 Alrighty, let's play this in full here. No sound, but I can do a pa-pong. And there's gonna be a la-la-la-la-la-la-la-la. You dirty alarm clock, how dare you. And, and, cool. Alright, so definitely new ending here. Some good stuff overall. So here are my thoughts. I think generally it works. I think, because you're asking here how far you want me to take it or how far you want to go and when to move on. I think my main thing is that if it's an exercise, it just kind of depends how much you want to learn from it and how soon you are willing to move on. For me, it's things like from a technical point of view, when you wake up here, it's just a moment where it gets very sharp. In terms of that body stopping, the legs stopping at the same time, kind of on a linear key. And then having a bit of a droop. It's kind of like another moving hold, it's also a bit of a drift back. And then that could have a bit more of a snappy timing on the exit. It's kind of like, not that fast, but just a bit faster. This is all cool. And then we're back into kind of step mode. So I would definitely continue if you want to present that somewhere so it's not too much of a mix. This feels a bit soft in terms of a couple of things. A, he gets up a bit one axis. It would be neat to get him slightly. Depends how far you want to go. To me, it would be like this shoulder lower, so that this side comes up first, head a bit more towards us, and then he gets into this position. And then on this arm raise, like there's nothing else happening here. I would have a little bit of move this way. Like when it's a roll to his side over, and then the same thing here, a bit more, and then you can come back and a bit of a rotation in Y. Just giving it a bit more complexity. It still is a bit simple. And he gets up here, and especially the face. This feels more like, yeah, as opposed to, that hurts. And then on this here, watch out. I think we're a bit low with the pupils. Kind of starting to lose them. I don't mind having an anticipation like this, where he gets ready. But then I would make it zippier. Once you're here, it's faster. I feel like I'm seeing this shape a lot, as opposed to feeling it. It's too slow where this stretch feels more like a character that's off-model. This is cool. I like that you have a shake-shake, and then up. I feel like where he shakes is always a bit different. I think that's pretty good, but the face still seems a bit too timid in here. I see some stuff in there, but then the lids are covering the eyes a bit. The manic pain is not quite there. And I think these guys at the inner brows are going to lower the cross, where I might keep that into one shape a bit more. This feels a bit much here, but it's mostly the eyelids. Is it going too high? It looks a bit too high. But at that point, I would have a bit of a snarl, and get a teeth. And then you can always relax, so then you can come back into it here. But even this feels a bit much. At least it's fast enough. To me, it just feels a bit uniform, where I would give this a bit more of a graphic shape with the taper at the bottom, or a taper here, whitening at the bottom. And then this here, so it's done. That's okay. It just feels a bit poppy in some of the frames here. I think you might go back into some stepped area. This is a linear key. It's off some offset, so I'm moving at the same time. A bit too high, twin there. Give this a bit of a tangent. Give this a bit of a different pose. And a bit softer on your hold. It's more like... It's almost like you want to hold this for a couple more frames. And hold, hold, hold, hold. And then it goes into... And then it gets a bit harsh again, where this is a bit of a... If you track the eyebrow part, as it comes down, it's a bit of a sticky right through there, in 2D space. And then suddenly it pops up, it's a linear key there. And then it really stops, up here, coming back. And then it gets really stiff. All of this is one piece of geometry. That needs to have a bit more of a breakup. And then same thing here, as we end on that slide, everything is moving as one piece. And ending a bit harshly. And suddenly you have this move in the arm that doesn't quite move this section enough. And then it's a bit of a mix of a quick move that's stopping a bit quickly. Then with kind of a drift, it doesn't quite mesh well with a moving hold. See? Yeah, it feels like... It goes down in one axis, stop, and then it drifts this way as opposed to continuing where that momentum went in that direction a bit more. It feels a bit too much like this to me. And in this I would milk again. I would have this, and watch out, it looks kind of this way. Make sure it looks at this. And I would hold this a bit, hold this a bit, and then faster on the downs. Oh, you... really stop it. And then... And then what I would do personally, what I would do is go down and then lock it. Don't have any movements. It's basically, he stops the whole thing with the finger. But then you have like a slow tremble, high frequency as it gets bigger. Like that vibrating puck here starts to vibrate more and more and more and more. And that's when it goes through here, into the elbow, into here, and then fanning out here and more and more of these pieces are moving. And then it breaks. But I do like that. It goes, whoa! And it seems like he is saving his switch. But I like that it escalates into him going... But it feels a bit too... too fast in terms of this is moving, drops down and immediately goes here. And I guess, I mean, if this is his price object here, that he would immediately react to it, but there's something beat-wise I feel like he wants to go and hold a bit, looking here and goes, wait, oh no, just even if it's a couple of frames of wait, looking here, darting, and then over here. And then he goes out into that. Subjectively. That's what I would have for all of this. All right. Let me know if that makes sense. Thanks. All right. There's an email. You can sign up. You can start whenever you want. You can submit whatever you want. 16 submissions. Either way, a like and subscribe would be awesome. All right. Thank you.