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The Mavericks’ Offense Needs To Be More Than A One-Man Show

On Thursday, the eyes of the NBA migrated toward Little Caesars Arena for a duel between the Dallas Mavericks and Detroit Pistons, the lone game of the night. Despite Cade Cunningham’s continued absence, Detroit snagged its sixth win of the season, a 131-125 victory, behind Bojan Bogdanovic’s 30 points and Killian Hayes’ crunch-time scoring flurry.

While Bogdanovic’s season-long torrid shooting and Hayes’ ascendant improvements dominated storylines for the winning side, I found myself fixated on Dallas, which has now lost five of six and is 11th in the Western Conference at 10-11. Six months ago, the Mavs won 52 games, earned the No. 4 seed, and were Western Conference Finalists to mark their most successful season since the 2011 title. Now, they’re closer to the 13th seed than they are a top-4 seed.

Jalen Brunson’s exit is assuredly hurting this team. He’s a tremendous player whose secondary creation was a synergistic complement alongside the greatness of Luka Doncic. But the Mavericks did bring in Christian Wood, a different player off to his own very good start, albeit one who is not on Brunson’s level of talent or fit. The rest of the rotation, save for Tim Hardaway Jr.’s return, is quite similar — eight of the top-10 minutes-getters are the same.

The tradeoff from Brunson to Wood should not be the difference between a top-4 finish and missing the postseason altogether. This is a playoff-caliber team. It’s not a title contender, yet it’s led by a superstar and flanked by quality, albeit flawed, players. Dallas should not be on pace for 39 wins.

Although last year’s defensive resurgence garnered much of the acclaim (eighth in defensive rating, 21st the season prior), the Mavericks plied their trade on offense following the Kristaps Porzigins-Spencer Dinwiddie deal. Before that move, they were 17th in offense and sixth in defense en route to a 33-24 record. Afterward, they were fifth in offense, 16th in defense, and went 19-6.

Winning 10 of 11 games in clutch time, due to an improved roster and some shooting luck, aided those post-trade numbers. However, the point remained: Porzingis’ departure signaled an offense-first style.

That’s the case again in 2022-23. Dallas is 10th in offensive rating and 15th in defensive rating. The issue: Doncic is at the height of his regular-season powers and a legitimate MVP contender. He’s averaging a league-leading 33.6 points (60.6 percent true shooting), 8.7 rebounds, 8.7 assists, and 1.9 steals per game. His plus-8.0 Estimated Plus-Minus is a career-high. If the Mavericks want to maximize his splendid season, the offense can’t hover a couple ticks above pedestrian. That’s especially the case if Wood and Dinwiddie, a pair of tenuous defenders, are going to factor so prominently into the plans.

There are a slew of factors responsible for this development, Doncic’s approach included (this is, to be clear, a minor part). Chief among them is the bland scheme. The overwhelming basis of Dallas’ offense is to yield mismatches for Doncic, Wood, and Dinwiddie, all of whom are fit to thrive in these scenarios.

So much of the action is window dressing designed to provide that trio an advantageous matchup. Rarely is the intention for Xs and Os to actually scheme an advantage by generating space, either for drives or open jumpers. Everyone aside from Doncic, Wood, and Dinwiddie are generally treated as a conduit to help enact that mismatch rather than being considered both a conduit and option if an advantage were to arise.

They’re quite effective with this style, too. The Mavericks rank first in isolation frequency (14.2 percent) and second in points per possession (1.07). At 9.9 percent, the Philadelphia 76ers are second in isolation frequency. Dallas is in a class of its own with regard to volume here.

Beyond Doncic, the duo of Wood and Dinwiddie are producing gaudy numbers. Wood is tallying 16.8 points and 7.7 rebounds on 63.8 percent true shooting (.556/.406/.671 split). Dinwiddie is notching 16.2 points and 4.9 assists per game on 59.8 percent true shooting (.472/.397/.804 split).

Problems arise when these mismatches prove difficult to find. Possessions stall. The Mavericks are 30th in pace. Doncic’s methodical ethos spearheads this. They take so long to organize the offense. That itself is not cumbersome, it’s that what they take so long to organize is often myopic. There aren’t any counters. If Plan A collapses, there is no Plan B, nor do they have time to even consider a Plan B if it existed.

Watching the glacial nature of their one-trick offense versus the jet-engine, multifaceted Sacramento Kings’ attack is enough contrast to induce whiplash. The Kings flow into their offense immediately and holster read after read. Their personnel lets them accomplish this, but they also emphasize it to widen the margin for error. Dallas exacerbates its own shortcomings and burrows itself into a narrow avenue for success. When mismatch-hunting unravels, their possessions can end like these disappointing ones.

Doncic, Wood, and Dinwiddie’s individual scoring numbers aren’t hurt by those instances. The collective offense does take a hit, though, and that dichotomy provides a glimpse into the flaws of the scheme. It’s overly reliant on that trio and reduces everyone else to onlooker, not confident in their creation aptitude until the initial read spirals and they’re forced into service. Nothing has been done to ease their already arduous position or avoid them from being overextended.

Similarly, the offense has routinely been neutralized when defenses trap or double-team Doncic. According to Second Spectrum, the Mavericks are scoring 0.988 points per possession (50th percentile) when opponents blitz pick-and-rolls. This tactic reveals various limitations. Among them is Doncic’s inactivity after he passes out of a trap, as he’s prone to removing himself entirely from the play and witnessing things unfold rather than providing a lifeline.

His supporting cast is full of shaky ball-handlers, poor passers, and questionable decision-makers who can be flustered by prompt, lively rotations. They struggle to parlay his gravity into prosperous opportunities. His apathy exacerbates the challenges, even if he’s not the primary culprit.

He’s a dazzling offensive talent whose shot-making and facilitating will flood teams. Coaxing plays elsewhere is a natural solution made easier by Dallas’ ineffectual responses to it. The record-scratches, hesitancy, and delayed passing reads burst onto center stage when Doncic isn’t directing the events. Really, the collective passing of this roster beyond Doncic, not solely in scramble situations, contributes to their underwhelming offensive rating.

Throughout much of Thursday’s first half against Detroit, the Mavericks dialed up more set plays than I can recall at any other stretch this season (my viewing sample, of course, is not foolproof). They posted an offensive rating of 122.4 over that span. The actions weren’t complex, largely centered on Motion Strong, as well as some Horns pick-and-roll, Spain pick-and-roll, and 77 Exit.

Complexity isn’t required. The salient angle here is diversifying the deployment of everyone around Doncic and the utilization of his ball-dominance. Advantages were forged that weren’t merely “here’s a switch for you, go rock out.”

Detroit’s 29th-ranked defense isn’t the proper litmus test, nor is a half of 63.2 percent true shooting. But possessions in which Doncic sets others up without the defense keying entirely on him after he works his way into a compromising place on the floor are a welcomed change. There’s notable offensive talent on the roster around him, it’s just geared toward play-finishing rather than secondary creation like it was when Brunson co-starred last season.

Aside from the heightened post-up volume, the schemes hardly seem to amplify Doncic’s talents. Instead, they lean on his greatness to prop up everything. His lack of off-ball proficiency complicates matters, though much less than the dull playcalling. He’s not a beneficiary of his context when making him one shouldn’t be particularly hard.

A career-high 90 percent of his baskets are unassisted this year, per Cleaning The Glass. He leads the NBA in usage rate (42.3 percent). Giannis Antetokounmpo (39.7 percent) is in second, 2.6 percentage points below him. Dallas is 0-6 when he scores fewer than 32 points.

None of this feels sustainable. Doncic’s fourth-quarter true shooting is 48.9 percent this season. His final frame struggles are not exclusive to 2022-23. This time, though, they underscore the taxing method of his game, some of which is self-inflicted, while further emphasizing the burdensome scheme dragging him down.

The Mavericks are yet to build upon the delight of last season. It may never materialize in 2022-23. The roster is worse and deep playoff runs are tough, almost always borne in part because of fortuitous matchups or circumstances. Regardless, something needs to change offensively, both for Doncic’s sake and the aspirations of the team. Luka Magic™ alone isn’t going to get them there. They, and he, must help one another.

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Future Will Hold ‘One Big Party’ In Atlanta To Kick Off 2023 And He’s Bringing Some Friends Along

Future is bringing his friends along for a newly-announced Atlanta show, which will serve as the second date of his One Big Party tour. The rapper’s concert is being held at State Farm Arena on January 14. While the lineup hasn’t been revealed, it’s likely that Future‘s roster of surprise guests on the road won’t disappoint fans. He might also pull from his record label, which houses other musicians like Doe Boy, Herion Young, Test, Lil Wookie, and many more.

In addition to Atlanta, Future kicks off the One Big Party in Charlotte, before heading to Chicago, Washington D.C., Boston, and Detroit. He will also play at Rolling Loud Festival next March.

“I don’t feel like nobody needs to be like me… exactly how I am. I only can do this,” Future shared in a recent Billboard cover story. “I’m the only one that can do this sh*t, you know what I’m saying? That’s from my personal life to musically. I’m really one of none. I can live like this. People accept that because it’s just me.”

Tickets for the Atlanta show go on sale on January 7 at 10 a.m. EST. More information on the concert is available here.

Continue scrolling for some fan reactions about Future’s concert announcement.

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Russell Westbrook Counted Down While Giannis Antetokounmpo Shot A Free Throw

The Los Angeles Lakers are in Milwaukee to take on the Bucks on Friday night. At one point during their game, Russell Westbrook did an admirable impersonation of Brooklyn Nets fans during the 2021 NBA playoffs, as he very loudly tried to count up to 10 while Giannis Antetokounmpo shot a free throw.

You might recall that Nets fans made a huge deal out of how long it takes Antetokounmpo to shoot from the charity stripe, as the entire Barclays Center would get into it in an effort to get into the multi-time league MVP’s head. Well, Westbrook wasn’t exactly trying to do that — Antetokounmpo shot a free throw and missed, but the referee let him shoot it again because Westbrook quickly stood up.

This did not sit well with Westbrook, who then started making a big deal out of how long it takes Antetokounmpo to shoot. His error appears to be that he decided to take a “1,001, 1,002…” approach instead of just counting, because Antetokounmpo was able to get his shot up right as Westbrook finished saying “1,008.”

This ultimately ended up being nothing more than a pretty funny moment involving Russell Westbrook, but I suppose it is also a lesson to opposing fans, who now know that Antetokounmpo gets his free throws off more quickly than he used to.

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Jacob deGrom Will Leave The Mets And Join The Rangers On A 5-Year, $185 Million Contract

The top free agent pitcher in all of Major League Baseball is changing teams. According to Jeff Passan of ESPN, former New York Mets starter Jacob deGrom will leave the only team for which he has played during his professional career and head to the American League, where he will become the ace for the Texas Rangers.

Passan noted that deGrom’s deal is a guaranteed five years and $185 million, a hefty price tag but one that is justified because of how good deGrom has been over his career. It has the potential to add an additional year, which would bring the total value of the contract to $222 million, and includes a no-trade clause for the 34-year-old righty.

The Rangers confirmed the transaction in a press release on the club’s PR Twitter account, but did not include the financials of the deal.

While deGrom has been hit with the injury bug over the years, when he has been able to pitch and is on his game, he is one of baseball’s most unhittable arms. He is a two-time Cy Young Award winner and a four-time All-Star, and over nine years with the Mets, deGrom registered an 82-57 record with a 2.52 ERA, a 0.998 WHIP, and 1,607 strikeouts in 1326.0 innings of work.

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Drakeo The Ruler’s Posthumous Video For ‘Diddy Bop’ Has Been Revealed

A new Drakeo The Ruler video has been released, on what would’ve been his 29th birthday (December 1), and nearly a year after his death. In the video for “Diddy Bop, ” Drakeo and his crew are seen posted up, on guard for any opps that may come their way.

“Hop out on the opp out the Coupе, I served with him a chop / Know no he was no longеr, when I seen his nerves hangin’ out /Half a Hundiddy in the chop, it’s a Minnie Mouse / Don’t wanna strip, don’t wanna dance, f*ck it, Diddy Bop,” raps Drakeo on the song’s chorus.

The song features Drakeo’s brother and longtime collaborator Ralfy The Plug, and comes from their joint project, A Cold Day In Hell.

On his verse, Ralfy warns his opposition that if they’re not careful, consequences could be dire.

Upon the video’s release, Ralfy took to Instagram to honor Drakeo, saying, “Happy birthday to the best rapper to ever touch the mic we know the truth, the truth hurt, ain’t that the truth almost been a whole year since you been gone and still got this sh*t on lock…they still don’t want to give you your flowers but the truth is undisputed.”

You can watch the video above.

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An Atlantic City Chocolate Shop Made $30,000 With A ‘Willy Wonka’ Contest For Taylor Swift Tickets

Bar 32, a chocolate shop located in New Jersey’s Atlantic City, auctioned off 3,000 chocolate bars for $10 this week. Selling out by Wednesday night, they raised $30,000. And, in just one of the bars, there is a Willy Wonka style winner of two tickets to Taylor Swift’s The Eras Tour. Specifically, Swift’s show at Philly’s Lincoln Financial Field on May 13, 2023.

The catch is that fans won’t know if they won right away. The chocolate bars allegedly all contain a number and the company will draw the winner on Christmas Day. Purchases were only limited to… 50 bars per person. Meaning, that there are likely some Swifties out there who spent $500 on chocolate bars and still might not even get tickets.

Another caveat is the unclear idea of just where the seats would be. Floor? Sign me up. Nosebleeds? Doesn’t seem as worth it. Be careful guys, it’s brutal out here.

“We’ve always wanted to incorporate a ‘golden ticket’ within our chocolate bar and shop,” Bar 32 assistant chocolate maker Katie Callazzo said to The Philadelphia Inquirer. “We are overwhelmed by how much support we have gotten with our contest.”

The article notes that Bar 32 has no plans for a restock, but fans can stay tuned for a potential Christmas miracle in the form of a future Instagram live. And, considering resale for two seats at Swift’s show in Philly are currently listed for $810 each at the lowest on Stubhub ($2,054 with estimated fees), the math would make a profit of approximately $27,946 from the chocolate shop contest.

Just imagine, if Swifties banded together to buy tickets instead, they would actually have a stronger chance of attending with a decent view.

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100 Gecs Reveals The Release Date For Their Much-Anticipated Second Album, ‘10,000 Gecs’

Today, upon the release of their new EP, Snake Eyes, 100 Gecs has announced that fans can expect even more new music from the duo next year.

Though the EP only contained three tracks to tide fans over while they wait for the upcoming album, the album, titled 10,000 Gecs is expected to contain many more. Their upcoming album will mark the LA duo‘s second album, and their first since 2019.

Last year, the duo, comprised of Laura Les and Dylan Brady, spoke with Pitchfork about the long-awaited album. In the interview, Les, who is trans, revealed that she would be taking a step back from some of the Auto-Tune effects the duo has been known to use, as she has been taking vocal lessons.

“As I’ve been exploring my voice more, I’m like, ‘I can do this,’” Les said. “And also I’m sick of worrying about it. If I don’t just fucking do it, then I’m just a scaredy cat. And I don’t want to be a scaredy cat.”

Check out the cover art for 10,000 Gecs below.

10,000 Gecs album cover
Dog Show Records/Atlantic

10,000 Gecs is out 03/17/2023, via Dog Show Records and Atlantic Records. You can pre-order it here.

100 Gecs is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Lady Gaga Shouts Out ‘Wednesday’ After It Birthed A Viral Dance Trend Behind ‘Bloody Mary’

Netflix has found immense success following the release of Wednesday, about the daughter of The Addams Family. One of the key scenes finds Wednesday Addams (played by Jenna Ortega) attending a typical high school dance, where she busts out some spooky dance moves. Fans on TikTok have taken the scene to put their own soundtrack spin on it — with none other than Lady Gaga’s “Bloody Mary.”

While it might seem like a surprising choice, Gaga’s 2011 song mirrors the choreography and has a dark tone to it. Plus, it literally includes the lyric, “I’ll dance with my hands,” which Wednesday’s viral clip has become known for — making it a great choice for fans of both for edits.

And, as it turns out, both Netflix and Lady Gaga are aware of the song’s recent trend.

“I see you doing my dance moves to @LadyGaga’s Bloody Mary,” the Wednesday Addams Twitter account wrote. “I understand she is followed by little monsters. I approve.”

“Slay Wednesday!” Gaga replied. “You’re welcome at Haus of Gaga anytime (and bring Thing with you, we love paws around here).”

Following the interaction, fans spotted that Gaga also made the Wednesday dance scene as the set video for “Bloody Mary” on Spotify.

Continue scrolling for some of Lady Gaga’s “Bloody Mary” edits set to various Wednesday scenes.

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(For You)r Consideration: The Hottest TikTok Trends In Music This Week

(For You)r Consideration is a weekly column breaking down the rappers and singers doing it RIGHT on TikTok and the viral trends and top songs taking over your FYP.

Waiting for Rico

After the release of July’s Las Ruinas, Rico Nasty is already teasing new music and using TikTok to prime her audience. The snippet released in early November samples Missy Elliott and Timbaland’s “Get Ur Freak On.” Previous Missy and Timbaland-inspired songs like Ski Mask The Slump God’s 2017 “Catch Me Outside,” have caught the attention of the rap OGs and garnered viral success with over 100 million views on YouTube. With growing TikTok buzz, Rico’s take on a Missy classic will hopefully see the same traction. You can catch Rico on her TikTok page, creating makeup tutorials, lip-syncing, and practicing choreography to the sound. Fans in the comments of the rapper’s TikToks are not only begging for her to drop the complete track but hoping she’ll feature either Missy Elliott or Ski Mask.

@riconasty

DEE AATE ME THE FUCK UPPPP DANCE BY @Kassidy Bright @Sade keinu @deemakeupart

♬ original sound – Riconasty

#SpotifyWrapped

It’s the most wonderful time of the year! Streaming giants are releasing insights on user activity on their platforms over the past year and invite music lovers to share them on social media. Spotify Wrapped, the streaming service’s EOY campaign, is having a moment on TikTok with millions of videos using the hashtag #SpotifyWrapped. Creators are sharing their most listened-to artists, the recently-released songs they hope will appear in their insights, and their most streamed albums that came as a surprise. Check out the TikToks below to see how users celebrate and taunt their listening habits on the app.

@mxse.evs

#greenscreen this is literally a lie i thought it’d be funny…#spotifywrapped#fyp

♬ IG michaelpepito – Michael Pepito

Show Stopper

Another 2000s hit is making a comeback on TikTok. Danity Kane’s 2006 Show Stopper has users reminiscing about the mid-2000s and revisiting the group’s iconic choreography and mark on post-Y2K culture. Creator @itskatesteinberg is known on the app for her love for the 200s, so naturally, she’s at the forefront of the song’s trending moment. Kate’s videos tap into core 2000s crazes like tanning beds, excessive hairspray, Bath & Body Works scents, and the genesis of Facebook with the Danity Kane hit in the background. Check out one of Kate’s videos below and the 2000s girl group choreography by user doobie_music.

@itskatesteinberg

I was really trying to compete with the cast of Laguna Beach in Illinois#fyp

♬ Show Stopper – Danity Kane

@doobie_music

DANITY KANE WAS AND FOREVER WILL BE THEM GIRLS ! MISS THEM #danitykane #MTB #dance

♬ Show Stopper – Danity Kane

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David Byrne, Who Has Somehow Never Put Out An Original Holiday Song, Has Now Shared One In ‘Fat Man’s Comin”

How the heck has David Byrne never penned an original Holiday song before? The Talking Heads maestro and Tony Award-winning Broadway star has effectively ended that drought now though, with the release of “Fat Man’s Comin’”

“I always wanted to write a holiday song,” the whimsical Byrne said in a statement. “I wouldn’t call it a Christmas song, as the visitation of Santa (formerly known as St. Nicholas, who mainly did punishing) seems to have evolved to be a more secular consumer moment than a religious or spiritual affair.”

As expected, the tune has an expansive arrangement and is filled with Byrne’s endearing whimsy. He explained that it was written around the time he and St. Vincent’s Annie Clark were working on the Love This Giant album. Similar horn sections are noticeable, but Byrne said it didn’t make sense for his St. Vincent collab and worked with producer/arranger Jherek Bischoff instead on it.

https://davidbyrne.bandcamp.com/album/the-fat-mans-comin

“Fat Man’s Comin’” is available now via Bandcamp through the end of the month in a “pay what you want” model. All proceeds will benefit Reasons To Be Cheerful, Byrne’s nonprofit online news mag.

Listen to “Fat Man’s Comin’” above and check out a full statement from the always eloquent Byrne about the song below.

“I always wanted to write a holiday song. I wouldn’t call it a Christmas song, as the visitation of Santa (formerly known as St. Nicholas, who mainly did punishing) seems to have evolved to be a more secular consumer moment than a religious or spiritual affair.

I believe the foundation of this music might have been written at the same time as the collaboration I did with St. Vincent a few years ago, but somehow a literal view of the Santa phenomena was what came out. It wasn’t right for Annie and me – the story of a fat man in rather odd attire who breaks into people’s homes and leaves mysterious packages.

I’d worked with Jherek before and enlisted him to arrange and record the “orchestra,” which I wanted to sound sort of old-school creepy. The old song “Teddy Bears Picnic” may have been a reference.

Back then, I thought I’d use the song as a means to raise money for a good cause, but to draw attention to this thing I thought it might need a visual, so I storyboarded a video for the song which eventually ended up getting shelved.

But maybe helping celebrate another year of Reasons To Be Cheerful might be a good reason to resurrect this song, and let the storyboards allow folks to imagine what the video might have been.

Enjoy and thanks for listening/watching”

David Byrne is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group