 Alrighty, this is the spline version. Let's check this all out, looking awesome. Okay, cool. I would say main impression, I'm looking at the guy, I think you can take this frame out or just either delete this frame or hide that part and then potentially even get rid of this. It's just, it feels like he pops into let's go and then eases out of the exit where I would almost do the opposite. Maybe like a one frame ease and then shippu. And I feel like we can pop out. There's something about let's go. We're just fast and slow. I do love, I love that timing with that. And the second thing to me is after this, this might just be me. I love all the sliding and everything, but here, I just wish we would go full on out, just, well, he's out here. Just, I feel like we are so timid. Like this is all within a certain range of leg extensions. And then here I feel like, well, now he's struggling and he wants to stop and he needs to kick more this way. So he stops going in this direction and he wants to go the other way. Yeah, I just feel like, or maybe it's just one, maybe it's just this guy going, oh, I got a stop and this leg goes out and then back into this. And then the third thing is when he looks here, it feels like he's suddenly going into, huh, like the blink is slow and it's like he's suddenly watching something very interesting and curious. Versus, all right, this is, you know, whatever it is, sports game, entertainment, whatever it is. And especially with when he's done and then this does its own here, it's last little shaboom on this, I would have either, I don't remember this rig, but darting down or a little head dart, like there's a lot of action going on given this movement. I feel like we would see that a bit more here and he could almost lean in a bit more. Like over a couple of frames, like a little, just after all of this, he's once again, he wants again, he wants again. Okay, I'm finally there. Okay, let's go. But then it's more like, oh, really? Like he suddenly gets very pensive. I think these are the biggest things to me because the rest is cool. I like that little slide rotate on the toes. He does lead with this section. And you got your fingers in there. Watch out that we don't go here to here, to here, bam! And then we lock because it's still gonna go up like this. I will go this frame, next frame, I will go even lower and then it comes up so that the line of this wrist here, or that hand, the palm here goes down, down next one here or a bit less. And then maybe right there, but I'll go a bit less and then here. Just a little bit of a softer turn and then the fingers will just do their thing. But also watch out, this feels a bit straight in terms of IK path here. Just a little bit more archy up there. And then what I said there, I still love this here. I also love that it's a bit of a stop, twist slide that just the dirtiness of that spacing there. It's great. It's cute. One popcorn, I don't know how it almost go more. One more. That's cute. I like that, you know, the different sizes and like the little drops and stuff, that's great. It's only if it's like the first one would be the messiest. Mess, mess, mess, mess, mess. Or this one where he drops, that would be, because it's such a drop and maybe two or three here. Well, not three, otherwise you have one, two, three, but it could just be more here and maybe three, could be four, two, three. So picky about popcorn count, but that's like the last note if at all to address. I would wonder if you could turn that bottle over just a bit more just so we don't have that bottle opening, forming a tangent with that section. This is getting into like nitty gritty spacing and just shape language of its language, but just the overall cleanliness where we can just kind of frame by frame go through like here. It was a nice little negative space. It's okay there. Again, I still love all the feet. And I love that little here on the heel. It's okay. Yeah, I would still shoot that one out. I love the timing of the legs going up at the end going to boom and then one, two, two in sync. No, you're one, two off. I think it's okay. Careful here, there's an IK arm. You're having this orientation here and then you have this massive forearm drop, but the wrist is angled pretty much the same angle. And here it goes up a bit straight with a little counter. Just watch out, it gets a bit IK. So play a bit more with your arcs and wrist or hand orientation change. That's a bit more lined up with this. I know he has to hold this, but it will help give this a bit higher. Just careful, you're also having a tangent right there on that passing. Super picky, but I know it's kind of crowded. There's it's, you will always hit like here. You're always gonna hit somewhere a tangent unless you're really intentional right there. It's doable, but on the scenic it's also a bit messy here. It's not the end of the world. To me, the IK hand stands out more than my constant obsession with tangents. TV is cute, like all that move. I think that's cute. Throwing it out there. I don't think your TV movements are big enough to warrant this note, but for you to think about maybe in one of these when it goes up and down, it's not like it's getting off that pedestal thing, but maybe on the up and down there's a slight rotation in Y. Just throwing that out there so it's not just always, it feels like there's one controller for squash and stretch and that's it. And it never hits any type of other complexity. Like even here, there's such a hold that what if it comes off the ground, this being the ground, pivoting off this side so we see a little bit of the underside and then it comes back with a little bit of a rotation in Y. Just a little polishy thing of rotation in all axes. I think that should be it. Look at the antennas. That's cute. Yeah, I like the complexity there of how it pivots off this side. That's great. I don't know, still super cool. Little picky things here and there. And for me, mostly that leg comment there is just for contrast. I feel like once we get to here, the biggest one is here, which is fine. I mean, that's your nice big contrast but I wonder if that's just as the moment of, I really need to stop sliding one leg out. And I wonder if it'll be, I guess it would be right there on this push off out but then you might argue that they're both in the air. When would you put that in? You might have to adjust then maybe the timing. So this feels like a very destructive note but again, just throwing it out there just for contrast. I wish it would be just a bigger kick off in those legs to go this way. 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. 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