 Let's check this out. Interesting. It seems like almost different. Ah interesting. So he doesn't strike me like someone who is nervous, remorseful or anything. Like I'm curious. Not that any of this is wrong. I just see here's my initial blocking for the church shot but this seems totally different than what you have before. Like his entrance is pretty confident. This seems like, hmm, like where is everybody? Huh, no one's here, closes this, comes in. All right, well let me just sit down here. Like even like how measured, you know, and straight comes in, sits down, even having the eyes closed seems like it seems pretty comfortable, serene, confident. And then it's, all right, well let me do this. So I'm curious, like what your, what made you change this and what your thoughts are. I'm just curious about your direction, like why did you want to do this? I'm not saying it's wrong, I'm just curious why the change and what's your underlying motivation for the guy now. To me the tone has totally changed. But there's, I mean, you know, the movements are good. It definitely feels a certain way, but weird that it looks up all the time. So maybe, maybe keep it here, keep it to the front of the church. But it almost lost a bit of interest that this seems almost, it's good, it's, but it's almost more generic than the, than the other idea of kind of slowly opening, peeking in, not sure, just kind of tiptoeing in there, looking around and, you know, given his, like he seems, besides the little hunch here, he's very tall. So, you know, you can play with that tall aspect and really hunch him over. And so he's not quite as sure, he's kind of embarrassed like, what should I do? You know, I'm this prisoner in this church and all these, like, these poses, the nice poses, right? But they make him very, like I said, a serene confidence, kind of okay, at ease, which is all totally fine. I'm not saying don't do it. It's just, it's tonally a different, different weird, tonally a different tone, that's all I want to say. But it's just a tonal shift that I'm curious about your, why you're doing it. And maybe you're going for contrast or it's more like, yeah, yeah, confident, confident, or you got more or less here. And then at the very end, that's when you do the big contrast and you go for this. My thing about that then is, even though I like it, is that you spend a lot of time leading up to this, where it's almost like, you know, you can cut certain things out because they become a bit repetitive. Like, here's the big change and you're like, oh, wow, now it feels different. Now you almost want to see more like, well, what does that mean? How is he going to continue like this? I don't know. I'm rambling. I got lots of questions. Animation wise, again, this is all good. You know, you get out of your step mode and keep refining. I think, you know, the question is not, are you a good animator or not? Like, technically, obviously, you're really good. I just want to understand your your acting motivations so that I can have more accurate comments. I'm just surprised at the change and I'm just curious what, why you changed it and what your goal is for these acting choices and what is he supposed to feel and do. And that way, when I know that, I can give you more accurate acting feedback. If you need any, you know, maybe you're telling me, well, I want him to do this, this, this, and I'll go, yep, you achieved all of it and this is all great. All right, so rambly questiony feedback video here. So let me know, just email me back. Thank you. 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.