Much better. Still loving the lively animaiton (the falling apples) and the very human body animation.
Slightly gaussian bluring the background line objects really gives a nice sense of depth without requiring accurate perspective line work (you've got an innovation in animation if others begin to widely adopt this style technique for giving depth). Other animators should consider doing this, because it works extremely well. You should be getting a lot of doors opening if you decide to create a televised animated series as you have mastered the art aspects very well.
You need to train your character voice team around with the voice purple guy's voice actor.
They need to practice their volume modulations & time modulations in speaking style to further develop the character identity.
For volume modulation practice say the words, "Prickly Pear". You can state the phrase with the controlled modulation for a flat delivery, but depending on the locational zone of the speaker it can come out as "Prickle-ee Pear" or "PRI-cally Pah-air" if they stumble over the syllables. This phrase works because you can boom out the "PRI" at twice the volume of "call-ey" and boom out the word "Pear". Imagine speaking the phrase "Prickly Pear" while a hand is varying height to indicate points where the listener would like the loudness of the syllable to smoothly vary like the conductor of an orchestra. You don't have to do this for every phrase, but it instantly grants more believability to any character using this technique.
For temporal modulation think of saying the words, "Fishing Trip".
You can deliver it flat with no modulation in about 1+29/100 seconds.
Or you can temporally modulate by saying it flat at a deliberately slow 3 seconds.
Or like a church singer, you can stretch out a syllable like you would in a song. Saying the words as "Fishhh-innng Trip" at a time of 1+49/100 seconds. Or holding the "S" sound like a slushy hiss, "Fissshhhiinng Trrriiii-P" at a time of 2+08/100 seconds.
By modulating both the time and volume of words you can express a wide array of emotions and mental states of the characters you animate. View some comedy programs you enjoy and try matching the volume modulation and timing modulation of the comedians. You will find that any good standup comic also makes use of careful timing modulation on their joke deliveries to further entrance & entertain their audiences. The comedians that fail to entertain can be spotted easily by flat unmodulated comedy line deliveries (the brilliant deadpan American comedian, Steven Alexander Wright is the exception to this rule as he uses careful vocal demodulation to deliver his comedy lines fairly flat, but he carefully modulates his pauses between words for brilliant joke delivery).