 All righty, let's play this in full first. I'm in love with your brother-in-law. You're in love with your own brother? You're one of the army? No, your sister's husband. Michael, Michael. No, that's your sister's brother. No, I'm my sister's brother. You're in love with me, me. I'm in love with Tobias. My brother-in-law? I'm in love with your brother-in-law. All right, it's funny because I had another person with the same clip there. I'm in love with your brother-in-law. I think there's some really fun stuff with the chewing there. I love all that stuff. Get that nice squishiness in there. I'm in love with your brother-in-law. Also with this. They're in love. You're in love with your own brother? I think my main two comments would be that he is very much in this bubble. If I scrub through, he doesn't break through that too much. You know what I mean? Like, I know he gets up there like that, but I'm wondering when he goes, I'm my sister's brother. You're in love with me. You're in love with me. Like, I don't know where he could be more not content, but like happy with himself. Like, oh, that's me. You're in love with me. Not that this is wrong, but I'm wondering if this could be the moment for him to not to relax, just kind of lean back a bit and like, hey, you're in love with me. Just to break away from this bubble and move him around a little bit more. Like, my main impression is that he's stuck in this bubble with a lot of movement in there. And you can see this here. I think that once you spline this out, it bonkers. Like, that is like, this for me more like, what versus brother-in-law? Like, that's extreme lip syncing up there. I'm not quite sure that's going to work once you spline this. Like, even here, brother versus like here, this shape. It could be fun, but if I listen to the audio, like it feels not that it's whispery, but it's just more quiet. And I feel like my main impression is that there's too much energy in here that doesn't quite match the audio. And even this might just be pushed a bit too far where I will go a bit less. And then as he goes forward, it's almost like then you go higher for anticipation. For that. Michael. But even then it's more like, I just feel like everything is a bit too big. So it's, I would love to take some of the energy out of that and add it into a more contrast-y body performance, if that makes sense. Michael. No, that's your sister. Michael. I do like that though. But I wonder, this is just me, but since you have this, and I love props, where he does this and goes, Michael. And he would, it's on there. I was thinking, what if that meatball is not on there? And he just, he uses the fork to cut this in half. Versus doing arm gestures and things that, you know, that you frequently see in shots. But since you already have props, can you take out that anger on what you have in front of you? Mistress brother. No, I'm my sister's brother. I do like that on the table and on the plate. I didn't even notice that the first time. That cracks me up. Me. I'm in love with Tobias. My brother-in-law. Like even this here, if you do my brother-in-law, it's very much towards us, that rotation. You don't quite get to see the change in the route. And I feel like my brother-in-law, like that is now the opportunity to go forward and then, you know, have that hand out there and just kind of move him out of that bubble. Does that make sense? Hope the whole bubble thing makes sense. Mistress brother. You're in love with me. Me. Now if you're doing this, like that's, it's very much acting out words. There could be something that, well, if you're already going that way, with me instead of going out and you're already on there, not that he has to, you know, caress himself like, oh, it's me. I'm so good. So when he has his hands here, he could, you know, bring his hands up and kind of readjust his collar where you're in love with me instead of out. It's more like, oh, it's me. Like he's almost very smitten, you know, not arrogant, but kind of vain, like, oh, and adjusting his collar and moving back and maybe just doing it with one hand. Because this is the Daniel Rigg. I mean, you do have controls, you know what I mean? Like you can do stuff with this where you can move it up and you can kind of readjust things, you know what I mean? Not that you want to move buttons, but you know, like there is stuff you can do with this. So I'm wondering if that could be something instead of doing a twin, you know, kind of double arm gesture, which is very common, play around with the costume and do something where like, where, what does that mean to him? You're in love with me. Love with me. Me. Me is like instead of acting out words. It's like, what does that mean to him? Like, oh, I'm the one that makes me happy. I feel good. Or it's like, oh, I'm the best. And like, how could you do that in a different pose than acting out words, if that makes sense? I think that's that's my biggest. I love all of this, right? I love all the squishiness and using all this and having a props and he's in that environment. And that's why I'm thinking, well, let's just go further. Can he do something where, again, he uses that with the props and then instead of going into twin poses with this, let's just keep it more asymmetrical, but then not, not have the typical gestures. I think that would be my biggest thing and getting out of that. I'll still be out of that bubble. But I don't know. I don't know if that's too much or destructive. I see here in your email, I would love notes on and you're, you're, you know, you want notes before you polish it up. So I don't want to break things. And I don't know how far you want me to go in terms of changing things. But that would be my the biggest thoughts that I have. Other than that, if you turn off the sound here, this feels a bit wobbly in terms of how much is this moving. I'm concerned that there's just going to be like once you, you put this into spline that there's just going to be a lot of constant wobbly movement, potentially. It's not like wobbly through here. But then in some of those other moves through there, I'm not quite sure how that's going to translate to the bigger moves. You might have to smooth out some of those things and add more breakdowns and definitely tone down the mouth. That's probably the biggest thing in terms of once you hit spline, how this is going to work. Yeah, it just seems overly active there. I don't believe it at that. Let me know what you think. Again, we can chat as always. That's not part of the submission and talk more about what you want to use and what you don't want to use and how you want to move forward. 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.