There are some skating teams you remember because of their medals, and then there are the ones you remember because of how they made you feel. For me, Maya Usova and Alexander Zhulin will always belong to that second category.
I was already hopelessly in love with ice dance by the time Usova and Zhulin came along. I had been watching skating since I was a kid, had fallen completely under the spell of Torvill and Dean, and by the time the 1990s rolled around, I was paying attention to everything. And then there was Usova and Zhulin. Something about them grabbed me immediately. They weren't flashy in the way some teams were flashy. They didn't seem desperate to convince you that what they were doing was important.
They just danced and somehow, that was enough.
There was a gentleness to their skating that I found completely intoxicating. Their edges were deep and gorgeous, their movements seemed to melt into one another, and there was an intimacy between them that made you feel as though you were watching something private. Of course, they were married. So naturally, my younger skating-obsessed brain put two and two together and came up with five.
They were husband and wife, skating partners, and they spent virtually every waking moment together. They looked completely connected on the ice, so surely this was the ultimate skating love story. Right?
Well...
About that. I'm getting ahead of myself, because before I knew anything about the drama, I simply loved watching them. And then there was the fact that they trained in Lake Placid, which made them even more fascinating to me.
Lake Placid wasn't just a place. Not to someone who loved skating. It was the place. The Olympics. The Miracle on Ice. The skating history. The rink. The mountains. The mythology of it all.
And here were these Russian ice dancers, training in Lake Placid, creating these extraordinary programs that seemed to fit the atmosphere perfectly. It felt almost cinematic to me.
And their programs? Just wow. Blues for Klook was one of those pieces that made me stop whatever I was doing. It was cool and sexy and jazzy and completely unlike the traditional romantic ice dance programs that could sometimes blend together. They didn't just skate to the blues, they were the blues. There was this wonderful looseness to it, even though you knew underneath all of that apparent ease was an extraordinary amount of technical precision.
Then there was The Seasons. I still adore that program. It was beautiful in a completely different way, more theatrical, more delicate, almost dreamlike. And the tangos?. There was something about Usova and Zhulin doing tango that made the television suddenly feel very small. They understood the tension of it. The little moments when one skater seemed to challenge the other. They could make an entire relationship play out in a few seconds.
And that's probably why what happened off the ice surprised me so much.
Because when you're watching ice dance as a fan, particularly when you're young, you tend to believe the story you're being shown.
If two people look deeply connected, you assume they are deeply connected. If they're married, skating together, winning medals and looking impossibly elegant while doing it, you assume you've stumbled onto some kind of fairy tale.
Usova and Zhulin won Olympic bronze in Albertville in 1992. Two years later, they won Olympic silver in Lillehammer. They became World champions in 1993. From the outside, it looked like everything was working. But the reality was considerably messier.
Their marriage eventually fell apart, and Zhulin's relationship with Oksana Grishuk became part of the complicated personal drama surrounding the ice dance world of that era. And suddenly the skating fan in me had one of those moments where you go: Wait. WHAT?
Because I had spent all of those years looking at these two people and seeing one thing, and it turned out there was another story happening underneath it. That is one of the strange things about being a longtime skating fan. We spend years watching these athletes learn how to portray emotion and then sometimes we discover that the emotions weren't entirely confined to the choreography.
The soap opera was happening backstage, too, and honestly? That probably shouldn't change the way I remember them.
Because when I think of Maia Usova and Alexander Zhulin now, I don't primarily think about the complicated personal history. I think about the gorgeous lines and the incredible edges and that almost impossible ability to make two people look like they were moving from the same brain.
And I think about being a skating fan in that era. There was something wonderful about watching competitions before everything was instantly available online. You waited for the broadcast and recorded them if you were really serious. And if you were lucky, you got to see your favorite skaters in person. Those memories stick.
Years later, when I look back at Usova and Zhulin, I realize that what I loved about them was something simple. They were artists. They brought something different to ice dance, and they made me look at the sport differently.
The Twizzle is about the skating we remember — the programs that stopped us in our tracks, the skaters who became part of our lives, and the moments that still make us feel something decades later.
Because sometimes the best part of skating isn't the score. It's the memory.


