 Alright, so checking this out, I think this is a lot better. I think before it had a lot of swimmies, spliny head moves, and now it's good. There are some moments where it's a bit too harsh, too linear, but I wouldn't split the difference. I think this is great. It's just a couple moments where you want to smooth it out of the base. We'll go through that. That's all cool. And then this guy, once you get to, boom, here it feels suddenly like you're locking, and then the body continues that little sideways motion. So I would actually spline this guy out just a bit more. That right there, it feels like you're hitting that wall there. So that's good. Boom, wall. The same thing here. You turn, and see I can scrub through, especially at speed, you can, at faster speed, you can really tell. So he turns over, boom, here. So like your wiker feels like you're doing like something like that. I'm exaggerating, but there's a moment where you have probably two keys or one key with a massive tangent for a stop, and then you continue. Now we just keep that going. You don't have it. It's good to have a little contrast in timing. This is too much of a stop. But then it also looks like he's almost translating over. So, you know, it doesn't have to be, it really looks like you have two keys that does that. And you could just have one key that's pretty much flat, and that will give you a little pause, but not so much of that, that almost linear stop there. You don't have any honor, do you? And then this one's a bit... Don't have any honor, do you? It feels like... Don't have any honor. To me it feels like honor. Honor would have the head accent, but nothing happens during that jaw move. And then this suddenly goes up, and it feels a bit fast and a bit big, because then at this point it suddenly starts looking up here. So it almost feels like an involuntary head move. So... Don't have any honor, do you? Like that is great. So I would just do honor. On honor, I would go up in a bit to the right honor. So it has that beginning accent, it doesn't go as high. I would just go around here at height. Honor, do you? The do you is great, but then watch out. You're doing a tilt this way, which is good. I like it. I like that. But then you stop, and then it continues to the right, which gives it a kind of a bobblehead. So I would just go into do you, and I would just take that pause out again. Excuse me, just like before when you had this Y thing. So I would just go into this, and instead of stopping here, maybe one, two, three, four frames later, and then ease into that. Right? And then it's as you go up, we're suddenly, I'm not a massive fan of looking so far over and higher. It's a weird, it's a weird moment where suddenly unfocused, and then we're looking really over, and I would keep that nose a bit more here. So it's a bit more towards the person, more like that. But then watch out as you go over here. Again, it feels like he's over there, and he should be having eye contact. That person, you know, over here. Same thing here, feels like you want to be a bit more to the right. And again, over more to the right was really pushing those pupils over here. I thought last version had at least around here. But I think the move is great. And I think your cow is late. That sounds funny. Your cow is late. Your cow word, right? That downwards on the jaw, I think is a bit late in the lip sync. Cow, we already said cow. So that jaw should already be down, you know. Careful, you got some fast moves in the wrists, right there. It's a little pop there. That's definitely better. Just watch out, your arc has a very distinct move like that. So you want to give that a bit of a softer edge there. And then here, your hands go to the right and into the left. But again, it feels like something like that. Just going to make sure that A, you want to keep that flowy. And every time you do move around like that, that your wrists still go from, you know, from that to a bit like that. They're always kind of moving with the body and aligning with the forearm. So you don't have moments like here where there's a lot of stuff going on here. But those hands feel fairly, fairly straight, you know, like where the rotation towards us, not just the sideways tilt, but how it goes from and to us feels the same. So watch out, this section is a little bit IK. All right. So sweet update. I really like it. It's really great progress. Just a little, watch out for the tiny details. Here, like his arms, I would just, they're almost moving more than the head or sometimes almost sink with the head here. I would just keep those hands down, maybe on this, like this amount of movement is okay when he leans over. And then that down is okay and all that is okay. But I'll keep them fairly still here. There's a lot of stuff going on. So she threw here, that and that, which looks very IK. So, and I think you want to also look at him here, his thought process, think of what's going on. And then he gets into the line. All right. Thank you.