going out there and continuing to find ways to put the work in and believing in it. “It’s a mental battle because it’s not always going to be perfect. … It’s not just something that happens overnight,” said Mitchell. That’s not something that just happens, like, ‘Oh, we work on it from June to October and it’ll be fixed.’ It takes time, and it takes going through rough patches. “If you’re changing your base or changing, that can take a while. And then to step to the line and have the confidence that he did, that’s something that’s been a big point of emphasis for him - not just people on our staff saying that to him, but it’s something that he’s really internalized and he works on.” “They were fouls - he was making them foul him, or he was gonna dunk. He’s not just trying to get it up to the rim, he’s more conscious of where his defender is,” he said.
“The biggest thing is that he got to the line 16 times. “They played small, and he was just dominating them,” pointed out Bojan Bogdanovic. When the latter happened, he either got off a close-range shot, or wound up shooting freebies. Neither really worked, as the Jazz either passed into one open 3-point look after another, or located Gobert flashing to the rim unencumbered. Indeed, while Charlotte started traditional center Mason Plumlee on Monday, they frequently went to small-ball matchups and deployed 1-3-1 and 2–2-1 zones. And he did tonight, and he’s got to continue to be able to do that.” “And if they want to do that - not so much in the regular season, but in the playoffs - if they want to foul him and put him on the line, he’s got to be able to hit. “Now he’s getting fouled, now he’s punishing switches,” Donovan Mitchell noted after the game. But, it also can be an indicator that the big man is playing with the requisite force needed to make opponents pay for going with smaller, more switchable lineups. Beyond it being an instrumental component of the Utah Jazz fending off the Hornets and snapping a two-game slide, though, there’s an organizational hope that Gobert’s free-throw success portends much, much more. Perhaps the most eye-popping of his numbers, though, came at the free-throw line: A career-high 15 makes, on a career-high 16 attempts.įor a player with a career 63.4% conversion rate at the stripe, that’s not an insignificant performance. Lyrically, there are two notable changes in the original “Prince Ali,” there’s a line where the people rattle off the prince’s bona fides, at one point singing “He’s got slaves, he’s got servants and flunkies!” Which-problematic.Rudy Gobert’s stat line Monday night against the Charlotte Hornets was a thing of ridiculous, preposterous beauty: 23 points, 21 rebounds, two assists, a block and a steal.
Performance-wise, Smith picks to emphasize totally different inflection points than Williams, differentiating himself in subtle ways. In “Prince Ali,” the marquee number Genie uses to introduces Aladdin’s royal alter ego, the music has been amped up to have more of an Agrabah-meets-Mardi Gras big-band effect. Let’s start with some of the more minor, but noticeable changes. The changes range from subtle lyric twists to new songs, including a much-ballyhooed number for Jasmine written by Benj Pasek and Justin Paul. However-Disney has also allowed a handful of changes and new additions that will tweak the ear of any fan of the first Aladdin. In Disney’s new live-action iteration, directed by Guy Ritchie, that music stays largely the same, a testament to the soundtrack’s classic staying power. Aside from Robin Williams’s iconic performance as Genie, the most enduring aspect of Disney’s 1992 Aladdin is the film’s soundtrack, with unforgettable music composed by Alan Menken and lyrics by Howard Ashman and Tim Rice.