I agree with your points Birdsall, however Somova's issues were never solely based on her hyper-extension. There are
many dancers who have hyper-extended hips, knees and weak pointes (as Somova does), and yet they learn (or try) to control their movements. It's a question of the artistic choices that dancers make. In Somova's case it's always been her catch-as-catch can, on again and (mostly) off technique, plus the lack of turnout that have been her problems from day one. She has used her hyper-extension over the years as a failsafe to compensate for her technical deficiencies. She loves to dance - that's evident, and she has dramatic abilities, however, these aren't the sum total of a performance or interpretations of a gallery of roles in a repertory. Reliable technique is the essential other half of that equation. Skoryk and Somova are two different ladies, and very different dancers, yet they are cut from the same aesthetic cloth that Fateev favors. They have two things in common: Both were pushed into the spotlight prematurely, and both have the favor of the powers that be. To say that one who is fearful and somewhat less satisfying than the other who is fearless, but gets consistently mixed results - even after 8.5 years in the spotlight, is like having to choose between liver and liverwurst. In the end, it's all a matter of one's palate.
Although I am new to ballet, opera has this same exact issue and has had it probably since opera began. There are always controversial dancers. There have been MANY opera singers throughout history that people love and others hate and can't understand what others see. Some singers make blaring mistakes all the time yet are stars. Some GREATS even have flaws (Nilsson sang sharp a lot, Sutherland's diction was mushy, Callas had a flawed upper register, Caballe overused her pianissimi, etc). These ladies I just named are "greats" but had flaws everyone complains about. Today Cecilia Bartoli is controversial. Many rave and swoon over her while others are shocked anyone could like her due to her facial mannerisms and aspirated coloratura. When she came on the scene her naysayers thought she was the most horrible opera singer in the world, but she has withstood the test of time, but some continue to dislike her singing immensely while others swoon over her singing. Her cds sell better than any other singer and her concerts sell out. Maria Guleghina is another singer I personally find very controversial. She has power to burn but blasts away and when she sings bel canto it is like a bull in a china shop, but many knowledgeable opera lovers think she is fabulous!
Anyway, this element of the performing arts has and will always be a part of things. Certain artists divide people completely. Obviously, this is the category Somova falls into. But I think if she is given choreography, she can always dance the steps, and it is her execution that people do not like. However, she actually dances the steps (maybe with extensions that people find too high). In contrast, Skorik seems to not even be able to dance the actual steps. Everything has to be simplified, so I do not think this is the same thing at all.