 All right, here's sound, let's play this in full. It always makes me laugh. It's always so good. All right, I think this is very, very close. My main reaction that I had was there's still something soft about him and some of the movements that we talked about before. So if you listen to his voice, moving on the volume a little bit, but if you listen to him, wow, easy on the shrimp. Like it has, there's some, there's just some energy peaks and there's a certain harshness to it. And if you turn off the sound, if you just look at him, hey, it's just, it's just very soft. That's probably my main overall comment. Even on this here, when he goes, whoa, and he tenses up, you can tense up the fingers a little bit, nothing crazy, but still enough where you really feel that tension is not just in controllers here, but it's his whole body that tenses up because he just saw that. And then same thing here, when you might have a bit of a uphold shrimp, a bit of a sharper move down with his arm. And then here, everybody for that, I would have a little, I know this is a bit late, but late as in like a late comment, but it could be everybody, a bit of a root raise, like the root goes up and down a little bit. It was supposed to be for everybody, like this, it's quite the energy change there. So that could have a little bit to me, like a little bit of a root up and down, even with a little bit of a lean forward. Just have a little bit of energy in there. And the rest is okay, because to me, then it's all like, yeah, do this and come on. But to me, this attitude is different because that's kind of his, like his stick, his spiel, that's how he's, you know, he's wanting to be seen, blah, blah, blah, versus that at the beginning here. Like he has a physical reaction to seeing this. That's why I feel like it would be great if we could differentiate the movements just a bit more from this. And with that a little bit of a moment through there, and the rest is just him, the way you have it. And I think she's, she's great. The picky thing. And I know this is super difficult because straight legs and walks and everything, she still has that overall feeling of having her legs always bent. At the same time, it also doesn't make her look very strong in a way, but maybe that's in character because she is just kind of giving up and moving away. So I don't know, like that's maybe something you can decide if you want, if you want to push that. Like polishy things would be when she lifts that foot here, watch out, there's a bit of a way. That angle is the same and only the foot roll kind of pops back into a straight and only now are we continuing with a rotation in that foot. Just this polishy wise feels a bit weird to start a foot roll. And then that angle kind of stays the same and gets off the ground. And again, kind of mostly the same. And now we're starting a rotation. So watch out for stuff like that. For polishy things, like this foot seems like it's coming straight down. It could have an angle out so that the underside is a bit visible to us. Even this here could have a little bit of a twist in why it's little polishy things in terms of axis, which is not just all one axis. And you might argue, maybe even through there when she goes, whoa, like that on that lean back, she might then have a little bit of a twist out on that foot pivoting off the toes. So she's a bit more, maybe we cliche in a pose, but like toes in, it's a bit more uncomfortable because she just got, she just got yelled at. And maybe again, this is just something for you depending on how much you want to go in there. When he goes to a few hundred, like that's an insult right there. And maybe that could have a moment of a change in the face, maybe just a slight change, or maybe even a surprise in the eyebrows. If you watch her face, she just blinks, but there's, there is, she's just listening, but she's not quite reacting to such an insult. It's only here where she goes, oh, okay, this is a big change. So little polishy things. So for her to react to stuff that she's listening to and watching for this, this is, I don't remember seeing that last time, but, and if it's the same, I apologize for missing it. When she goes back here with that whole body, that's quite the, it's not a huge move like he does at the beginning, right, when he goes back there. But when she has that move, it just feels like the head goes back, which then pulls the rest of the body, which is great. And then the rest of the route to the whole thing is moving. But then it suddenly stops and even goes the other way. And it just, it feels, it feels a bit stiff because everything feels like it's moving back this way. And with that, she has taken it back by all of this and the movement, to me, it feels like you would go back and then ease into this more instead of going back. You just be a, stop versus this, and then she can deflate. And I like that you're starting with the fingers first there and this. Oh, that's great. I think that's pretty much it. Your turn away. This is sad. I like that she even has, is there a stuff where she put it there? Oh, that's intersection. I thought there was like maybe like some sauce on there and then she had it close to her. But it looks like it's intersections. I'm seeing stuff here too. I think that's that's mainly that. Yeah, it's just the energy level on him. That's the main thing. Also, because it's the right beginning of the shot. You don't, you really want to nail that and even this, maybe even this is super picky, but then again, this comes super late, but just pushing that moment of tension, maybe even straightening that triangle to more like this versus that hanging floppy. That gives me less energy, you know, that he's all tense and like, easy on the shrimp, but then this feels soft. Not just the movement down here. There was a timing, but I think finger wise, you could be, you know, in something like that angle, fingers when you're down here. Again, this is something I should have mentioned before. Apologize, but just, it's just striking me just now that the movement and the pose, it's tensed it up a little bit. And even this one, if I'm following through with that note and simplifying this a bit, so it doesn't have that because that definitely, you know, with that look feels a bit soft. This might be super picky, but literally every time it cracks me up. That's better here on that silhouette there. Everything is great. So many great updates. And I'm saying all this just because you're mentioning your email to be as picky as you would like. So it's, as always, like these notes are for you to dissect and go like, yeah, you know what? I'm not going to use this or I'm going to use this. Like for me, picky, I know this seems probably where the eye box and the eyes would be, but given how much white there is left and right, I would slightly move that eyeball, the pupil over just a bit, not to make him cross-eyed, but to give this a little bit more white. Just a bit, just to see how it feels. I don't know if you have like shapes, maybe pull the skin back here. That's the only, sometimes I'm always kind of experimenting during the final polish on eyes to move, you know, if you control in your eye boxes to move one separately, just to kind of straighten them without getting into a walled, wall-eyed look to the character. And even here, again, if I'm following through on my pickiness, easy, take a framework two out of that drop on that head. It's more easy, a bit of a sharper, sharper feel to it. But I love stuff like this, when you have that move, even on this, like shrimp, energy goes out, even that arm moves like this. Again, there's some really cool stuff in it. I'm just falling through your email and be as picky as possible. And for shapes, I don't know, we have a bit of a move in, I'll bring that out a little bit. And you can almost straighten that one a bit more, straight versus curves. This could have a little bit of a bend, well, a bit of a bend for a bit or straight, looking at like final polishy shape language things. And this one, I will probably go the other way. Not saying that this is horrible, but the classic thing is to have this one higher, this one lower, just because you're looking to the left and now you're opening the eyes this way and you have a bit of a line of action, that head like this. You know, you can curve the nose a bit more if you want, but I'll probably do the opposite on the eyebrows. You probably had this all the time and I never saw this before. This is revealing to be the worst critique ever. It's good hair stuff too. That's a good keep a life too. And yeah, I mean, again, there's a lot of really cool stuff. So I'm just going to leave it at that before I go super crazy. Like here, I would say if you go back and you lean back, you're going to tense a bit. So I would maybe tense up those fingers a bit, just holding that cup a bit more tightly. Like imagine you're standing straight in and you're leaning back. It's going to take a little bit of effort and tensing up and all the muscles and that could even radiate out into just the fingers, you know, like the middle finger could get closer for grouping here and then maybe tense up the pinky and then you can relax again. And these are super pinky things. All I'm seeing is just the same amount of gap distance here throughout. So these are kind of the super polish you think I would put in. And I'm going to say that's that. I keep saying it. But you know, the closer it comes to power, it's just noodling. And is it really making it better? Is it different? So I'm going to leave it at that. Again, it's a great clip. I love it ever since mentors. It's been so great. So yeah, I'll leave it at that. Thank you. It would be awesome. All right. Thank you.