 Alrighty. So you are saying you made body and head more noticeable. Just watch out that when you have him do this now, it feels like you're, you're leaning forward with the chest, but then going backwards and countering with the head. It can all stops at the same time. And then his move to the left here is on a linear key. So it feels like he's being pushed by the door. So I would have that lean forward, not as much lean back and a slight translate forward so that through all this time, he's going forward, going forward, going forward. And a bit more of a subtle move through there. That way you can make this all one big move. And then he just gets closed in his face here. But it's that way you don't have this weird move stop and then move stop again here, just a bit. This feels very separated. And then the root doesn't really do anything. It seems like everything is pivoting off of there. They are really moving, which feels a bit unnatural for her. This is a bit soft, just how slowly this risk goes down. It feels like a very drifty move, same with her hand. It's almost too straight also. It feels like it's an IK arm, bit too soft. Just some texture. You want some texture where she might be there, lower and positive in here, go back down, just a bit more natural. You know, there might be some hesitation in there. Even through here, that section feels a bit too straight and a bit too slow. And I know I'm giving you a hard time all the time with this turn, but there's still you can look at how far back the back is. Like now it's profile on the head is profile versus the back being at least here and the head is profile. You really want to turn his head so much more and first. And then the chest continues. You're still, especially through here through this turn, it feels like all of our arms, chest and the head is one piece. It's one piece that just kind of rotates as one step piece. That's not quite working there. That's all cool. Like all that. Why is it so hard to find a good man? This is better. You're mentioning that it might float a bit and it does. So the couple of things also just from a technical thing that those pieces here, their hand, they can come down with IK arms. You see that break in that risk gets bigger, bigger and bigger. I would rotate that wrist down a bit, but just give it some texture where you might, you know, it might fall the contour of her chest. There's something that feels very, very straight in IK. Is it so hard to find a good man? I think there's some good stuff in your head, though. It's super, super subtle. So I would take your subtleties here and scale, scale up in a banana's way. Just go really big. So we can see, OK, which accents work and then you can scale it back down. But right now it's so minimal. It's such a minimal change and watch out for your light. This is where highlight makes it look like she's looking this way. And this eye looks this way. It's a bit too wall-eyed at this point. Even here, I think you can bring in that that eye a bit more screen right. This feels better to find a good man. This weirdly feels so weird where you have so much white and white and then there's nothing here to slightly cross-eyed while going this way. Going to work with your eyes a bit more. Although, I would have to say through here, it's also a bit straight. It's a bit tricky. You might want to rotate your wrist up a tiny bit. It just feels like that these two arms are kind of doing the same thing. They're really locked together. So some asymmetry would be good in there and some changes. Definitely closer, definitely better with the head. It's so hard to find a good man. But just a bit timid. And then for this guy, how is it confused? You're mentioning frame 250. Should I just have her keep looking left? But frame 250, she is looking left. Overall, it's a bit slow, but I like it. I have to say, not the slowness, but the overall shot. That's a massive catch, by the way. Like all this is kind of not that you want on her to be crazy, but it's something where she can open up what's going on. Make this a bit like that, like that speed, a bit more panicked, just a bit more. Then you can slow down again. And this maybe I will bring up the legs a bit so they're a bit less comfortable. Not that my drawings help, but this feels a bit too nicely posed, too comfortable. You know, she's kind of worried. So it could be like, I'm waking up and like, wait, all right, I'm back here and he's missing. Oh, what the hell? And that way you can speed this up here. And then she calls so that you'll be slower so she can listen to something. And then get into this, that's a bit more comfortable. Realize, oh, he's gone. I don't know what happens. And I like to lean back. I think that's fine. But you are in a very straight, I don't know. There's something that could be just pose wise. Where, you know, you can relax. Maybe that leg, that leg doesn't really move. So relax that leg a bit more. She could still be in a bigger curve. Get a bit more asymmetry in there. And then this, I would speed up again. Like she's like, oh, man. And then the phone like, oh, that must be him to get back to it sooner. And then for this, change the arm, take that leg down, hunch her over. You know, maybe she could be like this. Hold it with both hands. You know, you know, if that makes sense, she's just a change of pose because now she thinks it's him and there's a bigger, emotional reaction. And right now this feels really, I know there's something that's just straight broken here and same here. She doesn't feel as concerned. I know how to me it feels like you want to push the concern aspect. So after all of this, when she gets to this, like a bigger post change. But that's just me. But again, like you said, it's a new show. I haven't seen it before. That shows my initial reaction. Also, I don't know if that's weird, but I would scale that couch down. At least have that, that what's it called, armrest there. Only because it boxes her in more and makes her feel more uncomfortable. This is way too comfy. Like a big, generous couch feels like a midget in there. It's just kind of weird. So to me, it feels like you can almost add this and make it smaller. It will it makes it more comfortable for her and for the audience. Something feels so consciously more uncomfortable, I would assume. And it would help the shop. I don't know. That's just me. All right. 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.