In celebration of Halloween, I’ve compiled a list of horror films from several different sub-genres along with links to their respective IMDB pages. Please note that the films listed below may contain scenes that some find triggering, disturbing, or upsetting; if you have any concerns over a film’s content, I highly encourage you to research it prior to watching in order to make as informed a choice as possible.
HORROR: films that inspire fear and tension by creating an unsettling
Could you tell us a little about what happened in the 2012-2013 National? I know that Yuzu won, some people did not like it and something made him very upset, but I only know that. I tried to look for some information in the GS but I did not find anything.
I think you summed up the chain of events pretty comprehensively there. It was the first Japanese National title for Yuzu, which did not go down well with some people. Most of those unhappy folks were supporters of Daisuke Takahashi, who was at the time the top male skater in Japan and a very, very popular figure with lots and lots of fans. I did not witness it firsthand, but I heard that those disgruntled fans took it upon themselves to make a ruckus during the medal ceremony. Plus after that there was plenty of talk circulating about how Yuzu’s win was undeserved. All of which, of course, made Yuzu quite depressed. I think I read somewhere that the backlash extended further when he didn’t medal at Worlds that year. His performance at London was affected greatly by his injury, and his comeback free skate was, by all accounts, an extraordinary effort, but well, die-hard fans just can’t be reasoned with.
Do you remember your reaction to the cup of china 2014?
Oh my lord, yes, only all too well. I’m actually having the shivers just from typing this. I remember being confused at first and then worried and then full-blown panicked and hysterical as Yuzu kept lying there on the ice and no help seemed to be coming. I remember thinking that it was at the same time one of the bravest and the most foolish things I’ve ever seen when he insisted on skating his program. I remember biting my nails and practically hyperventilating every time he went for a jump. I remember feeling, I don’t know how to describe it, emotionally overloaded, I guess, when I watched him break down in tears at the K&C.
I remember vividly that it was the day I decided that this incredibly brave and foolish kid is my most beloved athlete on the face of Earth and that I would forever support him in whatever he does.
Even now I still get the anxiety whenever I see him in warm-up. Why did you do this to me, anon, why?
yuzu’s 4S is the scariest thing, like you never know when he’s gonna land it, and when he does, it’s so insanely beautiful?? I was rewatching seimei at aci and his 4S combo was so fast his quad looked like a triple???? this isn’t a gif request or anything but I just wanna share my admiration at his speed in the air and I know you’ll get it
I totally agree with every of your points, have gone ahead and make a gifset for it, and have gushed my heart out about it too in a lengthy and largely redundant love letter to His Majesty :D If there’s any positive takeaway from that disastrous free skate at SCAC, I’d say it’s the confidence he seems to have gained on his quad Salchow, or as I like to joke:
that awkward moment when you fell on your best jump popped your second best jump and nailed your least reliable quad
#just yuzuru things
i feel like yuzu sometimes changes his biellman to an a spin if he’s not doing well in the program? does the biellman take effort apart from flexibility? or does the a spin allow him to think like, oh what should i yolo later
The Biellmann position is quite taxing on his back and shoulder and Yuzu doesn’t really need it to hit level 4 on his free skate combination spin, so yes, when he doesn’t feel well enough he will skip it. Like at 4CC this year, he said he was feeling a bit stiff, so he didn’t do a Biellmann in either his free skate or the gala after. Another advantage of switching to an A-spin is that it’s an easier position to hold, so it would allow Yuzu to slow down or speed up accordingly to bring his choreography back in sync with the music, in case he missed a beat or two earlier due to a flubbed jump :)
I know you mentioned you’re currently working on skating skills/spinning tech posts, so if you kind of cover my question in those, please ignore this ask!! there seems to be a varied consensus on yuzuru’s spins - some say he’s the best in the field at the moment, and I wanted to know if you agree/disagree/other, and if you think his technique has worsened at all in recent years? (thanks for all the magnificent posts btw, i live for them <3)
I wouldn’t say Yuzu is the absolute best spinner in the men’s field right now. He’s one of the best though, that’s for sure :) In a post which has been in my draft since dinosaurs walked the earth, I’m comparing his spins to Jason Brown’s and when I eventually post it (hopefully later today if I manage to make all the gifs I want to make to go with it), you’ll see that my position (no pun intended) is that they’re on the same level.
As to the development of Yuzu’s spin technique over time, I’d like to recycle these gifs:
Étude in D-sharp minor, 2011-2012 season:
SP Let’s Go Crazy, 2016-1017 season:
Doesn’t look like his spin is becoming any rustier with time: flexibility, control, balance, musicality, everything is still there. If anything, he’s been getting better at gaining speed, especially during sit spins, plus both his flying entries and jumps within spins are becoming a lot more stable:
(appreciate also that smooth transition out of the Biellmann - it’s a new feature developed just last season, you know)
Since everyone is doing intro post to their favorite skaters, what the hell. Might as well do one of my own. Many of my favorites already have introductions (and much better than this) but there is one which I haven’t found and I really wanted to do: Javier Fernandez. Many people just know him because he’s Yuzuru Hanyu’s training partner, but this guy here has an awesome story of his own.
Warning: Very, VERY, long post. Read at your own risk.
The Significance of Yuzuru Hanyu’s 2014 Worlds Exhibition
During the 2013-14 season, Yuzuru won the triple crown of GPF, Olympics, and World Championships- a pretty big deal. For his exhibition skate at Worlds 2014, he performed Romeo and Juliet, his free skate from the 2011-2012 season. He could have chosen any exhibition at all or even had a new one choreographed, but he chose this one. Here’s what I make of this decision of his…
Case 1: The 2011 Japan Earthquake
As we all know, this program, Romeo and Juliet (ver. 1) was created in the time span shortly after the 2011 Japan Earthquake, a disaster which greatly impacted Yuzuru. The 16-year-old Yuzuru was training when the earthquake hit Sendai, and had to run out of the rink with his skating boots still on, damaging them in the process. Afterwards, he and his family stayed in an evacuation centre in a local school for some days. Their home, along with many others’, had been completely destroyed. The Sendai ice rink was damaged and closed down. Many people lost their lives. Yuzuru was extremely conflicted during this time, as he felt that he couldn’t and shouldn’t continue to skate when the other people of Japan were suffering so greatly. He wished to help in some way that felt more substantial than figure skating, which he thought to be rather selfish. However, he was able to get back on his feet, and spent the summer following the earthquake skating in ice shows, as these ice shows were the best way for him to get practice time without a rink at home to train in. Many of the proceeds for the ice shows went to earthquake relief, and Yuzuru’s (and other Japanese skaters’) amazing performances were events of hope and light in a dark time. Romeo and Juliet (ver. 1) was the very program that he skated during this time.
Case 2: 2012 World Championships
Romeo and Juliet also holds heavy significance in that it was the free skate that earned Yuzuru a bronze medal at the 2012 World Championships. This was his first ever Worlds title. It was performance that moved the audience (and himself, and his coach at that time, Nanami Abe) to tears. Just 17 years old at the time, he proved himself to be a captivating performer who gave the performance his all, and a brilliant jumper on top of that. Bronze at 2012 Worlds was the title that earned him more fans, recognition, and prestige than ever before.
The bronze medal came little over a year after the earthquake, so the disaster was prevalent in Yuzuru’s mind when he won it. By not giving up on his skating and on his dreams, he was able to achieve great results. He earned this rank through working hard and overcoming complicated and painful emotions he had about the earthquake, proving his mental, physical, and emotional strength to be of unimaginable calibre. Of course, the scars that the earthquake left would never completely disappear, but Yuzuru had started to learn to overcome his fears, doubts, and pain.
Two Years Later… GPF, Olympic, and Worlds Champion
Now, flash forward two years from Worlds 2012 and that bronze medal, and Yuzuru Hanyu is a big name in figure skating. He’s no longer the young 17-year-old beginning to capture the hearts of figure skating fans, but rather the reigning champion of the Grand Prix Final, the Olympics, and the World Championships. The spotlight is his, the gold medal is his, and the times are his.
The importance of the Romeo and Juliet program had been further proved by Yuzuru’s choice for his free skate in the Olympic season of 2013-14. For that season, he chose music from Romeo and Juliet once again, making a connection back to the eventful and evolutionary season of 2011-12. By choosing the same theme for the Olympic season free skate as the 2011-12 one, Yuzuru was, in a way, giving a solute to all that had happened. He wanted to show the world that, in his essence, he was still the same boy from Sendai, Japan, which had been hit with a terrible earthquake that people are still affected by to this day. He wanted to make a tribute to his country, which supported him despite its troubles. By making this connection to his past, he ensured that the crisis Japan was enduring would not be overlooked, and that he would always remain humble and thankful to what and who had made his Olympic dream possible.
That was the message he carried throughout the Olympic season, and then what does he choose to do for his Worlds exhibition, the last performance of the season? What does he choose to close off this unforgettable season with?
His 2011-12 Romeo and Juliet free skate.
I mean, what else could it possible have been? This was one of the most vital and defining programs of his career. This was the free skate that earned him third place at Worlds at the young age of 17. This was the last free skate that he ever did with his long-time coach Nanami Abe; the last free skate he ever learned before saying goodbye to all he’d ever known to fly halfway across the world to train in Canada. This was the free skate that captivated the hearts of viewers everywhere and made us all fall in love with the young, passionate talent that was Yuzuru Hanyu of Japan.
And perhaps most importantly, this was the program that was made when Yuzuru- and all of Japan- was going through an incredibly difficult time. The earthquake understandably left Yuzuru reeling with shock, grief, and turmoil. He said himself that after the earthquake, he seriously thought that he would never skate again.
But he did. A true champions knows that falling is inevitable, and it’s how many times you get back that makes you the real winner. Yuzuru Hanyu got back up, time and time again, and just look where he ended up.
Triple crown winner (GPF, Olympics, and Worlds), one of the youngest Olympic champions in figure skating ever, and the first ever Japanese man to win Olympic gold in men’s singles figure skating.
A man for the history books. One of the all-time greats of figure skating. A pride of his nation. A priceless gift to the sport. A privilege to watch, and a shining star to all those whose hearts he as touched.
Romeo and Juliet 1 was a program forged through pain, and ultimately made all the more a triumph because of it. Yuzuru has said that he “wants to give the kind of performances that stay in people’s hearts”, and this definitely was one. The performance of it at Worlds 2012 was breathtaking, certainly, full of emotion and passion enough to bring a stadium to its feet.
But watching him doing it again two years later as the exhibition is all the more gratifying because you can clearly see just how much he had evolved and improved. His artistry, musicality, and technicality had greatly advanced- and all the while, he didn’t lose one single bit of that passion and charisma he held as a 17-year-old. One of Yuzuru’s biggest goals is to never stop evolving, never stop trying to beat the records that he himself has set, and this exhibition was truly a testament to all of his hard work.
A True Champion Knows He Does Not Stand Alone
Yuzuru has also cited this mantra as one of his inspirations: “Don’t forget the beginner’s mind”. Because of this belief, he is always working hard and striving to do better, and is well-known for always being down to earth, gracious, and grateful. Using this program at the 2014 Worlds Exhibition was a culmination of all these traits we always see from him; it was a beautiful, powerful tribute to his roots.
After achieving all the greatness of the 2013-14 season, Yuzuru didn’t forget what got him there. If anything, his success humbled him. It made him realize how far he had come and who he had to thank for guiding him to the spot in the middle of the podium where he stood. As he won the GPF gold, the Olympic gold, and the World Championships gold, he did not stand alone on that podium- and he knew this better than anyone. This exhibition was a performance dedicated to the people who have supported him since day one; to his family, coaches, fans, friends, and rivals; to everyone who had seen something in that 17-year-old bronze medalist in Nice that made them root for him; to his country, which recovered slowly and painfully from a crippling disaster yet still remained a place in which a young man could find his own path.
What a path is has been.
A Name For the History Books
Yuzuru Hanyu is an inspiration, through and through, not only because of the spectacular 2013-14 season that he ended with this skate, but also because of everything ever since. Many a lesser man would have called it quits after Olympic gold, thinking he’d already peaked- but Yuzuru believed he could do more, and he did.
The world records, the medals, the titles, the wonderful and unforgettable performances- Yuzuru Hanyu has done more than enough to establish himself as a key figure in the history of figure skating. He is one who will be cited as a great inspiration for many generations to come; as one who pushed himself to push the sport. He is not only a symbol of triumph and pride for his home country of Japan, but for the entire world, a shining beacon for the strength and skill of mankind as a whole. He will eternally be known as one of the greatest figure skaters to have ever lived. A success story to be told for years to come. A legend.
Yuzuru Hanyu- don’t forget that name. That’s a name for the history books.
All this, and his story isn’t even over yet. He said on many occasions that that winning Olympic gold was just the beginning- and we all know that when Yuzuru sets his mind to something, he is unstoppable. We, the people who stand behind him to this day, have seen what he has accomplished since the Olympics, and know that he still has so much more to offer.
We honour you for your hard work Yuzuru, from day one to now and into the future; we will continue to support you and give you the respect and strength you deserve. And we eagerly await to see what all of us know you can and will deliver. Ganbatte!!
In honour of Worlds 2017 coming up in about a month- which will be the 3 year anniversary of this exhibition and 5 year anniversary of the free skate it once was- here is Yuzuru Hanyu’s 2013-2014 World Championships Exhibition. I hope you enjoy!
See the doggie tissue box behind Victor? Doesn’t it look familiar?
Victor’s poodle tissue box was inspired by Yuzuru Hanyu’s Pooh Tissue Box!
For those of you who don’t know the backstory on this beautiful tissue box: Figure skater Yuzuru Hanyu always had a miniature pooh bear along with his tissue boxes during his junior days, 2009-2010 season. Then a simple pooh cover with tissues coming out of his nose was introduced in the 2010-2011 season. Then finally, the Pooh tissue box was born in the 2011-2012 season and they have been inseparable ever since. Most of the times, Pooh is seen beside Yuzuru’s coach cheering him on in every competition outside the rink. Funny fact to go along with it, when Yuzu moved to Toronto, his coach Brian Orser stated in an interview, that when he saw Yuzuru, he said, “I always thought he was that weird kid with the Winnie the pooh doll. Now I’m that kid’s coach…and I have to carry it.”
1. The leap of faith jump. I mean, that entry is everything. It’s unexpected and difficult and sharp. Scott starts the rotation himself, and he was so centered here (an important point in this years rules regarding stationary lifts). They change positions seamlessly, and though Tessa’s skate touches the ice to finish the official lift, the choreography continues in that same vein, and makes the lift feel even more substantial (and of course reach a level 4).
2. The Carmen/Latch hybrid. So obviously, the entry is from Carmen - personally I’m excited they’re using it again. It is such a dramatic, audience-gasps! entry - and in an Olympic year, many people watching the Olympics won’t have seen it before. It deserves to be seen. Plus, it is the type of lift that really works with this passionate type of music.
But unlike the Carmen lift, as Tessa drops down from Scott’s shoulders, it is a completely different movement, which means they had to train a new and difficult transition to get from one section of the lift to another. Both lifts are absolutely incredible, but even though this one goes into the Latch position, think about what they have to do, to get her body into that - her legs go from being closest to his head, and when she flips down out of that, they also have to shift so that instead her head is near his. (And like the music, the lift goes from bombastic to tender in a heartbeat, LOL.) (Oh, and like all short lifts, all of this must be accomplished in 7 seconds or less, or they face a deduction. 7 seconds. Plus hit a certain number of rotations to get a level 4, plus never accidently stop the rotation. There is a lot happening here… in 7 seconds.)
3. The Prince lift. Yes, it is repeated, though Tessa has changed the arm movements to fit the theme, and it hits a perfect point of the music for this type of lift. The music soars, and so does she. Look at the improved position she hits, especially from when this lift debuted. Then, they changed the exit completely. Remember, she used to do a kind of flip down onto his shoulder, and then they exited on a synchronized lunge. Here, Scott gently sets her down so her skate touches the ice (and therefore falls under that 7 second rule), but then like the first lift, immediately she is lifted again and onto his thigh for a thematic and tender moment. Again it ‘extends’ the lift for a bigger impact and levels.
stupid screenshots but to illustrate my point Prince lift:
(As for the SD lift, yes, it’s an oldie but a goodie, too. My request is that someone gif that thing, for it is a feat of technical prowess. There is not a single moment in that lift that isn’t difficult. The entry is a twist, into an upright position; then she has to swing her free leg up around Scott’s neck, briefly putting her upside down before she and Scott hold hands behind her back (and he actually has a free hand here!); then they let go of hands and he has her at the waist, which is good since he’s guiding her leg back across him so he can set her down – one handed. Yeah, for just a moment, as he’s putting her down on the ice - and not dropping her down, but setting her down, he’s only got one hand on her, and she’s got a single hand on his thigh. But they’re secure enough that she can immediately go into a partnered spin and then into a drop. This is not a lift that should be dismissed. Plus, IIRC, they haven’t used it since the 2011/2012 season, so I think that maybe they had to do some training to get that baby back.)
Another part from the book ‘Team Brian’, translated by me from the original Japanese (thanks to a fan for sharing a few pages with me):
(Early August 2014, writer Yoshie Noguchi had a talk with Brian Orser and Yuzuru Hanyu.)
Finding “Yuzuru’s skating style”
—Half a year has passed since winning the Olympic gold medal.
Firstly, after this Olympics, what do you want to say to each other?
Brian: First I want to say congratulations. You can become even stronger, so don’t stop, let’s go on improving together.
Yuzu: Although it is only a short period of 2 years from the time I joined
Brian to the Olympics , I was always discussing with him while
practising and so I was able to grow before Sochi and I could show my
capabilities there. When I first came to Toronto, there was the English
barrier (t/n. language barrier), but Brian could always sense what I
was thinking and what I wanted to do. Brian as a coach, to do that for
me, it’s really wonderful.
B: 2 years ago, when Yuzuru
first came to Toronto, he already had amazing abilities. The first time
I saw him was at Nebelhorn Trophy 2011 and my first impression was, an
amazing skater has appeared. At World Championships 2012 in Nice which I
went to with Javier Fernandez, he had grown into our strong rival. Overflowing with youth and zeal, he is a skater that we must pay special
attention to in the near future, I thought. Then, soon after that
World Championships, I got word that he wanted to be a part of my team.
It was a big surprise!
Y: For me, during the 2011-2012
season, I saw that the quality of Javier’s quad jumps had become very
good. The success rate had also increased. In competition and also at
official practice, his quads were very good. I heard that he had moved
to train with Brian and so I thought there must be some secret at
Brian’s place. To me, quad jumps are my biggest weapon. If that jump
is stable, there is a chance that my skating and expression and all
other parts will become good too. That’s why I thought I want to learn
—I heard that when Yuzuru first moved to Toronto, the training was not on quad jumps but just on the basics.
B: When Yuzuru came to Toronto in the spring of 2012, I first took him
to some rinks here and there in the city and we skated together. That
was like a kind of experiment. I made him do various steps and
transitions, and I watched from every angle what kind of skating skills
he has and what kind of characteristics are in his movements. I
realised that many of his skills are random and change with his
feelings. Having such frequent fluctuations in technique due to
feelings, he would not be able to do stable jumps.
as Brian has said, before coming to Toronto, there was a part of my
skating that was affected by my mood for the day. Even in a programme,
the feeling of speed and cross-skating steps were random; I myself felt
—So because of that, you started with the practice of foundation skating?
B: We started from having an in-depth discussion with Yuzuru. It is
important to find the techniques that fit him and then decide the goal.
Everyone has different skills and habits, it’s important to find that.
Before plunging into quads practice, we must strengthen the foundation,
in other words, the skating skills. Javier and Nam also managed to
find skills that fit them, so in the same way, we searched for the
“Yuzuru skating style”. Actually 2 years have passed and we are still
searching for it, but someday, he must have his own style.
did skating practice when I was a child, but after moving up to senior
level, learning skating skills all over again, it was the first time.
So initially, it was hard. Actually, now it’s still hard. (laughs)
But I understood that it would be good for me in the future and also
good for the programme as a whole.
B: That’s right. The
wonderful thing about Yuzuru is that he accepted quickly this basic
skating practice. Or maybe he had no other choice. (laughs) In Cricket
Club, there is skating practice for all skaters, led by Tracy Wilson.
The difference in ability among each of them is clearly shown, and they
also have to work hard to catch up with the rest. Yuzuru cannot be
doing skating that changes with his mood, he has to skate together with
the others, and through this, he understood more about basic skating
Y: Yes it’s true. After coming to Toronto, I’ve
really felt that my awareness of skating skills is connected to the
stability of my skating and quad jumps. I felt the skills for the
set-up to my jumps and timing improved.
—Besides skating, in terms of training as a whole, what kind of things did you pay attention to?
B: My coaching style places great importance on communication. This
is even more important for skaters like Yuzuru who have great talent. I
think there are coaches who demand that “this skill must be done this
way”. But for me, each skater has different techniques already in
possession, so the coach should adapt to each skater. So for Yuzuru, I
do not say you must jump with this method but we search for the method
that is best for him.
Y: That’s right. I discuss everything
with Brian. For jump practice, first a video is taken, then both of us
watch it together. Brian would ask, “What kind of feeling was that?”
and I would answer, “My bodily sense felt like this.” Then Brian would
give me some advice, “Ok how about trying it this way?” So this is done
over and over again in the process of making my jumps.
B: The important thing is “a good feeling”. I realised it in the time we
skated together, Yuzuru is like me when I was a skater, the type that
places great value on the “feeling of the jump”. The training method
suitable for this type is to video record the “good feeling”(jump),
analyse it objectively and identify the pattern that succeeds. The
breathing at that time, the condition of the body, the rhythm, the use
of the knees, the path of set-up, the form when jumping, we explored all
[apologies to Brian and Yuzu if I did not translate it well.]