As France’s Laurence Fournier Beaudry and Guillaume Cizeron took their parting stance, the audience leaned forward and held their breath. With every move designed to sparkle rather than overwhelm, their performance, set to Madonna’s “Vogue,” shimmered with purposeful flare. Without apology, they were the rink’s owners.
Applause and whispers increased as the scores came on screen.
Evan Bates and Madison Chock had just finished what many considered to be their best performance ever. They danced to the program “Paint It Black,” which is packed with tension, skill, and quiet urgency, with ice-melt elegance rather than fire. They received a silver score of 224.39.
| Event | Ice Dancing – Figure Skating (Final) |
|---|---|
| Gold Medalists | Laurence Fournier Beaudry & Guillaume Cizeron (France) |
| Silver Medalists | Madison Chock & Evan Bates (United States) |
| Bronze Medalists | Piper Gilles & Paul Poirier (Canada) |
| Venue | Milano Ice Skating Arena, Milan, Italy |
| Free Dance Theme | “The Music, Dance Styles and Feeling of the 1990s” |
| Winning Score (Combined) | 225.82 |
| Notable Controversy | Judging backlash involving Team France’s win |
| Event Dates | February 9–11, 2026 |
| Source | www.olympics.com/milano-cortina-2026 |
Returning Olympic champion Cizeron, who is currently paired with Fournier Beaudry, led by a slim 1.43 points. However, that decimal was significant.
Particularly for a squad like Chock and Bates, who had been waiting for this opportunity over three Olympic cycles.
Something caught my attention in the moment between statement and response. Two rows forward, a woman who was obviously American gave a halfhearted applaud before whispering to her companion, “But they felt more alive.” I heard me nod silently. A deeper chord was touched by the U.S. pair’s performance’s emotional core. However, the French pair had fewer flaws in theory.
The sport of ice dancing rarely avoids this conundrum, as viewers want connection while scoring systems reward accuracy. in has happened many times throughout the years, but maybe never as widely as it did in Milan in February.
Particularly in terms of timing, execution, and flair, France’s program was exceptionally successful. With a keen sense of assurance, they sailed through changes. Their twizzles? Unchangeable. Their last lift? Suspended for a sufficient amount of time. It was difficult to find fault from the perspective of judgment.
However, creativity is not math.
The silver of Chock and Bates represents a bittersweet climax. Even if they won an Olympic medal on their own, the pain of being so near still exists. particularly after winning gold for the United States in the previous team competition. Their journey has been characterized by adaptability and perseverance, and this performance—which is incredibly human and narratively clear—may endure longer in the public consciousness than the podium outcome itself.
With a score of 219.88, Piper Gilles and Paul Poirier of Canada completed the top three. Their unique musical callbacks made up their routine, which seemed like a love letter to their own development as athletes. It was affectionate as much as athletic. and markedly better than their previous season performances.
The circumstances behind Cizeron’s return became more complicated. Even while his legacy is still linked to previous Olympic gold medals, persistent criticism about unsolved off-ice issues has surfaced again. His reappearance caused distress to some. Others saw it as merely the comeback of a champion.
There is no denying that his skating is still captivating.
Younger teams like Zingas and Kolesnik (USA) provided remarkably comparable intensity to previous breakthrough tales outside of the podium. They didn’t quite make the top five with a score of 206.72, but they are gaining ground and their presence seemed very encouraging. Their performance demonstrated how, even in the early stages of Olympic careers, athleticism and artistic storytelling can coexist.
The free dancing section encouraged daring choices because it was based on the music and fashion of the 1990s. “Around the World” by Daft Punk was utilized by one French squad. In a lighthearted homage to the Spice Girls, Lewis Gibson and Lilah Fear of Britain illuminated the arena. These songs, which were frequently pleasantly sentimental, served as a reminder to everyone that ice dancing is evolving and not bound by tradition.
However, not all judges appeared to encourage risk.
Following Team USA’s performance, Torvill and Dean, who were in the front rows, allegedly stood—one of the few standing ovations of the evening. It wasn’t just a symbolic gesture. It confirmed what many people in the crowd were already sensing. The audience was responding to narrative, emotion, and memory rather than merely footwork or lifts.
Nevertheless, the end results tended more toward perfection than vulnerability.
The thin line separating quantifiable skill from intangible emotion is where ice dancing thrives. It’s about how those steps are felt—and recalled—rather than just the steps themselves. Additionally, supporters cling to narrative when choices feel as tenuous as they did in this case.
The general cohesiveness of many national teams has significantly increased as a result of strategic alliances and efficient choreographic guidance. The 2026 event demonstrated that judges’ interpretations of purpose can be altered by even minor adjustments, such as hold time or musical phrasing.
“You can skate clean and still lose if you don’t move the room,” one of the coaches remarked afterwards.
I remembered that line.
I’ve seen many of ice dance finals, but this one stood out—not because of controversy, but because it clung so tenaciously to the age-old question: Is immaculate technique more important than an unforgettable feeling?
The French pair won a gold medal in Milan.
