Below are gifs showing the twizzles from Weaver & Poje's short and long program at worlds.
I don't believe Weaver & Poje are better, in the aggregate, than Davis White, although I believe they're more versatile as skaters as well as performers. They still lack the power and consistent depth of edge to challenge for one of the top two places.
But that actually supports the point I'm making here. Weaver & Poje are not as "strong" as Davis & White. Kaitlyn's skating skills are consistently brought up by Kurt Browning as an element she's needed to improve. They've never been held up as an example of fabulous twizzlers.
So let's say that here we have a skating team a great many people agree have not yet reached Davis & White's level. In addition, they essentially do the same twizzle set for each of their programs. And yet, they gorgeously meet the + 1 GOE requirement for executing twizzles in the character of each of these dances:
Sound of Music:
Weaver & Poje didn't have to reinvent their twizzle pass. It's the same twizzle pass. If they were DW they could have executed their twizzles with the exact same carriage, attitude, arm styling and phrasing (let's face it, DW don't phrase - EVER) and arguably, the Sound of Music twizzles could have worked for The Statue and vice versa - both programs are soft, both are romantic, both have a sort of call and response dynamic.
But instead Weaver & Poje got more specific. Look at their heads, their arms, and the transitional moves between twizzle sets. Sound of Music can only be Sound of Music (I especially love the hands on hips for the final set - it's not only perfectly SoM but it's also a nod to the polka).
For the statue, the story is told in the heartbreaking transition between twizzle set one and two. Take out "heartbreaking" if that's too subjective and look at the style of the program and stylistic and rhythmic elements that repeat throughout the program and look at those elements echoed in that transition.
So it's not some Herculean task. Yes, modifying the style (phrasing and rhythm go a long way) and the styling (arms) is a challenge but not as great as doing entirely new twizzles.
A lesser team (Weaver & Poje) can do it. The world champions (Davis White) can't. They can't phrase, they can't change rhythm, they can't vary energy, they can't change style. If it's lyrical they do bombastic twizzles that they don't even attempt to phrase; if it's high energy they do bombastic twizzles without even attempting the lightness in Giselle, if it's a Tango they do bombastic one note twizzles without even attempting the sharp, clear, controlled tango style or rhythm. Crooked alignment, out of unison, steamrolled one-note attack is oh so tango. Tango isn't refined at all.
They aren't earning their points on the ice. And I have to ask why a world champion team is so utterly limited and requires so much choreographic protection their Fed is terrified to let them change their program elements in any way for five years running.
After this post I'm going to do lifts. Because in 2008, for the straightline, Scott grabs Tessa's leg as she steps onto his thigh, and she uses her hands on his shoulder to support her step. In 2009 she took his hand in her hand and stepped onto his thigh and got into goose position and then took his hand once more to get down onto an edge. In 2010 they developed this move - Scott's arms extended freely from his shoulders instead of resting on his knees, and she got down completely by herself - either pivoting or leaping.
Meantime through 2013 Meryl is getting herself up on Charlie's leg via a hoist from Charlie and both her hands steadying herself on his shoulders, and he gets her down, two handed, with her free hand resting on his shoulder for additional ballast. They're doing a 2008 straight line in 2013.
Oh yeah, the best in the world. I'm looking forward to more posters who "understand the sport" and "skate at a high level" to explain how this works. If you're informed enough to declare the blog doesn't know how it works, then you know how it does. Please share.