 All right, let's watch the full first. No, that's super cute. I think the main impression, since you're mentioning it, this is pretty much done with some policy notes. There's some really nice moving and break up in there. I think you can afford to have like a one frame EZIN that will give you a bit of an offset, not like a crazy offset blink, but also, let's see here, not EZIN. I would ease into that, but then I have a harsh close and then ease out of that. And again, even this here would be like one frame lower than the other, I think this guy would be lower here. Just a bit, slight, it feels also a bit mechanical and it's closing and opening. And then that mouth feels like it has the same width when it opens, so you could have, you know, a bit asymmetry, maybe this corner a bit wider here. And then it opens up into like a slight rotational change in the jaw and into this, but still gave it some asymmetry. Like everything feels very symmetrical out of that rig. I haven't animated this rig or looked at that rig, so I don't know if you can push that a bit further in there. And then there's something where that expression here, that expression here, and then despite, or except for the slight eyebrow rays, which is the problem is we start to lose them, she is kind of in the same realm, right? This is a bit bigger than we have this one. And I'm drawing this, I get some bookmarks for myself as well. Right, so when you have this, and if I go from bookmark to bookmark, I just feel like there is a bit of change there. But for instance, if you look at the eyes, how much white we have here, there's no real change. So for policy stuff, I would still have slight changes in, like that's a certain state of mind. And then she realizes, and we can see this with the eyedarts, okay, it's coming, it's coming. So there's a bit of a gradual move into maybe this, and then you have that big change of expression, if that makes sense. It just feels a bit too similar throughout all of this. It's good stuff in the hair. Personally, I would almost stay, and I know she wants to grab it, and it's good that you have asymmetry there, and you only get to the symmetrical aspect here at the end. I guess it's okay. It's hoping for something maybe a bit stronger. I would offset fingers a bit though, maybe a bit some stronger grouping, but also so they don't move all at the same time. Not that you have to do some crazy pinky fur, take some crazy fanning of one, two, three, four, but still some little changes. And then just for readability, like right at the end, I would actually really spread these out. It could be like this, and even then maybe like the index would be further out, and then right before the catch, you would really bring them out there for this moment of like maybe two frames, boom, into that. So this, it just feels a bit default throughout. So some stronger finger pose I think would be nice. That's nice in terms of that. Just kind of pushing things, just a tad more. There's something where, and I know, I know there's something where I would ease in less. There's definitely a pow, like an entrance as you pop into one frame like this. I don't think you need one here for soft entrance. I think it's okay. But then there's this feeling of, okay, with that's here, it must be way over there. And then next one is here. So to me, you're already easing in in terms of that spacing if you see this, right? It's way, way beyond the screen. And we're easing in as opposed to accelerating. So to me, I would push out a bit more. You might have to hear something on the belly and just kind of accelerate into this. Cause it's not only to ease in, but it's also just that overall soft feel where I would almost, again, not that this guy's huge and heavy, but enough of a acceleration from here. The next one, she would already be on the shoulder, maybe push that arm down, boom, and then have the next frame actually be this one. Head already down. A bit of a stronger collapse, feet up, boom, a bit of a stronger impact. This feels all just a bit soft. This is super cute too. Then it just feels a bit like we're stuck in this pose again. I think I'm just getting off. Where through this and this, I feel like you could have a bit more variation. She's in this pose. And that last will be a slight change in the eyebrows and the mouth a bit. It may be like a last squeeze of shoulder up. And then as she gets out of that feeling, shoulders will go down. There's already a bit of a slight change in the mouth. So she's not stuck again. She's feels like this is just one pose throughout the whole thing. She's almost looking at me and the camera here. Watch out. Yeah, it just feels like everything's a bit timid in terms of the mouth, but maybe that's a rig thing. Even this, so I think in terms of polish, it'll be that. And then it gets a bit wobbly and poppy spacing wise. Watch that head. It goes, you rotate and go down and then goes to the left, little intersection and then out towards us, to the right and then to the left again. But this moment, that's something wiggly poppy through there. You can even see the spacing of that tail goes down straight and then down. That's your arcs. And even that change through there just feels a bit soft where she doesn't feel like she's holding on to it and it's kind of rotating up. I don't quite buy the connection point. She would still have to have the fingers underneath or a tighter grip. It just feels all a bit soft through there. This is super cute. I love that. Anything is super cute. Yeah, I love all that. Finger-wise again, you couldn't have a little bit of a stronger pose. It was all a bit defaulty. Even this, like one finger could be further up than the other ones. Just kind of look at some more polishy finger stuff. And that's kind of that. All right, thanks. 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.