MICHAEL A TOUGH ‘DANCE’ PARTNER Series showed that access to star was double-edged sword

The Knicks kept Scott Perry as GM for another year but are reshuffling the deck below him.

Leon Rose’s second big move as team president will be hiring longtime Jazz executive Walt Perrin as assistant GM, sources confirmed Monday.

Perrin has been with the Jazz organization for 18 and most recently served as its vice president of player personnel. His recent hits in the draft include Donovan Mitchell and Rudy Gobert, the cornerstones of a budding contender. Both Mitchell and Gobert were plucked relatively late in the draft, 13th and 27th overall, respectively, and Perrin has been credited with their discovery.

Just this month, Jazz GM Dennis Lindsey told reporters that Perrin had been leading his staff ’s preparation for the draft.

Now he’ll be working with the Knicks, who’ll have a lottery pick when the draft takes place (it’s still scheduled for next month).

Prior to Utah, Perrin was a scout and with the Pistons – overlapping briefly with Perry’s time as an executive in Detroit.

Rose has also hired a new chief strategist — Brock Aller — a capologist and longtime member of the Cavaliers. The Knicks have not spoken to the media since the coronavirus shutdown or made any official announcements about new hires.

Perry had a one-year option picked up on his contract but it’s unclear whether the other remaining executives — including those brought in by Perry three years — will survive the reshuffling. For instance, Gerald Madkins was the team’s only assistant GM the last three seasons.

As the Daily News reported, Allan Houston, the special assistant to the GM, is a candidate to remain with the organization under Rose.

The Knicks have provided no updates about their coaching search, although sources say Tom Thibodeau is among the candidates and Rose was impressed with the interim, Mike Miller.

“The Last Dance” could not have been made without Michael Jordan allowing ESPN into his orbit. But director Jason Hehir insisted that for the first time in MJ’s life, he didn’t want dibs on the last shot.

To hear Hehir tell it, as he did Sunday night with SportsCenter host Scott Van Pelt, his documentary tells the unvarnished truth about MJ — warts, blemishes, gambling penchants and all. If the bar for truth-telling rests no higher than “the contents of Sam Smith’s Wikipedia page,” the documentary is a success.

But there is a limit to what a documentary made possible by access to Michael Jordan can say, and that limit is what Jordan is willing to say. “The Last Dance” does not merely document the final days of Jordan’s Bulls — it inhabits Jordan’s personality, assumes his grievances, settles his beefs. Yeah, it will address uncomfortable topics, but you can always tell who’s steering the conversation. Hint: It’s usually the guy holding the iPad.

Like many fans of a certain age and younger, my Jordan nostalgia is inherited, plugging in the gaps with books (if we’re being honest — usually excerpts), grainy VHS rips, and Basketball-Reference wormholes. I don’t know if I’m the target audience for “The Last Dance,” but I was hungry for the full story.

That is not exactly what the documentary delivered. Insofar as “The Last Dance” can offer insight into Jordan and his Bulls, it hardly lays hard truths bare, instead requiring a careful reading between the lines and points of view of its central, engrossing character: MJ himself.

The main way “The Last Dance” succeeds as an entertainment product is the basic fact that it’s about Michael Jordan. It’s hard to bring 10 hours of archival and interview footage to life; it’s a given when that footage comes from a camera pointed at MJ. The clips are as mesmerizing today, as aesthetically brilliant, as they ever were in their own time. Jordan’s dominance and compulsive, clinically diagnosable competitiveness are tailor-made for a role as a TV anti-hero.

Small wonder the series became appointment viewing over the past five weeks when Hehir cast our greatest living athlete as Tony Soprano.

Yet if none of that appears especially revelatory — you’re right. It isn’t. Despite a career’s worth of footage, including an always-on camera through the ’98 season, “The Last Dance” still struggled to add much that isn’t freely available on blogs, YouTube mixtapes and debates with your uncle.

The most polished moments are tremendous. Mainly these consist of syncing the just right rap song beat-for-beat with Jordan gliding across the court, and amount to faint praise. Hehir accomplished here what YouTube mixtapers figured