When Disney’s Aladdin soared into theaters in 1992, it was hailed as a masterpiece of the Disney Renaissance. With the late Howard Ashman’s lyrical groundwork and Alan Menken’s Oscar-winning score, the film seemed untouchable. Songs like “A Whole New World” became instant standards. “Friend Like Me” redefined animated musical comedy.

No music swelled. No drum hit. Just the whoosh of the lamp sucking the vizier into oblivion, the clatter of it hitting the tiles, and then—silence again. Longer this time. A peaceful silence.