Quick thoughts on the changes:
Stationary Lift for the RD. The rotation fits the echo-y effect of that part of the music well, but the previous curved lift continued/extended the visual/kinetic momentum coming out of the no-touch step sequence, and it covered more ice. I understand they want to avoid having the same lift for both programs. But this rotational lift is from the 2019-20 season. I feel neutral on this change. (Also, does the rotational lift truncate the final "waacking"?
OFS for the FD. Like I mentioned, the new version covers more ice and flows pretty well, but doesn't really differentiate them (to the extent OFS patterns can, these days) from other teams and the tango kick looks muted on TV.
Straight-line Lift. I thought the candle stick lift looked a bit out of character (gymnastics-like) but this tweaked "Mozart" lift looked more effortful as Gabi looked as if she was "climbing onto" the final position, which is nice but isn't held for long enough, unfortunately because half the time allowed for the lift was used up by just getting into position.
Diagonal Step Sequence. The camera angles didn't adequately capture the overall shape and missed some details, but again, it seemed to cover more ice, while using more separation and retrogression to create bigger dynamic shifts. Good idea to place the twizzles further into the sequence and at separate points for Gabi and Guillaume, instead of at the beginning, right after the proper twizzle sequence, though the original placement has a nice musicality to it.
Spin exit. Smart and elegant way to weave in some tango colors.
Character Steps. A little bit better --- there's a bit more of a sense of continuous motion. But the fundamental problem remains, which lies with the choreography itself. I again echo Charlie White --- I don't quite understand it. There's a lot of manufactured angst here. I look forward to them finding a new/deeper connection to the music.
The Crescendo. Best timing yet? Finally they were not late. Still, this "To Build a Home" head-back leg-forward extension feels a little light for this stretch of the music, and the curved lift that follows feels a bit simple in shape, so the overall impression is that of the music overwhelming everything.
Ending. Musically I've always liked how this little after-ripple is treated, with a pretty rotational lift that picks up the momentum again before the final "rest", even though the lift itself might not be the most difficult or innovative. I like the way the two of them come to each other in a hold again after the separate twizzling moves. The movements and steps of this ending segment seem better connected, with improved flow.
Miscellaneous:
Excellent recovery for Gabi after the second set twizzle mishap --- that's their training showing. Elegant hair-do.
This choreography still has too much face-touching (self-face-touching) which to me inevitably suggest self-absorption and forced emoting. They are above that sort of thing. Could they still bring a master-choreographer in (Dean or someone from the serious dance world) to polish it and make change where necessary?
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