The suggestion that Patrick Chan is superior at embodying "the music through the full use of your body as you skate" is one I disagree with. He's good enough, but there are skaters who are far better than him in this regard - including ones that people often complain are overscored. Having great skating skills and lots of transitions =/= having top notch-musical interpretation. Having fewer transitions or merely decent skating skills does not necessarily lead to weaker interpretation and performance. And this is exactly what Mishin was getting at: the marks are bunched together and used as placeholders, just like the second mark was under 6.0, only supposedly objective.
* If ever there was any doubt that the IJS was developed primarily by Canadians, the reference to "cross-cuts" in the explanation of transitions certainly makes it clear.