*The entire post is A+++ but highlights:*
he's not doing two-footed, upright skating throwing his arms up periodically to obvious accents in the music in front of the judges, he's doing full body movement, getting low in the knees or stretching up high, using all levels of his body, twisting and turning his blades to the music.
Some people criticize him for not being balletic, but he's not telling a story through balletic gestures that happen to be on ice, he's using the language of figure skating.

His crossovers match the music, his transitions match the music, his jumps match the music.
No element is shoehorned in a way that compromises the music because of an easier jump layout.
...the jumps are important highlights in the choreography. When people say "you can watch it without the jumps", what's the point of the jumps then? Why not integrate them into the choreography and make them important to the music? You should be missing out without the jumps, otherwise that's holistically not a very strong program. And I think this program shows that more than any other of his. I think even if you don't connect with the music emotionally yourself, there's so much to admire in how the program is constructed, the actually core of skating blade-ice vs body movements, the continuity and flow linking all the elements, and the challenge that this program presents.