Ah yes, more strawmans and lack of knowledge. Plushenko has received plenty of criticism from me over the years and I wouldn't rate any of his programs as one of my absolute favorites, but he has some great qualities, most of which have become lost and improperly scored with the A.I./CoP-ization of skating.
There is nothing wrong with a standstill in a program, when appropriate with the music and choreo. The majority of LP's should have one, actually. It shows how clueless you are that you're trying to talk about standstills in programs as being some kind of "anti-choreo", when they create necessary variances and allow skaters to emote in ways that are otherwise not possible. Nor is it bad to build speed and maintain good posture and tension going into a jump, as compared to including some random turns for no reason and breaking the body line. (FYI, I do think Plushenko should have performed a more extended arm movement to go with that bell chime at the start of the program, but otherwise nothing else was "needed" with the music; his gaze at the start of the program and the way he carries himself and accelerates into the first jump, directly in time with the music going from quiet simmer into a swell, is an effective interpretation of that music).
Get some education on how contrast, tempo, form, and mood are needed to create art. Stillness is a highly beneficial tool. Whether it's painting or storytelling or dancing or music, you need peaks and valleys within what is being created. Otherwise it just turns into a cacophony, or something mundane where there isn't a strong point of view. Artistry in skating is not about doing constant busywork (unless it creates a good visual and goes with the music). It's about being emotionally open and using the ice as a stage, and using the human body as the paint brush, while trying to find the colors and shapes, light and shadow, that best personify the music.
You've continually shown that you really only care about the technical side of skating, and specifically only the technical qualities the CoP happens to be rewarding. A very echo-chamber mentality that seems amplified by the idea that Canadians won't be scored fairly if these rules don't exist. To you, a skater doing a random bracket turn or twizzle or whatnot is an inherent display of performance or choreo, but that is NOT what what artistry is. Those are just notes on a keyboard. Hitting a bunch of notes that are technically hard to play together doesn't inherently make a good song. The notes need to have MEANING, they need to come together to create an actual expressive and melodious tone.
Your outlook on skating basically equates to saying that spending 200 million on CGI in MCU movies makes them better and more visually pleasing films than anything else out there.
You need to be banned for a month. Your jealous ranting about my ongoing work with the ISU is already tiresome and inappropriate enough, but THIS is some kind of gross racist implication, when you're fully aware that Takahashi, Kozuka, Hanyu, Amodio, etc are people I've highly championed, and when I don't think any of Brown's programs post 2018 have been great. You ALWAYS do this, never even attempting to understand what is being said and just writing whatever nasty lie as a debate tactic.
