We all know that 2002 was the beginning of the end in terms of interesting competitive programs (despite good performances since then, they went really mainstream). I really wonder just who was the driving force behind the pretty academic exploration of the "classical" music Michelle skated to. I konw this is a dumb thought, but I remember Frank's story about how he and Lori found Lyra Angelica, and I remember thinking, "Well, LA does have the great USC classical radio programming."
1. She wasn't getting the competitive edge in the second mark against Slutskaya for bringing sophistication in expression, finesse and interpretation in her programs. Instead, Slutskaya was being heavily rewarded for speed and flow;
2. She was injured and was having a hard enough time just landing the jumps, let alone landing them in between complex choreography;
3. She had Morosov to help with programs...
4. She must have spent a lot of time trying to adapt to a new judging system that was not at all catered for her strengths.