It's like he's scanning. He's scanning the area. There's anything around there. That's why he's looking around, right? Looks at the cup, but the guy, all right. Well, let me check out. Okay, no one's here. Okay, what about here? Let's pretend this is like a wall could be right over and it's not that much to scan. He sees this is clear, looks over and it's a big area. And I scanning, scanning, scanning. No one's around until boom, looks here and then it's a stare for the guy. And I wish, I wish you had more frames because you're starting this nice arc and I wish there would be just a bit more to settle. So finish, whoop, and we cut out. I wish there was more. And I'm not sure what you can do with your sound. I don't know if you have an extension on your dialogue piece. It's just a bummer. All right, I'm looking at fingers as well. It's cool to have a little adjustment. Careful, like your thumb is even moving. So it seems like a lot is moving unless you're twisting, twisting the cup and its fingers. But then I will maybe put some texture on there that shows us what's going on as a kind of a visual help. Otherwise it seems a bit busy. There's a lot of stuff going on. You could always leave these two and mostly this and just adjust these fingers for tighter grip. But letting go is cool. And then watch out, your cup. Weird, oh, that sounds, that cup when you move over here, but it's a slight feeling of going up and not just to the right. This is probably just me or the resolution that I'm looking at. But just watch out. The other hand, some good stuff there. Careful though, when you have elbow going down and at the same time, your wrist going down. It's a weird counter where you end up with a section being almost stuck in space and then this lifting, it's a bit of a weird counter move. That feels like it starts itself at the same time. I would kind of switch it out where that move comes first than this and a bit less than if possible, resting that wrist area there a bit more, just for weight. Careful how much you change it after that because you're starting to intersect a bit there. This feels a bit swimmy if I'm looking at this area and the fingers and how the wrist turns and the fingers are moving, whoa, all of this here. It feels very, very spliny, very swimmy. That feels better, the grasp at the end feels better. There's some interesting interaction there. Yeah, so for this, I would do more pauses in between, some fast moves here and there, just giving it a bit more texture but mostly just contrast and movement where this just feels like three, four keys splined together. It's definitely better than what you had before. It's just a bit too soft and too spliny. Same thing with this move here. This is weird, I'm sitting, putting my fingers down first, then this, then this, and then I go up with the wrist while I adjust my fingers, but all of this is so spliny and soft. We just don't move fingers so softly and slowly. Yeah, that seems a bit too spliny. Otherwise, it's just those two moments that I think are weird, but movement in relationship to the head stuff is cool, nice accents there. Watch out, just this move here, it's straight, when your nose is here, that path seems pretty straight, look at that. So don't forget to add your nice arcs in there. So otherwise it feels like you're going over there, stop and you come back. It seems a bit too simple, it's cool. Yeah, I just wish to add that little arc at the end. I'm feeling more intimidated than impressed. This is kind of company. Watch out, when you have, boom, this hot. This, this kind of, this kind, when you have corners of the mouth, boom, shoot out over two frames and then bam, lock and then do nothing. So you want to ease into it a bit more, they can shoot over one frame if needed for a big pop and you know, whatever word you want to accentuate, but then it's still muscles firing and then over shooting and relaxing, like they wouldn't really stop on a dime. Be honest, we're out and, be honest, we're out and. I think it's better. I'm feeling more intimidated than impressed. Good stuff there. We're out and I'm feeling more, I'm feeling. It might just be going to play back, I need to check in the program, but you're smacking sounds late or looks late. I'm feeling more intimidated than impressed. Because the rest, the impressed seems pretty spot on, maybe a frame earlier, but that seems pretty spot on, that's why this was late. So I don't get to play back. I'm feeling more intimidated than impressed. This kind of company scares me. The company scares. So now for scare, I would open that up maybe till here. So you have all that build up and then scares me. Like that's for me the big contrast moment. So for that, I would probably open the job a bit more. Scares me, scares me. I don't know if you can bring in one more frame, like lower the jaw while keeping your lips closed. Scares me. It's just the M feels very soft. Scares me. And it might just be too long, but right now it just feels like it's just, abba, abba, abba, abba. It's just kind of chewing something versus it scares me, just holding that M. Scares me, scares me. Scares me. And then doing this lift, I think. This kind of company scares me. You can potentially, since you are opening up brows, just open, I mean, open the eyes. Lower the lower eyebrows. The lid, sorry, the lid's the lower eyebrows. The lid's just a bit because this lower area feels a bit stiff. All of this is not much going on, if anything. And a company scares me. It's a bit more of a flavor and flair in his eyes. Scares me. And then on the down, this is not too bad, right? And then when you go down to here, I will bring this corner down a bit more. Now he seems almost concerned, whereas it's like, okay, you know, he's pretty confident here. Like, huh, and then it should almost get not evil, but a bit more serious, and this is a bit too concerned. Bring in those corners a bit more. And then you can bring back the lower lids just up a bit more, more compression. But if you do that, every time you do compression stuff with the lower lids, you want to activate your cheeks. You know, the muscles there, it's the muscles that go up that bunch of lids. So you don't want to do any lid stuff without any cheek stuff. And then for detail, and you do have some nose stuff. Yeah, I would work on that. Let's go with that. All right, thank you. All right, there's an email. You can sign up. You can start whenever you want. You can submit whenever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. All right, thank you.