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Bad Bunny Will Be One Of The Final ‘Carpool Karaoke’ Guests Before James Corden’s ‘The Late Late Show’ Ends

It looks like Bad Bunny is finally blessing us with a “Carpool Karaoke” segment. Today (March 10), The Late Late Show With James Corden shared a preview of an upcoming segment featuring the Puerto Rican superstar.

In the clip, Bad Bunny is introduced as “The biggest streaming artist in the world.” Corden and Bad Bunny are then seen singing along to the latter’s hit single, “Tití Me Preguntó.”

Bad Bunny’s “Carpool Karaoke” segment will air on this Tuesday’s (March 14) episode of The Late Late Show, at 12:37 a.m. ET. It’s coming just in time, too, as Corden’s last episode of The Late Late Show is set for April 28, so who knows how many “Carpool Karaoke” segments Corden has left before the show wraps up.

Last year proved to be eventful for Bad Bunny. His fourth studio album, Un Verano Sin Ti, reached No. 1 on the Billboard 200 and boasted several hits, like “Tití Me Preguntó,” “Moscow Mule,” “Me Porto Bonito,” and “Despues De La Playa.” The album was nominated for two Grammy awards, including the coveted Album Of The Year award, as well as the Best Música Urbana Album. He won the latter of those, and in his acceptance speech, Bad Bunny said that the album was a result of pure passion.

“I just made it, this album, with love and passion,” he said, “and when you do things with love and passion, everything is easier, and life is easier.”

Check out a preview above.

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For Some Reason, Marjorie Taylor Greene Thinks The Ladies Of ‘The View’ Are Trying To Assassinate Her

Marjorie Taylor Greene wasted no time capitalizing on a bad joke on The View. During Friday morning’s episode, guest Jane Fonda made a less than ideal joke about how to deal with the loss of abortion rights after Roe v. Wade was overturned. While it’s clear the legendary screen actress was trying to work in a comedic connection to her new movie, co-host Joy Behar immediately tried to get ahead of the lead ballon of a joke because she knew exactly what kind of trouble it was going to cause.

Via Raw Story:

“Well, I’ve thought of murder,” Fonda said, pausing for effect as actress Lily Tomlin also started to answer before interrupting herself.

“What did you say?” said Tomlin, who co-stars with Fonda in the dark comedy “Moving On.”

“Murder,” Fonda repeated, drawing on the theme of the movie she was promoting.

“She’s kidding, she’s just kidding,” Behar said. “They’ll pick up on that and just run with it.”

Like clockwork, Greene immediately latched onto the Fonda clip and accused The View of trying to get the Georgia congresswoman assassinated.

“I routinely get death threats because of the nasty women on The View and the things they say about me,” Greene tweeted. “But calling for us to be assassinated makes The View, the hosts, the producers, the network, the advertisers, and everyone involved responsible for death threats, attacks, and potential murders of Pro-Life politicians and activists. I am reporting this.”

While Greene very slightly had the upper hand thanks to Fonda’s ill-advised remark, the congresswoman quickly squandered it by taking a nasty shot at Fonda’s age and trotting out the disingenuous conservative framing for abortion.

“By the way @Janefonda your eggs are dried up so you don’t have to worry about getting pregnant anytime soon,” Greene wrote. “So you can retire from demanding baby murder now.”

(Via Raw Story)

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A Third Person Died After Sustaining Injuries At GloRilla’s New York Concert

Tragedy struck at GloRilla’s March 5 performance at Rochester, New York’s Main Street Armory: People were injured during a crowd surge, with one person later dying at the hospital. It was later reported that a second person died from their injuries, and now, so too has a third.

The Associated Press reports that according to police, 35-year-old Syracuse resident Aisha Stephens died in the hospital on Wednesday (March 8) night. That follows the deaths of 33-year-old Buffalo resident Rhondesia Belton and 35-year-old Rochester resident Brandy Miller. Stephens was the only remaining person in the hospital who was there as a result of injuries sustained at the concert. Police note the stampede, which took place as the show was ending, was possibly triggered by “unfounded fears of gunfire.”

GloRilla previously addressed the situation on social media, writing in a tweet, “I’m just now hearing about what happened wtf [single tear emojis] praying everybody is ok.” She later added, “I am devastated & heartbroken over the tragic deaths that happened after Sunday’s show. My fans mean the world to me [single tear emoji] praying for their families & for a speedy recovery of everyone affected.”

Meanwhile, it appears there won’t be any more concerts at the Main Street Armory for at least the foreseeable future, as the venue just had its entertainment license revoked.

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The ‘No Hard Feelings’ Trailer Has Lots Of People Excited To See Jennifer Lawrence In A Raunchy Little Comedy

Between June and August, the heart of blockbuster season, only a precious few comedies will be released into the movie theaters. There’s the swearing dog movie; The Blackening, a Scary Movie for the Get Out-era; and the untitled Please Don’t Destroy project from the SNL trio. But most intriguing is No Hard Feelings, a raunchy throwback starring Jennifer Lawrence as an Uber driver who gets hired by two parents to “date” their unf*ckable teenage son. It’s a high-concept premise, a rarity for a studio comedy in 2023, let alone a studio comedy being released a week before Indiana Jones and the Dial of Destiny.

Will No Hard Feelings be any good? Maybe! Hopefully! The trailer is pretty funny, the world needs more R-rated sex comedies, and director Gene Stupnitsky also made Good Boys, which was way better than anyone expected. It also sees Jennifer Lawrence in her first straight-up comedy in… ever?

The Causeway star’s films tend to not be overtly comedic (Silver Lining Playbook is a drama with comedic elements, for instance), but Lawrence herself is very funny. And it will be refreshing to see her on a press tour again where she doesn’t have to talk about trauma. Although being hired to have sex with a teenager by his parents is pretty traumatic. For her, not the teen.

There have been lots of excited reactions for Lawrence in a comedy.

Here’s more:

On the brink of losing her childhood home, Maddie (Jennifer Lawrence) discovers an intriguing job listing: wealthy helicopter parents looking for someone to “date” their introverted 19-year-old son, Percy, before he leaves for college. To her surprise, Maddie soon discovers the awkward Percy is no sure thing.

No Hard Feelings comes out on June 23rd.

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Michter’s Celebration Sour Mash 2022 — Our Review Of A Truly Iconic Luxury Bottle Of Whiskey

Every once in a long while, a whiskey comes around that feels essential. A dram you have to be able to discuss with expertise if you want to call yourself “in the know.” But also something that is so deeply enjoyable and full of classic notes that it draws you in. Approachable. Michter’s has a knack for nailing that feeling with many of its releases. Their Michter’s 10-year Bourbon and Michter’s 10-year Rye drops are much-beloved and sought after because they’re prime examples of how good those styles of whiskey can be. Michter’s 20-year Bourbon was our favorite bourbon of 2022 and we were not alone in that take.

This year, the team at Michter’s did it again with the release of their much-anticipated Celebration Sour Mash, which I can assure you will be on nearly every “best of” whiskey lists come November and December of this year.

Not long ago, I was lucky enough to get an invitation to Michter’s Kentucky distillery in Shivley to taste the latest edition of Michter’s Celebration Sour Mash with Michter’s Master Distiller Dan McKee. It was a quiet and enlightening experience. Dan and I sat and chatted about whiskey while he presented the bottle and I sipped the whiskey. We talked through nose notes, palate notes, and the feeling you get from the whiskey. Spoiler Alert — it’s freaking delicious.

Then we spoke about something deeper. After all these years of tasting thousands of whiskeys, I’ve noticed one throughline that arises in all great whiskeys. Passion. The truly great whiskeys have truly passionate people making them. There’s a sense of depth and care that comes through in the profile — nose, taste, finish, and feeling — that speaks to something more than just an average pour. And that’s created by the people who make the whiskey caring so deeply about the product — in every step of its lifecycle — that it just… as if through alchemy or osmosis… makes the whiskey fundamentally better.

Look, the first half of whiskey making — the grain malting, the fermentation, the distilling — is heavy science. It’s following recipes that the whiskey makers (hopefully) know work for that they want to make. There is nuance in this step, of course. But then that whiskey goes into a barrel and is stacked in a warehouse somewhere. And that’s where something more mystical happens. Microorganisms, local ecosystems, atmosphere, weather, evaporation, and a million other factors take over and can create two completely different whiskeys inside two barrels that sat right next to each other and were filled moments apart with the exact same base spirit coming off the stills.

This stage is where passionate people come in. People like Dan McKee and Andrea Wilson — Dan’s partner at Michter’s and their Whiskey Hall of Fame Master of Maturation. Dan and Andrea have decades of experience between them and they care deeply about what they put their names on. That level of knowledge and care manifests in the bottle and every drop that hits your senses when poured. It is in that level of care and craft that people like Dan McKee and Andrea Wilson are able to create a whiskey that truly transcends the ordinary and becomes something more.

There’s a point to my sermonizing…

Often with whiskey at this level, people ask “how could it possibly be worth that price?” That’s fair. We are talking about a grain spirit that’s left in a barrel and then mixed into a bottle. That sounds basic because… it is. But the quality of the juice in that bottle is where things go beyond what’s basic into something less tangible, at least at first. But one sip in and you feel the quality that comes from the people behind the scenes who are constantly testing, pushing boundaries, experimenting, and questioning everything that is in a single barrel of whiskey and then doing that again and again and again until they create something bigger and better than any of its individual parts.

That’s what goes into a whiskey like Michter’s Celebration Sour Mash. Days turn into weeks that turn into months and years of fretting and perfecting a whiskey like this from a scant few barrels that actually meet the sky-high demands of people like Dan McKee and Andrea Wilson. And all of that — a true sense of care and love by a few stone-cold experts — is what presents on the nose, palate, and finish of a whiskey like this. Truly. I absolutely believe there should be a flavor note called “love.”

When love is there, a question like “how could it possibly be worth that price?” feels almost … meaningless. How could it not — after all that pain and effort of creating this expression — be worth it? After all, once the bottles of this one are gone, we’ll never see something exactly like this ever again. It’s a moment of whiskey captured in a few bottles that we get to experience.

That’s damn near priceless. Now, let me get off my soapbox and read my review…

Michter's Celebration Sour Mash
Zach Johnston
Also Read: The Top 5 UPROXX Bourbon Posts Of The Last Six Months

Michter’s Celebration Sour Mash Whiskey 2022

Michter's Celebration Sour Mash 2022
Michters

ABV: 56.4%

MSRP: $7,000

Real World Prices: $24,999$70,000

The Whiskey:

The fourth ever Michter’s Celebration release — and the first one since 2019 — was released in February 2023 after a slight delay. This American whiskey is a collaboration between Michter’s Master Distiller Dan McKee and Master of Maturation Andrea Wilson. The duo chose seven whiskey barrels for this special blend that ranged from 12 to 30+ years old. Those barrels were batched and bottled without any cutting with water, creating only 328 bottles for the whole world.

Tasting Notes:

Nose: The nose subtly opens with a sense of dark chocolate cut with brown butter, Saigon cinnamon bark, and a light note of crème brûlée made with just a drop of cognac and a hint of old champagne cellars.

Palate: That boozy vanilla opens the luxurious palate toward a dusting of winter spices — clove, anise, nutmeg — next to stewed peached and burnt orange over singed marshmallows, old smoldering hickory, and orchards full of falling leaves next to whisper of creamy black cherry and candied pecans.

Finish: Those pecans meld with woody maple syrup, more cinnamon bark, orange-studded cloves, and a sense of bushels of orchard fruits mixed with nuts and dried fruits in an old wooden basket and wrapped with thick old twine and leather next to a spiced chocolate-cherry tobacco leaf dropped in the middle of it all.

The Presentation:

The latest Celebration Sour Mash comes in a tailor-made box that reveals a beautiful bottle of whiskey inside. There’s a small drawer with a personalized note at the bottom. The whole thing is luxe to the max and very plush.

How To Buy Michter’s Celebration Sour Mash 2022?

This is an extremely heavily allocated bottle of whiskey. That means only the biggest and best clients of Michter’s have received bottles. That includes bars, restaurants, some very high-end liquor stores, and a few state-run liquor stores.

Your best bet to actually try this is to buy a pour at the Fort Nelson Michter’s Distillery on Whiskey Row in Lousiville, Kentucky. State-run liquor stores will sell these via a lottery only. Otherwise, you’re just going to have to know someone (or pay dearly for it on the secondary market).

Bottom Line:

This is an excellent American whiskey. It’s the sort of whiskey that you enjoy slowly over a good conversation. It slowly blooms in the glass as it rests in the open air and with the steady addition of drops of water. The nose, palate, and finish just keeps going deeper and deeper.

All of that said, this is a bottle you get for the vault as an investment or for showing off during the biggest occasion(s) of your life.

Ranking:

99/100 — This is as close to perfection as any American whiskey can get both in flavor/profile and in presentation.

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Becky G Sends Off An Unfaithful Man With Her New Single, ‘Arranca’

After a promising 2022 with her hit single “Mamiii” and acclaimed album, Esquemas, Becky G is keeping fans fed with new music. Today (March 10), she has shared a new single called “Arranca,” which features Dominican singer Omega.

On her new song, Becky has had it with an inconsistent man who keeps trying to work his way back into her life.

“¿A ti qué te pasa? ¿Pare qué estás llamando? / Sin mí la estás pasando bien, pero no tanto / Ya tu falso amor no va a joderme otro verano
Ponte las llantas y arranca para el carajo, ja, arranca,” sings Becky on the song’s chorus, which translates to, “What’s wrong with you? / Why are you calling me / Without me you’re having fun, but not so much / Your false love is not going to f*ck me over for another summer /
Put on the tires and go to hell.”

On Omega’s verse, he insists he is contrite with what he’s done, singing, “Que aunque yo soy un infiel / El que se va para el carajo es él
Yo sé que te quillas y que te llenas de odio / Por eso es que tú te vas con otro,” which in English means, “Although I’ve cheated /
The cheater goes to hell / and I know that it kills you and that it fills you with hate / That’s why you leave with another man.”

In the accompanying visual, she is seen singing and dancing in the ocean, as two young ladies pay homage to Dominican culture by dancing the heartache away in Boca Chica.

Find the video for “Arranca” above.

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Rae Sremmurd Sees Somebody They Like On ‘Tanisha (Pump That)’ From Their Upcoming Album ‘Sremm 4 Life’

Rae Sremmurd, the brotherly rap duo from Tupelo, Mississippi, is back with another new single from their newly announced album, Sremm 4 Life. It’s called “Tanisha (Pump That),” and it’s an upbeat, pulsating club song — think the Miami bass-style R&B of Ghost Town DJs’ “My Boo” — and finds the Brown boys admiring a special young lady at the function and encouraging her to “poke it out” before offering to “take you on a private vacation.”

The song is produced by the Ear Drummers’ longtime collaborator Mike Will Made-It, who co-produced alongside veteran hitmaker Pharrell Williams. On Twitter, Mike Will promised that “Ear Drummer Summer is loading,” which is a welcome relief for those fans who’ve had to wait almost five years for a follow-up to Swae Lee and Slim Jxmmi’s last album, 2018’s SR3MM.

Ahead of announcing the release date for Sremm 4 Life, the sibling act shared a string of singles that included “Denial,” “Torpedo,” and “Sucka Or Sum,” displaying their usual well-worn chemistry. Earlier this week, they also showed off the album’s cover artwork, which continues their tradition of minimalist covers while updating it to show off their style.

Listen to “Tanisha (Pump That)” above.

Sremm 4 Life is due April 7 on Ear Drummers / Interscope. Get more info here.

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Sorry (Not Sorry), You Won’t Be Seeing Florence Pugh Diving Into Romcom Land, Probably Ever

Florence Pugh doesn’t seem like a too-serious or intense person offscreen. She’s a joy to behold in her cooking videos, and she won’t take garbage over any freeing of the nipple. The Oscar nominee also keeps a healthy attitude about the circus around her, even when that includes ending up in a movie that stirs up more behind-the-scenes drama than attention devoted to the film itself.

Florence is currently promoting A Good Person, directed by ex-partner Zach Braff, who wrote the lead role with her in mind. It’s a heavy film, given that Miss Flo‘s character becomes addicted to opioids following a tragic car accident. Variety reports upon a Q&A screening from London, where Florence declared, “[R]eading something that is dedicated for you written by someone who knows you so well is a wonderful gift.” Granted, Braff wrote the project during a particularly intense grieving period, not too long after deaths in his family, followed by the Covid-induced demise of friend Nick Cordero.

When quizzed about whether Florence felt odd to have such a dark role written with her in mind, her answer indicated that she was actually flattered. Besides, these complicated roles are right up her alley, and she’s up for the challenge:

“It’s no secret that I only pick very intense roles. This isn’t the first time I’ve been reduced to tears pretty much every single scene that I’ve been in. I like finding the ugliness in humans. I love being raw. I love being given a script where it challenges myself and I have never picked a role unless I’ve been scared of it. And this is someone that knew me, knew my potential and wanted to work with me. I think it would have been strange if he wrote a Nancy Meyers thing for me to be like, ‘So… you’re not going to cry in this movie.’ I’d be like, ‘Oh God!’”

In other words, don’t expect Florence Pugh to pull off a string of romcoms. It also sounds like we won’t see her make a JLaw-style pitstop into raunchy romcom territory, which probably feels like a nice change of pace for Jennifer Lawrence, who also tends to gravitate towards intense parts. However, Florence sounds like she’s completely happy where she’s at, and audiences are satisfied to see her there.

(Via Variety)

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Even Keanu Reeves Doesn’t Sound Opposed To Some Kind Of ‘Yellowstone’ Appearance

With John Wick: Chapter 4 locked and loaded for theaters, Keanu Reeves is making the promotional rounds and opening up about everything from his thoughts on artificial intelligence to dream projects that the actor would love to star in. Apparently, the screen legend would totally be open to a guest spot on the hit TV series, Yellowstone, which has set Hollywood on a mad scramble to tap into the renewed interest in Westerns.

When asked about starring in the burgeoning Taylor Sheridan universe, Reeves sounded ecstatic at the thought. Via Parade:

“Would you ever be interested in a surprise role in something like ‘Yellowstone?’ I would love to see you in something like that,” ET Canada‘s Keshia Chanté asked The Matrix alum.

“I’d love to do a Western!” Reeves enthusiastically responded, adding, “So yeah! Yeah, sure!”

With Yellowstone reportedly having some behind-the-scenes drama with Kevin Costner, who could be exiting the flagship series way ahead of schedule, Sheridan might want to give Keanu a call.

On top of dreams of starring in a Western, there’s one other genre that Reeves would love to tackle: A musical. The actor made the revelation during a recent Reddit AMA where he was completely honest about his singing abilities.

“I would love to be in a musical,” Reeves posted, “But I can’t sing so I’m not sure anybody else would want me in a musical.. but I sure would try. I mean I could sing, but not really well. I can always dream.”

John Wick: Chapter 4 hits theaters on March 24.

(Via ET Canada)

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Why The Clippers Haven’t Looked Like Title Contenders This Season

Five weeks ago, the Los Angeles Clippers appeared four minutes away from weathering Giannis Antetokounmpo’s 54-point explosion and notching an applause-worthy road win over the Milwaukee Bucks. After Kawhi Leonard busted out a fake and stepped around his man to loft in a short push shot, Los Angeles led, 105-99, with under three minutes remaining.

Yet those would be the final points of the evening for Los Angeles. Milwaukee scored the next seven and won, 106-105. Down the stretch, the Clippers’ offense stalled into an isolation contest fueled by Leonard and Paul George, as Wesley Matthews and Jrue Holiday relished the challenge and stymied the star duo.

That loss dropped L.A. to 29-26. A month later, they’ve done nothing but tread water, sitting at 35-33, fifth in the West and only two games up on the 10th-seeded New Orleans Pelicans. For a club that entered the season with justifiable title hopes, the first 68 games of 2022-23 have been a colossal disappointment. While Leonard and George missing a combined 45 games doesn’t help matters, this team touts glaring flaws even when they do suit up. They’re 25-15 when Leonard plays, but competent teams are good when their superstar is available; that record alone is not a boarding pass for title contention. His presence does not absolve the Clippers of their flaws.

Broadly, Los Angeles cannot seem to merge effective two-way play. Through 31 games, it ranked 29th in offensive rating and fourth in defensive rating, according to Cleaning The Glass. Over the past 37, it’s 11th in offensive rating and 23rd in defensive rating. On the year, it’s 23rd in offensive rating, 17th in defensive rating and 24th in net rating,

This dissonance, to some extent, stems from the concessions the Clippers constantly have to embrace with their rotation choices. The majority of options give something back substantially on one end or lack in critical areas that exacerbate team-wide shortcomings.

Russell Westbrook, Norman Powell, Mason Plumlee, Marcus Morris, and Eric Gordon can all provide offensive gusto, but create significant defensive issues. Luke Kennard was the same way prior to being dealt to the Memphis Grizzlies. Ivica Zubac, Nicolas Batum, and Robert Covington provide defensive boosts but can all hamstring the offense. There’s not much two-way talent outside of Leonard and George.

To a massive fault, the Clippers are overly reliant on jumpers. Slow developing offensive sets amplify the problem and leave them without much wiggle room on many possessions, as they scarcely create quick-hitting chances. Their crunch-time foibles last month against Milwaukee aptly summarized that white-knuckled, jumper-heavy ethos.

They rank fourth in long midrange rate and 15th in accuracy, per Cleaning The Glass. On a singular play, those midrange shots are generally acceptable and they’re comfortable reps for Leonard and George. Stretched out to a wider sample, however, and the issues that shot profile indicates surface, especially given the middling efficiency. They need diversity, but can’t engineer it. They’re 23rd in rim frequency and long for a viable pick-and-roll big to release tension on the interior. Their brigade of shooters ensures they’re well-spaced horizontally, yet they’re insufficiently spaced vertically. One without the other is sinking these Clippers.

Zubac has certainly progressed offensively, but it feels like he eats up space to the detriment of the offense rather regularly. When he rests, his own team’s rim frequency jumps 3.1 percent, while opponents’ rim frequency spikes 6.9 percent, a dichotomy that speaks to the dilemma the Clippers face in determining his ideal playing time.

They rarely coax the defense out of its shell and into scramble mode, allowing the opposition to guard them straight up. They spend so much time stagnant, play at the league’s ninth-slowest pace and are often forced into settling for suboptimal late clock looks at the end of aesthetically displeasing sequences. This is a rigid team offensively and its primary means of flourishing is already tenuous.

The dearth of quality decision-makers and passers is another major hurdle. George is a tremendous player who’s been overextended into lead ball-handling duties for lengthy stretches. He’s simply not the playmaker or slasher required to assume those responsibilities so prominently for this team.

Leonard’s amid a dominant 30-game run, but he’s also susceptible to missing openings or identifying them late, once they’re no longer available. Powell’s immediacy as a slasher and shooter are vital boons, but he’s not an adept passer. When they were still on the roster, Reggie Jackson and John Wall added to the decision-making trials.

Whether it’s reading the floor slowly or firing inaccurate passes, Los Angeles’ offensive hubs (current and former) are prone to disrupting the flow built on a given possession with gaffes. Defenses are enabled to recover or nab takeaways when recipients of passes have to go out of their way to collect them. A 17th-ranked turnover percentage derails opportunities as well. The passing and processing speed simply aren’t at the requisite levels for this offense to hum on a nightly basis.

Although the offense is the leading culprit of Los Angeles’ perils, its defense is not without blame either. Regardless of scheme and personnel, the connectivity has contributed to the struggles. The Clippers typically switch and the execution hasn’t been pristine all the time, as offenses can often find driving angles.

That’s particularly troubling during the 19 minutes Zubac sits each game because the interior depth behind him can’t defend the rim effectively. I’d wager some of the cohesion suffers from various absences and a carousel of rotations. Adding three new players to the rotation (Plumlee, Westbrook, Gordon) around the trade deadline only heightened that challenge.

Then, this circles back to the concessions they’re cornered into. Head coach Ty Lue is devoted to grant Morris heavy minutes, though the veteran forward’s declining mobility causes breakdowns on the perimeter in various fashions, not to mention his offensive decision-making is dubious.

Plumlee’s passing and finishing are welcomed aspects inside, though he’s an ineffectual rim protector. Westbrook’s passing and breakneck cadence are beneficial, though his risk-taking at the point of attack and ball-watching away from the action are worrisome. Gordon’s lateral quickness has regressed the past couple years. Powell doesn’t smoothly navigate screens or cover ground East-West. A lot of players designed to elevate the offense come into conflict with the defensive output.

When the personnel is limited, the synergy must be sharp. That’s not the case. The result is a 17th-ranked defense on the downswing. The margin for error on a roster short rim protection depth is small. Los Angeles’ errors routinely eclipse such a margin.

The other angle residing over the Clippers’ recent slide (2-5 in their last seven) is Westbrook’s domineering style. His arrival prompts a reorientation from other integral role players. He is certainly not the leading or lone factor in their demise since he joined the rotation and has in fact produced some good outings.

Yet he is not a seamless addition. Powell and Terance Mann must adapt. There’s also the reality that he is maximized as an on-ball creator whose playmaking can fill clear gaps in the offense. His scoring ineptitude renders him a less effective initiator than George and Leonard, while his shooting constraints and finishing hiccups muddy his off-ball fit.

Navigating that entire dynamic as players, Westbrook included, and coaches is arduous, let alone doing so the final six weeks of the regular season as a team yearning for consistency. Westbrook seeing 30 minutes per game intensifies the tribulation. Had his integration occurred around the holidays in a 20-minute, reserve capacity rather than late February in a 30-minute, starting gig, the transition would be easier. The decision to sign him at this point in the season and hand him such a grand role is risky and ripples across the roster, and the complications of his addition are not solely tied to his skillset.

The Clippers are headlined by two stars, one of which is performing like an All-NBA player the past three months. Their rotation is stocked with dudes who most would consider viable ancillary cogs. And yet, with only a month remaining in the regular season, they sit much closer to the outside of the playoffs than rubbing shoulders with the West’s elite.

It’s largely the product of a team-building method that neglected valuing specific skills, which prove themselves paramount after every underwhelming result. Schematically or individually, this group doesn’t have a nucleus to unify possessions on either end and provide a roadmap each trip down the court. As the playoff landscape crystalizes, those mistakes and holes will likely be the reason this franchise again falls short of its aspirations during the Leonard and George Era, one that began so optimistically and is currently hazy as ever.