There's far too much to fully unpack in the opening "Sympathy for the Devil" sequence, but a few highlights -- and hybridized transitions -- are worth noting. The rhythm bounce is a good baseline for understanding the flair injected throughout the dance's up-tempo bookending sections. Consider a bit of batucada to open, a moment at 0:33-0:34 that reads a little bit samba lock, a little bit plait. But at 0:35-0:39, meet the most obvious callback to floor samba: the natural roll. It's been utilized on ice more than once, but rarely in its face-to-face variant and for so extensive a time. It leads into the promenade run up to 0:43.
In their no-touch step sequence, a required stop beginning at 0:59 is really a sort of Cuban break/demonstration of great Latin posture, which swiftly segues into a modified criss-cross bota fogo followed at 1:04 by a tip of the hat to the solo spot voltas -- it is, in general, difficult to explicitly associate the program's myriad turning moments with specifically codified Latin turns, but there's a styling to the movement that at least presents a reasonable facsimile here; they are clearly skating turns for a Latin ballroom program, not for a hip hop or a waltz or a quickstep.
Given the packed and heavily mandated nature of the r(h)umba sequence set to "Hotel California" -- featuring a compulsory pattern and partial step sequence -- it's challenging to point to many specific rumba steps aside from, for example, the opening out at 2:04 or a skating-friendly twist on rope spinning at 2:00. However, a review of the syllabus and this showdance -- and therefore trick-friendly -- rumba do underline Virtue and Moir's easy and excellent hip action and include a few familiar transitions:
The final sequence to "Oye Como Va" presents a quick nod to cha cha, noted in something like the fan at 3:02. As conscientious an effort at translating floor movement to ice this program may be, it also shouldn't be mistaken for a purist exercise in Latin ballroom -- nor need it be. For teams with the skill, the restrictions of a technical ice dance program and the freedom to play across textbook styles is not cause to blame a genre, but opportunity to cleverly -- and masterfully -- adapt.