Velvet Thunder

Help I've fallen and I can't get up!

[illyria-and-her-pet]

I made a video of Tessa and Scott’s twizzles from 2010-2018. Here’s a breakdown of them: 

2009-2010 OD LBO 5 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position, significant continuous motion of the arms RFI 5 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head)

2009-2010 FD LBO 5 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position, hands clasped behind back and extended away from the body, Ina Bauer exit RFI 5 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head), Knee Slide exit

2010-2011 SD RFI 4 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head) LBO 4 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position, hands clasped behind back and extended away from the body LFO 4 Rotations Counter-Clockwise, both partners perform a third Twizzle of at least 3 rotations, performed correctly, started with different entry edge than the first two Twizzles, Spread Eagle exit

2010-2011 FD LBO 5 Rotations Clockwise, Set of Twizzles performed side by side in opposite direction (mirror), without crossing the other skater’s pattern, coupée in front or behind with free foot in contact with the skating leg in an open hip position,  hands clasped behind back and extended away from the body, Ina Bauer exit RFI 4 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head)

2011-2012 SD RFI 4 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head) LBO 4 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position LFO 3 Rotations Counter-Clockwise, both partners perform a third Twizzle of at least 3 rotations, performed correctly, started with different entry edge than the first two Twizzles

2011-2012 FD LBO 4 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position, hands clasped behind back and extended away from the body RFI 4 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head) RFO 3 Rotations Clockwise, both partners perform a third Twizzle of at least 3 rotations, performed correctly, started with different entry edge than the first two Twizzles

2012-2013 SD RFI 4 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head) LBO 4 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position LFO 4 Rotations Counter-Clockwise, both partners perform a third Twizzle of at least 3 rotations, performed correctly, started with different entry edge than the first two Twizzles, Dance Jump exit

2012-2013 FD Lunge LBO 4 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position RFI 4 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head) RFO 3 Rotations Clockwise, both partners perform a third Twizzle of at least 3 rotations, performed correctly, started with different entry edge than the first two Twizzles, RBI running edge + Toe Steps exit

2013-2014 SD RFI 4 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head) LBO 4 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position LFO 3 Rotations Counter-clockwise, both partners perform a third Twizzle of at least 3 rotations, performed correctly, started with different entry edge than the first two Twizzles, Lunge exit

2013-2014 FD LBO 4 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position RFI 4 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head) RFO 3 Rotations Clockwise, both partners perform a third Twizzle of at least 3 rotations, performed correctly, started with different entry edge than the first two Twizzles, Spread Eagle exit

2016-2017 SD RFI 4 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head), fist pump in the 4th rotation to match the music    LBO 4 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position LBI 3 Rotations Counter-Clockwise, straight arms clasped in front and extended away from the body (between the waist and chest level and lower that the level of shoulders), both partners perform a third Twizzle of at least 3 rotations, performed correctly, started with different entry edge than the first two Twizzles

2016-2017 FD Lunge entry, RFI 4 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head) LBO 4 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position Dance Jump LFO 3 Rotations Counter-Clockwise, straight arms clasped in front and extended away from the body (between the waist and chest level and lower that the level of shoulders), both partners perform a third Twizzle of at least 3 rotations, performed correctly, started with different entry edge than the first two Twizzles

2017-2018 SD RFI 4 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head) LBO 4 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position LBI 3 Rotations Counter-Clockwise, both partners perform a third Twizzle of at least 3 rotations, performed correctly, started with different entry edge than the first two Twizzles

2017-2018 FD LBO 4 Rotations Clockwise, coupée in front or behind with free foot in contact with the skating leg in an open hip position Ina Bauers, Switch in Position RFI 4 Rotations Counter-Clockwise, holding the blade or boot of the free foot, elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, same level as the head, or lower than the head) LBI 4 Rotations Counter-Clockwise, both partners perform a third Twizzle of at least 3 rotations, performed correctly, started with different entry edge than the first two Twizzles

[allaboardthisshipvm]

This got me feeling some type of way

[incandescentlysilver]

kaori’s 3Lo (GOE + 2.10) || 2019 4CC

[shadowylight2]

A QUEEN.

[kabaks]

YOU WROTE THE RULES. READ THEM. 

[ash-mountain]

Forever reblog

[virtchandmoir]

tessavirtue17: Tips from Tessa: Don’t fear the cold. Get outside and frolic, then nourish your skin with @niveacanada CARE!* . * @niveacanada should be applied indoors #TESSAxNIVEA #SelfCare #WinterWellness #FeelGoodInYourSkin

[saucylittlesmile]

Mathieu Caron, on costume design meetings:  For the coach, it’s going to be more technical requests where if he knows his athlete well, he’s going to have technical points he will want to highlight or reduce.  So if he wants to hide or amplify things, that’s when these will be discussed. 

Clearly, sometimes there is nothing to hide, and everything to amplify.

[indefinableship]

“This I thought was just sensational.” (x)

[bandmates]

I want you to stay

[balletfever89-deactivated201902]

4CC 2017 // Charlie White commentary on the SD.

VIDEO

I just wanna point out here while they’re on their side by side just how perfectly musical every single movement is in this program. It’s sharp and its right where it needs to be to be 100% impactful.

The speed, ease of edge, ease of transitions, commitment, I mean…there’s really nowhere they don’t excel but to me what makes this program so special is the way they use Prince’s amazing music.

(minute 2:19)

A little bit of a stumble there from Scott but not on an important turn. He managed quite well to recover from that.

And just a fantastic skate from them. Couple teeny tiny little losses of balance and I think it just came from emotion. You know, when you’re trying that hard often times you can lose your balance a little bit.

But these guys have so much confidence and so much experience that they are able to push through those and almost make it look like it’s part of the program.

“And that is something that is something no one in the ice dancing field today can do. So it is something that separates them.”

This short dance has quickly become one of my favorite programs of theirs. Just…I wanna say cheeky, so fun, it starts strong it ends strong, has a fantastic lift and just great personality.

“I feel like they’re able to go out there and enjoy themselves as Tessa and Scott. They don’t have to be or pretend to be something else. They can just be themselves.”

And the level of, you know technical ability it’s just, you know you can never question it when they’re out on the ice because of their high level of talent, because of their commitment.

And when we’re looking at their transitions, their arm movements, you know early when I was talking about wanting to see make it look easy. I mean these guys make it look like it’s so easy that sometimes look like it’s accidental that they do something cool. And that is…that is truly a testament.

And you know it’s hard for someone, especially since I competed against them and know first hand just how good they are, it’s hard not to go overboard with compliments but the truth is that really, they deserve them. And they earn them and there is a reason why they’ve come back and had the success they’ve had.

(Question of how difficult it was to come back)

Incredibly difficult but at the same time, they are ice dancers, they love ice dance and you can see it in their faces and in the way they move on the ice that it’s what they’re meant to be doing.

[fallen-sparrow]

this is art (x)

[decembersoul]

Libraries with a sense of humour.

[veggiezombiex]

Librarians are the coolest people I know.

[nolifesinceoutlander]

So clever!

[yolowoho]

Figure Skating - Ice Dancing: Free Dance

Tessa Virtue and Scott Moir’s record-breaking gold medal performance (122.40)

[tastefullyoffensive]

[bluelelie-deactivated20161215]

this is my favorite post omg

[dangerously-human]

@jayykesley

[holygrnd]

And I could fly higher than an eagle, ‘cause you are the wind beneath my wings.

[lilyjamessource]

I am Cinderella, Your Majesty. I am no princess. Cinderella (2015) dir. Kenneth Branagh

[virtchy]

i love dramatic self-confident dancing queen tessa i love determined sweaty workout tessa i love meticulous detail oriented keep-my-house-white-and-immaculate tessa i love introverted awkward bean tessa i love each and every facet of tessa virtue that makes her the beautiful wonderful human being she is

[allaboardthisshipvm]

Did Scott Moir write this...?

[jardinaquatique]

Vanessa James & Morgan Cipres deliver a redemption free skate that wins them their first ever Grand Prix title (Grand Prix Final 2018)

[fuckoffstraightpeople-blog]

“why can’t female heroes kick arse in heels” because it’s not practical and will literally snap your damn ankle you can scream weaponised femininity all you want but first off, you need to admit that they’re not an almighty symbol of empowerment, and secondly that if you do a job with a lot of physical activity in heels you’re risking your own safety. all these women fighting in heels on tv are going to end up seriously injuring themselves. 

[fuckoffstraightpeople-blog]

weaponised femininity is a concept made up in an attempt to get us to embrace the industries created to hold us back/profit from our insecurities so that we can continue to fit into the male expectation of what a woman should be and not question why we are forced to spend thousands on our appearance every year

[wizzardhat]

just a small anecdote. I had a friend who worked in theater; she was the stage manager and an actress came to her in tears one day because the director absolutely refused to let her do a choreographed fight scene in less than 3 inch heels because “they’re platforms so you’ll be okay.” My friend, who is a woman’s size 10, brought her own heels in the next day and DEMANDED the director put them on and try the choreography before the actress did it. He finally agreed to change it, without putting the heels on.

so like I know you might think of “all those women on tv fighting in heels” as fictional woman who WOULD hurt themselves in real life, but its fiction so its okay…except those women are portrayed by real actresses who are actually fighting in actual heels, being directed by dudes who have never worn a pair of heels in their lives, alongside men who aren’t expected to constantly wear things that make their stunts 2x more dangerous than they have to be. Just a thought.

[marzipanandminutiae]

Men take “let’s see feminine women being badass” to mean “let’s see women impractically focused on their appearance in combat situations.“

[ai-yo]

That’s why I loved Black Panther even more Nakia took off her heels and used them as weapons and was running and driving around barefoot in that one scene

[crystalzelda]

A number of stuntwomen have spoken out about getting injured on sets because the character is wearing heels and skimpy clothing that provide no protection or padding. It literally harms rl women.

https://amp.theguardian.com/film/2016/jun/29/why-stuntwomen-are-in-more-danger-than-men

[link-the-feral-anon]

The only way I wanna see a women fight with heels is if she takes them off and fights with them a la Mulan/Nakia style.

[biggest-gaudiest-poltergeist]

sorry i can’t hear the noise of male entitlement over the sound of Evangeline Lilly and every other woman sighing in frustration

[thestoryteller23]

They photoshopped the heels onto wonder woman. Not even Gal Gadot could fight in them, but it was so important to The Look™ that they frame by frame added them. Gal wore flats to the red carpet in protest.