This being an Olympic season, I would hope and expect that SOI will have a fuller tour this year, probably with a lot of eligible skaters, like they did after 2010. I just hope they make an effort to sign the *best* skaters, not just the IMG clients or the package of skaters the USFS tries to foist off on them.I also feel less of a connection to even the skaters from the US in this quadrennium since there is no Tom Collins tour any more, and Stars on Ice has been cut back so much.
I do miss the days of the Collins Tour when it was a real all-star tour, with nearly all the medalists from Worlds or the Olympics. I doubt that is possible today, because there are more competing tours elsewhere in the World now, but still.
ITA. ITA. Oh, I think I need to say it once more, ITA.Singles & pairs: I HAAAAAAAAAAAATE the endlessly long and slow step sequences. Ridiculous that every turn in skating has to be included. I miss the days of footwork that fit the music and had SPEED.
The footwork sequences have become positively painful. Even the ISU could see this so they turned one of them into a choreo sequence with no levels, yet still we get another kicking and jerking and flinging and flailing style fw seq. (Is that the only kind choreographers know how to do anymore?) I would love to see even just one of the top guys do a sequence with a spiral or spread eagle and soft, edgy moves. I have long thought they needed to add time limits on the two sequences, with perhaps a max of 30 seconds for the one with levels and 20 for the one without. If you go back and look at footwork, for example that Yagudin used so effectively in his 2002 FS, both the circular sequence and straight line seq time out at only about 20 seconds, and choroegraphically, that's plenty). Today, these two elements alone (worth only a tiny fraction of the potential total score) can occupy over a minute (about a quarter) of the 4.5 minute program. It just should not take 45 seconds to get from one end of the ice to the other. They also need to take a hard look as how levels are assigned to get away from this notion of just adding in more and more stuff until it can't possibly bear any real relationship to the music.