 All right, let's check this out here, and I looked at the reference before which is really fun. I think that's pretty cool. I think what I would say is if I switch over to the reference, let me see here. So after looking at the reference, I feel like we can push certain elements like here where I would just take this and really have him really pushed over where it's like he's really trying to get over then it's sliding. And even this one, it's tricky because you're pushing it towards us, so that for shortening, it's not going to read as well. So you might have to do something where it's almost forward more with a slip and then scramble a little bit to go back or something where you might slide here forward, but then out and then back and then you could push that moment here when he slips and you leave it in the air into a plop. If you look at the route, it just kind of comes down and you could do a little bit of a bit of a that. And then when you do this here, I think that's scrambling with the toes that you do. That's for like polishy stuff, but I love that in your reference. But I think for this, I'd be careful to, I would not go forward as much because when you're here let's put some onions getting there. Hold on. Move this over a little bit. So if that is where you are here and that's where you just started, I mean, it's pretty much the same. So what I'm thinking is it would be this and then as he gets ready, he'd actually be more, you know, maybe up here. This could be slightly more, I don't know if it would be super straight, but a slight bend so that at the end when he goes like this, there's more room to go down. There's a bigger contrasty move. And I think that's mainly that. You need a few more breakdowns coming in. This really pops in. So you've got to think about what comes in first, head or maybe a toe or, you know, however you want to. I mean, the reference is really good. You can really stick to that reference. I love this here. Just the timing, like the contrast, the aspect of it of a little facile taps. But again, I would it's overall fairly straight in terms of balance. I know there's this, but I think we could afford we as in the Royal we, but, you know, something where you might still be bent, but it's really out there in terms of how far that line is. You mean we're still balanced. And I wonder if you can push this even further, being off balance, sliding a bit more, basically taking all of this, the essence of it and just stylizing just a bit more. And even on something like this, when he is here and he starts to go forward and then realize it's slipping again, bring up the shoulders, bring that bottle up, maybe hold this a bit higher like he's all tense. So that here when he goes down, then we can bring everything down and relax again. And then even here, you might do something. The other reason why I would love for it to be straighter is the neck would be higher. So then when you go forward, then you really have that that head, neck, and maybe we can cheat that ear. Why is that ear that low? Maybe I would bring that ear up, generally, so that when you're like this, we can actually see the neck. You might have even more separation between the neck and the shoulders. You bring the shoulders down, maybe, and then the ear could be here and you could still have something like that. Just really so we can, yeah, that craning neck forward. You could still see that here gets gets all a bit lost and then the ear and the neck are a bit too overlapping. That's mainly that. It's really cool. You're asking if you want to have some movement of the information in popcorn. At the end, I think it would be really great when you come in here, you know, might fall down a little bit, maybe now and then. And then on that, definitely a little bit of up and down and some fall. And then here, they don't have to fall, but it can be dragging a bit and fall back on top of it. Just a little bits and pieces. I think that'd be cool. And then maybe this might be too much, but if you look at this, I don't know if you're going to light it, and then there's going to be some light or something or a cable. I don't know, but I'm thinking it would be kind of fun if that TV could have a bit of a wobble. It's almost like it's so loud that the speakers move the TV which makes him peak and then it could settle, right? It's basically just so that the audience is not torn between where to look. It would be here, moving, plop down. And right as it plops, he comes out, checking what's over there. And then not that much time, but maybe as he looks, then it would move again, move and move and then settle. And then he comes in and then we can just focus on him. And he's like that. And then there might be a little bit of a wobble again. And that's where he gets forward and goes even more into like, I don't know what's going on. Just the thoughts could be a little fun, prop animation with a little wobble in here. It totally works without it. This can, but I like that it's also all gray in a way that it's this is just for context and the color is there just for what is, you know, the focus for for the audience to pay attention to. I think that's mainly that. Watch out, maybe be close, maybe bring this out a bit more. So you have a lot of tension. It's not touching, but little things here and there in terms of clarity here, we kind of losing the bends because it's so close. So maybe a bit more out and bring this out. We might lose the fist or maybe you bring this down and up a bit more. Just think about some of these as you get into more breakdowns. So much fun, though. So, yeah, I would say that's all great reference was great. Keep going. 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.