Ilia Malinin shows evolution from Quadg0d in season debut

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Ilia Malinin shows evolution from Quadg0d in season debut

EVERETT, Washington – Ilia Malinin’s final movement put him on his knees. The music stopped, and Malinin held the position for some 15 seconds, his forever childlike face blank, his pale eyes fixed in the distance, his cheeks reddened by the emotional and physical effort of his short program at Saatva Skate America.

The stillness was his way of continuing the mood of the program, set to music that is a lamentation composed by Welshman Karl Jenkins to remember the 116 children and 28 adults killed in a 1966 mine disaster in Wales. It is a tone that the 21-year-old Malinin rarely has tried to express in a competitive skating program.

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Quadg0d Malinin on new jump limits: "Hasn't really affected me."

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Quadg0d Malinin on new jump limits: "Hasn't really affected me."

A rules change that seemed designed in part to give figure skating mortals a better chance against the Quadg0d, Ilia Malinin, has not affected Malinin as much as he expected.

Removing a jumping pass and a jump combination from the free skate, a change approved in 2024 that went into effect this season, could cost Malinin 20 points or more.

It seemed like the Ilia Malinin rule, even if he had not achieved divine stature when it was adopted.

“I thought that the rule change was definitely going to change everything like drastically,” Malinin said during a Zoom press call Thursday, eight days before he is scheduled to make his season debut at the Skate America Grand Prix event in Everett, Wash.

“But honestly, it hasn't really changed so much. I think the programs look the same, if not even better.”

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Figure skating's latest attempt to balance art and sport rewrites history...again

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Figure skating's latest attempt to balance art and sport rewrites history...again

Figure skating’s rules have changed more in the last 22 years than they did in the entire 20th Century.

Since the sport thoroughly revised its scoring and judging systems beginning with the 2004-05 season, its officials have acted in a way that admits their International Judging System remains a work in progress. They have felt compelled to tweak or dramatically alter the way results are decided so frequently it has been hard to keep up.

It is as if the officials take a Zamboni out to clear the record books every season in an effort (Sisyphean?) to balance the sport’s emphasis between athleticism, i.e. jumps, and everything else in a free skate singles program, loosely defined as artistry.

Bring a large bag of asterisks.

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Save the dates, skating fans. . .but which dates will they be?

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Save the dates, skating fans. . .but which dates will they be?

In January, when I revealed in a post on this site that the International Skating Union was weighing changes in figure skating competition rules and formats that would “alter the sport radically,” the least dramatic proposal looked like the one that revised the season schedule.

Part of that revision still drew significant opposition from the ISU’s member federations, especially the most powerful nations in the sport, and sources tell me that has led the ISU to tweak some of the calendar changes that are to become effective in the 2027-28 season.

Those federations whose national championships have taken place in late December or, more to the point, in the first half of January – which means every major figure skating country – pushed back on a calendar that would have them switch their biggest event of the year to February.

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Nathan Chen, a polymath on ice, honored by Ice Theatre of New York as Olympic champion who bridges world between sport and dance

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Nathan Chen, a polymath on ice, honored by Ice Theatre of New York as Olympic champion who bridges world between sport and dance

In 2017, not long after Nathan Chen had won his first of what would be six straight U.S. titles in figure skating, we talked briefly about his background in ballet.

Now, a lot of figure skaters mention having done ballet, but it is usually little more than something for a sentence in their bios.

But he did not see it the way most skaters do, as just another box to check, like sessions to work on strength, flexibility and endurance.

Chen was serious about the dance lessons, as many as six per week, that he took for 6 ½ years at Ballet West Academy in Salt Lake City.  He started the lessons at age seven to help his skating.  He kept them up for a less pragmatic reason.

“I love ballet,” he said.

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