Gee ,Pogue, I wasn't referring to your reaction to C/P's program. I was thinking of the official explanation being given out through Tracy Wilson about how it tells the story of Eleanor Rigby and although she dies at the end, it's such a release from her suffering, it's still uplifting... Then, I was reading a bit on the Crone & Poirier thread at SFU, and there are people there stretching to make every movement symbolic of various stages of ER's life ,from cradle to grave ( literally). This is the kind of slef-indulgent, apologist ..well, spin..that I find very hard to stomach. I have no issue with people who were moved by C/P's skating , although I wasn't particularly. As I say, I like the program, it's filled with some lovely difficult stuff. I love the lines in some of the positions they take. It's good, but not one of the best things he's ever done, as some would like to convince us. I don't feel as powerfully affected by it as I've felt by Dean programs that he's skated himself with Torville , or that he's choreographed for skaters who can exude an inner intensity, like the Duschenays, but that's rare. I didn't feel it in the program he did for B/K, either. Maybe it will be there by the end of the season, but I tend to think the program is designed to cover the fact that they don't emote that well.
That doesn't mean that I don't think they're capable of taking bronze in China, but its far from a given because B/S are very good, and they can deliver the kind of projection their program calls for. Which kind of program will the judges prefer in this year of getting back to dancing and no convoluted stories ?
( Dog walking..further explanation coming. )