 Alrighty, let's take a look at the dog. Alright, so it's better through here, but what I would do is do a couple things. I think, and this is just because I'm picky, this seems very straight and faulty. I'll probably twist, tilt the head a bit at the beginning so it gets into this, right? I'll start off with this offset so that this feels like some of your rotational channels are at zero. In terms of the Y and the sideways twist, so just a bit more complexity there. What I would do is, the slowdown to me is here. Right now you're jumping and by now you're already slowing down. The other thing is he jumps or she runs and jumps. That's all the full power and the slowdown comes here. Now the dog is suddenly only able to hold on to this, gravity kicks in and this is where the slowdown starts. So this jump is going to be slower. I feel a slowdown through here already, so I would vary the timing a bit. You can make that a bit more explosive, but then this is the slowdown. She's here or she, all of that slows down a bit more. And then once you're here, bam, that's your push off. And right now it feels like a very tired, which you might argue, well, I just want the dog to turn and land and not push off. But I think contrast wise it would be nice to go fast, fast, slow, fast. Just that is your burst of energy. Run, run, slow, bam, faster. So where this might be a bit more stretched out, I mean the head might be here, stretched out. That type of silhouette, so that this landing happens, I don't know, I'm guessing where that would be. It might be somewhere here. And then once you're there, let me just go back here. That's all cute. Once you're here, careful, you got a couple of moments towards the end where this area, this and the head all feel like one unit. There's no break up, especially through here. When you go up, this whole thing goes down and then up. There's no drag overlap and you haven't broken up any of these chest, neck and head areas. Same thing here, it just goes down, this goes down, especially with this pose. This whole thing goes down as one triangle. It feels very, very blocky. And then same thing here, it feels like the orientation is always the same. Even though here the orientation changes through there, this feels the same. And you're back in that same trap where this goes down as one big unit. Even if the legs stretch a bit, it suddenly feels very, very stiff. That would be my comment. Once you get to here, burst, full stretch, compression land around here instead of whatever it is. And then really work into head, neck and chest area, breaking them up, twisting the head around, giving you a bit more complexity. Once you're here, I feel like there's a certain bend to the dog. This feeling of, it feels like bent and bent. It feels like compressed in and never getting back to its stretchiness. That's my kind of impression of that ending part. It's like he ran and hit a wall and got all squashed and now he's unable to stretch out again. That's how it feels to the end. I think that feels, that's okay. Yeah, it's just a slow down. And I'm not talking a lot of slow down, but just a visible fast, fast, fast jump, fast, slow. Like once the dog hits the tree and stuff, slow and then fast again through here. You know, and this will be a good opportunity for a really nice twisting. You can even turn the head a bit more. Really turn and this is already turned in the wind. It's already looking at, that's this goal to go over there. Here, twisted and wide. The head is really looking over here. Really breaking up sections. That's the main thing that I see in terms of addressing right away to get rid of that, that blocky feel. Alright, thank you. Thanks for watching.